Sentences with phrase «slow films in»

Hear Schrader discuss some of the techniques and attitudes of slow films in Transcendental Style in Film Revisited.

Not exact matches

After all, when Strange spoke with the Ancient One before her death in his solo film, she slowed time down to micro-seconds to hold a fairly lengthy conversation with him.

Because the Church is often slow to address realities that the culture is first to voice — whether through arts, film, music and, unfortunately, through stories of pain and tragedy in the news.

In this obscure indie film, two little read - comic books come together in a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlIn this obscure indie film, two little read - comic books come together in a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlin a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlin the modern world.

As we can speed up or slow down the film, likewise we can conceive of the series of instants as running on faster or slower into the future — nothing in the nature of the series excludes this possibility.

It is our first one since I returned from filming in LA, and I slow - roasted tomatoes with garlic and red wine vinegar earlier in the week as part of the base for one of the two pots of chili I'm making.

I'm hoarding 2 squares of this in my freezer at the moment for just the perfect morning... like tomorrow Cracking in to the top of the crumb and then the soft moist cake with your fork (or spoon) is one of those moments that should be captured on film and made in slow motion.

I don't know how much of a delay «Top Chef» has between filming and broadcast, so even if they took up the school lunch challenge, Congress might have already acted * — Agweek says that Sen. Lincoln (D - AR) hopes to hold a markup session in the Senate Agriculture Committee on March 26 (via Slow Food USA) and it is not inconceivable that the new legislation could pass quickly.

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.

An attosecond strobe light could film electrons in slow - mo for the ultimate subatomic action movie.

Some cameras were designed to zip through hundreds of feet of film within a couple seconds, capturing every detail of massive fireballs in stunning slow motion.

«Leonardo was consumed by the dynamics of flight,» he says, speculating that Leonardo's drawings suggest he possessed «preternatural vision» that allowed him to see birds «as we would in slowing down a fast film to a flicker.»

Myhrvold's irreverent advice was just one of the cutting - edge food science and cooking tips that he shared during his talk, all the while dazzling the audience with film clips of wine glasses shattering, orange zest vaporizing, and a kernel of popcorn exploding in slow motion (as illustration of the kernel's «structural failure» to illustrate how water in food can become a «steam rocket» as the latent heat of the water builds up).

Watch a singularity form in a stretchy soap film This slow - motion lime - green bubble is trippy, but this is no lava lamp — it's a mathematics experiment

While slow motion is typically achieved by filming scenes with a high - speed camera, Benza and his team were able to achieve the same effect by bringing the footage into Apple's Shake digital - compositing software, then retiming it using a Shake plug - in called Furnace Kronos.

Then, filmed in luxurious slow motion, the knight flips his do back like a medieval Breck Girl, and the flaxen strands shimmer in the light.

To sidestep the slow production, Cornell University's Jiwoong Park used Mo (CO) 6 or W (CO) 6 as precursors in a chemical vapor deposition process to form films of MoS2 and WS2, respectively, that were only three atoms thick but covered an area of about 65 cm2 (Nature 2015, DOI: 10.1038 / nature14417).

Our solution to this problem was to film without music and then add the music back to the video scoring the music to the movement and exercise as best as can be done until the rep speed drastically slows down because of fatigue.You will notice how the music ebbs and flows with the intensity of the exercise and even the breaks between exercises have their own special music that is much calmer in nature.

After a slow decline over the last several films, Part 6 being the most offensive, New Line gets its ass in gear and the series moves into a better place!

The opening scene, in which the two friends share a Christmas Eve donut because they're too broke to afford one for each of them, unsentimentally suggests the high - wire act that making a living on the streets can be without the film ever slowing down its electronica - soundtracked strut.

And while the film is at times scarily atmospheric — a hunt in the cramped sewers under Baltimore, a horse chase through a foggy wood — it too often abandons the stony, old - timey horror that should be its main motif, because despite all the nonsense it works, in favor of slow - motion bullets and a super villain-esque masked crusader who is capable of impossible feats of speed and marksmanship.

The evocation of that old film noir feeling is hugely effective here: Dad telling his freshly - bribed son «You can't buy dignity,» the fantastic slow zoom on a love scene reflected in a two - way mirror, even the beguiling torch singer.

There's no denying that when George Clooney wants to be an «artist,» he's more than capable of making some lovely art films, and that's clearly the case here, but there's no valid reason why he should spend his money producing a painstakingly slow travelogue set in the Italian countryside like this and allow it to be disguised as some sort of «thriller.»

