Sentences with phrase «shot opening sequence»

This time she's Dominika, a fast - rising ballerina whose career is cut brutally short in a beautifully - shot opening sequence that juxtaposes her final stage performance against the careful dance between CIA Agent Nate Nash (Edgerton) and his secret informant.

Not exact matches

It opens with a sequence of the day's best and worst golf shots.

After a great deal of excitement over the playoff atmosphere and the dynamic opening sequence, the room crashed with a dull thud when Nikita Zadorov scored on the Avalanche's first shot on goal.

I've watched the opening scene to Skyfall roughly 30 times (probably more, but hey, no need to rub your nose in it) and every single Dutch angle shot of anyone riding on a motorcycle is horrible composting, on top of the entire sequence in the tunnel being awful composting as well.

The opening home - video tracking shot sequence, showing Nuri and Katja's civil wedding in a prison, has a certain style.

The follow - up to 2016's surprise superhero smash is even more overtly «edgy,» concluding its opening sequence with a shot in which its nigh - indestructible hero is blown to bits, his severed head and limbs turning graceful slow - motion spirals as they ride a fireball toward the camera.

Some of the action beats are eye - opening in their brutality, but they amount to little more than cheap thrills so fans can relish in sequences of Willis shooting the bad guys.

Gladys Knight sings «I've Got to Use My Imagination» over the opening sequence, in which we cut from the light in a theatrical projection room to a shot of the sun shining through Linda's car window.

Opening with three climbers half - way up a particularly rough patch of rock in Scottish highlands, the sequences were apparently shot completely in - camera, and it looks simultaneously gorgeous and precarious.

(As an opening sequence, it's a killer, shot like beautiful lost footage from «Fellini Roma» that ends with a moment out of a»70s international terrorist drama.)

As for «Short Circuit, «the film quickly disappoints after a cute opening sequence in which we see the army present a new breed of mechanical soldier able to dish out laser shots and withstand any firepower.

Each offers a bog - standard shooting gallery of be-turban'd footmobiles to gun down, and, save for an interesting driving mission that recreates the «don't get caught» tension from the opening sequence of «Drive,» the campaign's take on first - person shooting tends to run together with memories of pretty much any military FPS from the last five years.

Nevertheless, some beautifully shot scenes here (the opening sequence truly draws you into the film) and I enjoyed it.

Best Scene (favorite movie scene or sequence): «12 Years a Slave» — The hanging scene runner - up: «Gravity» — The opening tracking shot

Think of the opening sequence of the movie and the oft - used point of view shot, depicting the killer's rampage on the unsuspecting teenage girl.

His way of shooting the action sequences, especially the opening train scene, keep you on the edge of your seat.

He was smart enough to create that memorable opening sequence at breakfast, where the guys shoot the shit about everything from tipping to the secret meaning behind Madonna's «Like a Virgin.»

Declaration of War announces itself in a nifty opening sequence as Juliette meets Romeo at a party and they set off on their romance with an impressively edited tracking shot through the streets of Paris.

Nolan and cinematographer Hoyte van Hoytema («Interstellar») shot the film using 65 mm and IMAX cameras, and while the big scenes of spectacle are unquestionably sweeping and impressive, it's the smaller moments that stayed with me more, whether it's those cascading leaflets in the opening scene, the terrifying majesty of a fighter plane gliding with its engines off, or a harrowing sequence involving a downed plane that will doubtless be used by English teachers to illustrate what poet Stevie Smith meant when she wrote «Not Waving but Drowning.»

The opening sequences of the film are the most troubling, where there are very grainy shots particularly involving the sky.

When a film begins with shots on the yellow lines of a dark road very similar to the iconic opening sequence from David Lynch's Lost Highway, one better start bracing for impact.

That opening sequence can't be beat, that POV shot with the reveal of a child.

His backstory is ubiquitous, so we gloss over his tragic past in a quick sequence of shots and voice over narration on the opening credits.

This even became a concern when Kane was reissued in a «restored» version last year; actually the only changes were in the brightness of some shots, so that the opening newsreel wasn't as grainy and the projection - room sequence wasn't as dark — both obvious efforts to bring the movie closer to Hollywood norms.

Prometheus is filled with mindbending shots and sequences — the opening sequence is but one of several.

The film starts with an opening sequence full of style and pace as we follow stunt motorcycle rider Luke (Ryan Gosling) in one stunning four minute single tracking shot, as he walks through the bright lights of the carnival to the roaring crowd who await him.

How could such a pipsqueak of a director, they asked back in 1997, create a masterpiece that wowed right from its opening sequence: an audacious five - minute tracking shot that swoops and swirls through the nightclub of the film's title in joyful synchronisation to the dance music of the 1970s.

