Sentences with phrase «shots in films like»

A longtime Coen brothers collaborator, Deakins is responsible for the incredible shots in films like Skyfall, No Country for Old Men, The Shawshank Redemption, and Sicario.

Not exact matches

The landscapes look nothing like Israel (the film was shot in Italy — and it shows).

He looks like the liquid sulphur policeman that is shot by Arnie in the terminator films and gets cut in half then re morphs back to one..

There's something organic about shooting film that feels like a pleasant match to me with time spent in the quiet, slow, and calm of nature.

It is like choosing between a film you don't want to see and being shot in the face.

Like «Part 1», «Part 2» was filmed in 2D, but in this case the effects (and some 200 shots) were completed in 3D.

it is funny in deed but, when their is someone to cover Sandler's movie their most likely gonna never make a film again Oh look see Denis Dugan and Frank Coraci BOOOOOO!!!!!!!!! you suck stop making adam sandler movies here is the problem they are directors who don't care about cinematography or shots of using the camera all they care is comedy!!!!!!! see Tyler Perry yeah their just like this big joke.

The film feels like it's been assembled by committee, and news stories about the film's troubled production bear this out: after an initial round of photography during which the ending was being crafted almost on the fly, the film's release was delayed so that a new ending could be written and shot in an attempt to glue together two halves of a story that still don't feel like a whole.

The Allosaurus (the big thing in the jungle with razor sharp teeth at which the characters are shooting) in the film looks clearly like computer graphics, unlike much of the work in «Jurassic Park».

The film had great set design and art pieces, but it's not really like a blatantly fantastical fantasy — it is shot and depicted almost like a historical fiction with some bizarre creatures in it.

Though Akel and Mass share writing credit, Chalk was actually shot in a loose, improvisational manner in the mode of Christopher Guest's films, and its best set pieces are like devastatingly effective pinpricks puncturing the Hollywood hot - air balloon of inspirational teacher / coach melodramas.

Some of the establishing shots, for instance, are filmed in a way that makes everything look miniaturized, giving the world an appropriately board game - like look.

Dorsey's movie career ranges from heavy drama (WALK THE LINE), to lighthearted family comedy (JUST LIKE HEAVEN, Disney's GIRL VS. MONSTER, and the American Girl series MCKENNA SHOOTS FOR THE STARS), but her appearance in the Golden Globe ® and Academy Award ® nominated film MONEYBALL established her as a bona - fide star.

Cinematographer Ryan Samul (2014's «Cold in July») holds a shot for maximum dread, whether it's on the smiley face spray - painted on a mailbox or the swing of a swing set, but also pleasingly employs technical flourishes, like zooms, that help differentiate it from the jittery style and often subtle framing in Bryan Bertino's original film.

Taylor is absolutely mesmerizing, as admirers of her indie work in films like «I Shot Andy Warhol» already know.

He chalked up quite a few eccentric characterizations in films like Dead Heat on a Merry - Go - Round (1966) and They Shoot Horses, Don't They?

There's a certain kind of film I see at many festivals: oblique, short on narrative and incident (or filled with repetitive incident), shot in a style that favors long (distance and time) shots of people doing nothing, or doing mundane things like crossing the street in real time.

Shot entirely on location in Barrow, Alaska, On The Ice is the engrossing and suspenseful feature film debut by filmmaker Andrew Okpeaha MacLean about two teenage boys who have grown up like brothers go about their lives in the comfortable claustrophobia of an isolated Alaskan town.

This was something like a miracle: Haneke's gracious affability aside, his has always been, openly and decisively (he's quite literally said as much) an oppositional cinema — often abrasive (his one noble failure, 1997's Funny Games, and its shot - for - shot English - language remake from 2008, being the prime specimens), always painstakingly conscientious and morally committed to disturb (all of his films from The Seventh Continent through The White Ribbon) art films that mean to engage and provoke the audience, not please or reassure in a way that could ever be mistaken for award - grubbing.

For every grisly shot of death and carnage in «E-Team,» Chevigny and Kauffman include soothing images of the couple in their Paris apartment, playing piano and tending to their bright 12 - year - old son; the film's most tense sequence, when the investigators sneak into Syria, plays like a real wartime thriller.

Director Nimrod Antal opens the film with a quick punch in the nose; the audience's first shot is of Royce (Adrien Brody) unconscious and dropping like a rock out of the sky.

The lab is one of those classic Brutalist - fortress - looking monstrosities; it seems to be located deep in the bowels of the earth but is revealed in helicopter shots to be within biking distance of the U.S. Capitol (seems like a bad idea, but this isn't a film that puts a high price on real - world plausibility, so whatever).

Verbinski certainly did his western - movie homework, for outside of all the rootin» - tootin» Rube Goldbergian action scenes, the director consciously evokes John Ford with his widescreen vistas of sun - baked deserts (on - location shooting took place in Utah, Texas, and beyond), and his nod to films like The Searchers with scenes of near - helpless families under attack in the wilderness.

We should even take a moment to discuss what it's like to watch a film shot entirely in extreme close - up with wide - angle lenses.

A mural maker fluent in the extended, meandering, zooming wide shot, Altman could swallow elaborate social environments like Hollywood in a single gulp; and by peopling those environments with actors set free to improvise, he allowed an uncanny degree of naturalistic behavior to indemnify the real - lifeness he collected by, it seems, just rolling and rolling film and looking around him.