The problem with the early episodes — written and directed by Jim Mickle, who also made the film «Cold in July,» based on a Lansdale novel — has to do with a slow pace and a sameness that muffle the humor and menace we expect from smart noir.

Writer / director James Bridges made his name in the 1970s with such socially aware, character - driven films as The Paper Chase (1973), but his unassuming style and non-blockbuster mentality slowed his career in the 1980s.

Even a breaking glass is filmed in slow motion and accompanied by ominous soundtrack pounding — unless that thud is the movie hammering the same point home again and again.

The film does slow down a bit in the final act to give the big finale room to breathe, but that's hardly a bad thing.

And when the film slows down to take an emotional beat, those are perfectly handled too, with one scene in particular that should have the entire audience wiping away a tear.

Hostiles is grim and slow - burn to a fault in its deconstruction of the American West's violent legacy, but strong performances keep the film on track.

An intelligent and scary horror film that makes a more than welcome commentary on the horrors of war and gender oppression in Iran, using a lot of symbolism and keeping us in an increasing state of anxiety as it moves in a deliberate, slow - burning pace towards a terrifying climax.

The film is quite personal, despite its slow and insistent historical sweep, and it's co-written by Hansen - Love with her brother Sven, based on his experiences as a DJ in the French house scene.

It's adapted by Tracy Letts from his 1993 play (Friedkin also turned Letts's play Bug into a film in 2006), and its theatrical origins do become obvious in the way certain characters are left disconcertingly off screen; the movie is concluded with a long, slow and single - location sequence, which makes it looks oddly like a filmed stage play.

Admittedly, that's in keeping with the book's cavalier attitude to its supporting cast as the plot races to its end, slowing only for Harry's sake at key moments, but it's a shortcoming that the film could have corrected.

If you've caught any of the media blitz for the film you've seen the episode in which Ferrell's character swings at Galifianakis» and accidentally slugs a baby, but it's still funny to watch the characters» horrified reactions, smartly played in slow motion while we hear «My Country «Tis of Thee.»

When the freedom of the press is most directly addressed, largely in the climactic scenes, the film's rocketing momentum slows to a crawl and gives way to hoary declamation.

McKenzie has effectively drawn us in, although lack of narrative makes the film frustratingly slow in spots.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

The methodical film bogs down in too much extraneous detail in the first hour, rendering the slow and arduous nature of its journey a little too authentic for moviegoers eager for the caravan to pick up the pace.

In this slow endless film, Franco tries to highlight the melancholic life of American poet Hart Crane.

Along those lines, a slow - motion nightmare of war violence that plagues Georges in his sleep feels out of place compared to the understated calm that marks the rest of the film.

The dread in this slow simmer of a film comes not from a clearly definable sense of danger, but more from a sense of simply not knowing.

From there, he launched a steady film career that slowed down considerably in the late»50s, after he began appearing on television but did not end until 1994, when Brinegar made his final screen appearance, as a stagecoach driver, in the 1994 film version of Maverick.

These consistently unsubtle and occasionally slightly cloying sentimental atmospherics reflect an overambition, until laziness is reflected in atmospheric dry spells, which dull down momentum in a film that is slow enough without a certain chilling quietness that blandly meditates upon storytelling a little too much.

The film is, even by Schrader's standards, a bleak endeavor, concerned with the durability of spirituality, its susceptibility to corruption and radicalism, and its place in modern American life: with the slow decay of the planet, as well as with pain, penance, and the validity of suicide and murder.

There are quite a few moments when the film slows down in order to service characters that have yet to be developed, but those moments don't last long at all.

The breathtaking, richly eloquent, and visually - poetic film - deliberately filmed at a slow pace - about space travel and the discovery of extra-terrestrial intelligence (many years before Star Wars (1977), Close Encounters of the Third Kind (1977), and E.T.: The Extra-Terrestrial (1982)-RRB-, was based on the published 1951 short story The Sentinel, written in 1948 by English science fiction author Arthur C. Clarke.

Despite some genuinely hilarious sequences that, regrettably, are spaced too far apart, this meditation on the things that matter in life is too slow and at times too forced to deserve the high praise it has been getting (including an Oscar nomination for best foreign language film that should have gone to a number of other more worthwhile pictures).

The film has a tempo as slow as the seasons» turn, but there is something magnificent in its utter commitment and authenticity.

Now this film does start off very slow, but the film does now how to mix the Action and dialogue in really well.

I tend to agree here on the fact that «The Departed» has certainly is Scorsese's best film in over a decade, it works on multiple levels for not just fussy cinemagoers but general audiences as well, and unlike those aforementioned examples it never feels slow, self - important or clunky.