From the opening sequence's fast - motion shots, rapid editing, and hallucinogenic flashbacks of a child, we quickly realise one of the main objectives of Mad Max: Fury Road is to create a visual experience.

«Inside Llewyn Davis» The logline for the Coen Brothers» «Inside Llewyn Davis» may not be especially appealing on paper, but from the completely bravura opening scene, which is an exquisitely shot sequence of Oscar Isaac's titular singer / songwriter performing a song in its entirety, we were completely and totally hooked.

Hill also lets a sepia - colored opening sequence run extremely long, especially considering that most of the shots are extreme close - ups that make it impossible to get a sense of the environment we are watching.

A serious film, beautifully shot particularly the opening sequence of the accident and also the final scenes.

One of the most thuddingly unfunny sequences is the «movie - quoting bad cop» opening scene, which the Blu - ray's behind - the - scenes material identifies as a laugh - filled day for cast and crew that didn't translate to any fun for the audience (the lower energy unused opening scene found on the Blu - ray is much funnier in Smith's patented «shooting the shit» style).

Even with two - time Academy Award - winner Christoph Waltz as the central baddie, even with an opening sequence set during the Day of the Dead featuring an absolutely flabbergasting tracking shot helmed by cinematographer Hoyte Van Hoytema (The Fighter), it's astonishing how little of interest actually takes place.

A few loud scenes like the opening sequence in the factory and shots of big farm vehicles created the best material.

Perversions of Science generally peaks during its opening credit sequence, an uninterrupted shot of a camera swooping in from the outside of a typical suburban home into a living room where a similarly typical family is watching television, a la The Simpsons opening credits, an association strengthened by another Danny Elfman's theme, which, not surprisingly, sounds an awful lot like the Tales from the Crypt theme with a lot of theremin thrown in.

John Carpenter's impressive POV opening sequence includes a shot of Michael's hand reaching down to grab a red - nosed mask, foreshadowing the older Michael's fondness for killing with his face covered.

by Bryant Frazer John Wick: Chapter 2 opens, somewhat incongruously, with shots from a Buster Keaton action sequence projected on the side of a midtown Manhattan office building.

The opening sequence and a few other shots aside, the cinematography for this movie is absolutely horrid.

With an almost Kubrickian opening credit sequence, it then cuts to a very realistically shot, written and acted scene.

Imagine shooting the boulder - roll opening sequence of Raiders of the Lost Ark or lighting its snake pit scene with torches!

Essentially, what started as a simple design oversight ended up opening the floodgates for multiple ways to beat the game, with efficient sequence breaking proving a key asset for most speedrunners when shooting for some of its more elusive endings.

Directed by the British filmmaker Kevin Allen («Twin Town,» «The Big Tease»), «Agent Cody Banks 2,» which opens today nationwide, is full of chase sequences and comic battles, but Mr. Allen's work is compromised by an apparent inability to match his shots in a spatially coherent fashion.

The movie opens with an overlong credit sequence and an embarrassingly guileless sex scene between Fassbender and Cruz that is shot like soft - core porn yet performed like a Disney film.

The new version follows neither the original (which played each sequence to it's conclusion then moved to the next) nor the rhythms of standard police procedural intercutting, but instead leave everything slightly off - balance, all of which occurs after the famous opening shot, a long track from one border town to another.

Directed by Sam Mendes («Skyfall») with a reportedly whopping $ 300 million budget, «Spectre» opens with a magnificent sequence in Mexico City that follows Bond in a single tracking shot through a street - crowd of thousands, into a top - floor hotel room (with a woman, naturally) and onto an adjoining rooftop that becomes the setting for some spectacular property damage.

Shot on a modest (for a superhero movie anyway) budget by first - time director Miller (whose most well - known work prior to this film is likely the opening credit sequence of The Girl with the Dragon Tattoo), Deadpool certainly isn't the flashiest film, but it does its best to look like it cost more than it did.

From the stunning, single - take opening sequence that lasts more than 12 minutes, to the numerous set pieces throughout, «Gravity» is such a technical marvel that it looks like Cuarón shot the whole damn thing in space.

Shot on a modest (for a superhero movie anyway) budget by first - time director Miller (whose most well - known work prior to this film is likely the opening credit sequence of

Thankfully Whedon opted not to try to somehow recapture uncapturable magic and instead gave us the Avengers fighting as a slick team within the opening moments of the movie, a sequence which includes that famous trailer shot of them all leaping into action in snowy woods, a glorious homage to the comics.

The opening tracking shot is a beautiful sequence that plays on the very same type of shot used in the final climatic battle of the first Avengers, and every fight is hugely entertaining, including the Hulkbuster armor vs the Hulk.