Like their previous film Lenny Cooke, sibling directors Benny and Joshua Safdie focus on a true story in Heaven Knows What, only this time they shoot it as a feature narrative instead of a documentary.

A smaller film like Before Midnight was never going to be in with a shot for any of the main categories but its witty and intelligent script, co-written by director Richard Linklater and stars Julie Delpy and Ethan Hawke, should have scored an original screenplay nod.

While it would be easy to shoot an entire film like this on a sound stage and use visual effects to complete the scenery, director Baltasar Kormakur (2 Guns, Contraband) wanted the cast to experience the elements firsthand by shooting on location in Nepal on the foothills of Everest, as well as the Italian Alps.

For once I wish they would shoot a film like this, in a manner similar to how Paul Greengrass directed United 93.

The film was shot after The Act of Killing was edited but before it was released, and Oppenheimer's canny stewardship (and brinksmanship) is not irrelevant to their achievement; like Lanzmann, Ophuls, and Panh before him, in purely formal terms he's set a high bar for chroniclers of violence when it comes to galvanizing an audience.

Soderbergh's cinematography is, as ever, superb — a shot of Carano and Tatum in the LED light of an airport departure lounge has the world - weary blearily - lit hum of a John Le Carre film updated for our digital age, while a climactic fight under the morning sun on the beachside shore feels like someone dropped a Donnie Yen battle into a Michelangelo Antonioni art film.

Jennifer Lopez and Ralph Fiennes (in what feels like a rare turn) have palpable chemistry, and the film is shot with the sweeping air of off your feet romance that we desperately want to see in our romantic comedies.

So the review ended up being very scatter shot and covering inane details like why John Hurt was in the cellar (when he'd already appeared earlier in the film) to the point that it felt like Reed looking for boom mics in Star Trek.

Based on Edgar Allan Poe's short story «The System of Doctor Tarr and Professor Fether,» the film relocates the action from Poe's France to a remote corner of England, though the movie was actually shot in Bulgaria, which might look more like England if England looked a little more like Bulgaria.

Those who have seen the original will be totally bored because the film is almost shot - for - shot just like the original, which makes for some marginal interest for people trying to compare the new one to the old, but also means there will be absolutely no surprises in store.

We recently sat down with Larson and discussed what sort of person Justine is outside of the film, what it's like shooting in chronological order, and more.

One film production site suggests the film will beginning shooting this July in Chicago - not New York, like the previous two movies.

Like most John le Carré movies, Our Kind of Traitor is a handsome and well - polished piece of filmmaking, and the film earns a strong shot in the arm from its more - than - capable ensemble cast.

Frances McDormand (Miss Pettigrew Lives for a Day, Friends with Money), as the ultra-feisty National Security director, gets to storm in and out of vehicles and walk fast and determined with her entourage of government agents, but her only significance to the film is she is the only female in the series to not look like she has jumped out of a Victoria's Secret catalog (the charisma-less Rosie Huntington - Whitely gets most of the cheesecake shots, replacing the equally vapid crackpot, Megan Fox).

This is definitely more interesting, I'd really like to see more major studios push to film sequences in IMAX and explore the possibilities of shooting at a higher framerate in the future.

The film is clearly shot in the early 2000's, but like all great movies still feels timeless despite the passing of time.

They hired a director who hasn't helmed a film since 2003, and he shot it like he's Ang Lee on vacation in the Appalachian Mountains.

A Quiet Passion: Filmed in Belgium and looking like it was shot by Vermeer, Terence Davies» Emily Dickinson biopic persuasively transports us to 19th century Massachusetts and into the fiercely brainy poet's (not always) highly civilized home.

Not that her long shots serve her well, either: in one, a chorus line of guys waddle like ducks to «Lay All Your Love on Me,» the film's most unintentionally hilarious bit of choreography; a later shot of Streep running up a hillside to «The Winner Takes It All,» her pink shawl flowing behind her, has all the pathos of a perfume ad.

Much like how Halloween II picked up with the ending of the first one, the fifth entry in the series picks up toward the end of the fourth film as we see Michael Myers being shot down a mine shaft.

Extras include six featurettes that cover topics like shooting on location in Louisiana, filming the rooftop battle, on - set photography and more.

His career thus far both in front and behind the camera has been diverse to say the least from exploitation flicks shot for almost nothing like the Amateur Porn Star Killer series, to a film more considered and meaningful (and genuinely haunting) like My Name Is «A» By Anonymous, and scoring a lead role in an Albert Pyun one take film called The Interrogation of Cheryl Cooper.

Kobayashi shot the film entirely in a studio built in an airplane hanger with painted backdrops (in «The Woman in the Snow,» the clouds of the hand - painted sky become eyes watching the woodcutter) and sets pared to their essence, like an ancient scroll painting.

Like A Visitor from the Living, Sobibor, October 14, 1943, 4 p.m., and The Karski Report, the new film is largely comprised of footage that Lanzmann had originally shot in the Seventies.

In more recent years one such work of brilliant badness was Samurai Cop, an early 90's action film that looked like it was shot in 2 days for 2 dollars and inexplicably starred the late (great) Robert Z'DaIn more recent years one such work of brilliant badness was Samurai Cop, an early 90's action film that looked like it was shot in 2 days for 2 dollars and inexplicably starred the late (great) Robert Z'Dain 2 days for 2 dollars and inexplicably starred the late (great) Robert Z'Dar.