Sentences with phrase «sound in films like»

Typically I tend to overlook the sound in films like these, but the sound design plays a pivotal role in the film.

Not exact matches

Controlling electronic devices using your brain may sound like something straight out of a sci - fi film, but it's all in a day's work for Toronto's «little piece of techno - Neverland.»

If the store sounds like a sports version of the record shop in High Fidelity (the hit film, based on a novel by Nick Hornby, about pop - music freaks congregating in a store called Championship Vinyl), well, Hornby is a Sportspages regular.

Every Saturday through the end of August, the Prudential is showing a family film in their courtyard garden at 6 pm — sounds like a great way to enjoy a summer evening.

Family Movie Night was pretty much exactly what it sounds like: we each took turns picking a film, and then the four of us hunkered down with pizza and popcorn in the basement and watched it together.

The Almeida will also today launch a new digital film project in partnership with the Guardian, named Figures of Speech, which will «interrogate the vitality of speech, rhetoric, and what visionary leadership sounds like».

It sounds like the stuff of a Harry Potter film, in which the wizard has his cracked spectacles fixed with a flash of light from a magic wand.

While the phenomenon sounds like the stuff of horror films, it is common practice for these «butterflies of the ocean,» a new University of Queensland - led study published today in PLOS One has found.

That said, «not minding» a film hardly sounds like enthusiastic praise, unless of course you're referring to it in the context of Shawn Levy's previous work.

That may not sound like much, but in a generally precise film such as this one, any more would be disastrous.

The film doesn't use sound anything like as effectively as Leone, but the fight scenes feel brutal and realistic, particularly in the final showdown (s) between Carver and Gideon.

[Blu - ray Review] Looking and sounding like a million bucks (or more) and full of exhaustive bonus content new and vintage, the Blu - ray release of «The Jungle Book» is a must - own for anyone who loves animation, the Walt Disney studio, or film in general.

Outside of major roles in early sound efforts like The Big Trail and Tom Sawyer (both 1930), he could be found playing menacing tribal chiefs and bandits in serials and B - pictures, and seedy, drunken «redskin» stereotypes (invariably named Injun Joe or Injun Charlie or some such) in big - budget films like John Ford's My Darling Clementine (1946).

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

It's arguable that because Shrek 2 has a more tongue - in - cheek, parodic sensibility, it can get away with such a heartwarming message purely by virtue of not looking or sounding like a Disney film.

That might sound like a film of contradictions — a message too lost in the majestic western landscapes.

You can see why this must have sounded like a sure thing in a Blumhouse pitch meeting, and for a while Jeff Wadlow's film really feels like one: the early rounds of the game are a frisky potpourri of self - mutilation, loud jump scares and ironic comeuppances.

If that sounds to you like the film with in a film from Inglorious Basterds, but American, you'd be correct.

The film chronicles the manner in which Hope and her family handle the nightmarish situation, often with what Saget described as «irreverence and dark humor» (At one point, Hope's brother Alan — a comedy writer — quips that scleroderma sounds like «a deli entrée»).

In that sentence the film sounds like it would have some potential.

It may sound obvious, but so many films like «Hunt for the Wilderpeople» try to play the emotion instead of grounding it in character.

I normally don't pay great attention to little details like that in films, but the sound of the guns among other things sounded so realistic, giving the film even more of an unexpected sense of realism.

Filmed in 2.35:1 Panavision and originally released in four - track magnetic stereo sound (a rarity in 1975, a period in which nearly all movies were mono), the movie was all but impossible to appreciate on television and even subsequent superior home video formats like laserdisc.

The unseen events bookending Easy Rawlins» (Denzel Washington) transition from disaffected war veteran to private investigator - namely his former criminal escapades with a trigger - happy associate in Texas (Don Cheadle) versus his further adventures as a fully - fledged gumshoe - unfortunately sound a lot more interesting than the story we are being told, making this feel like a sequel to, or a two - hour trailer for, an even better film.

... Okay, so it's kind of lame to forcibly cite this film as nerdy to the point of getting a star with a surname that sounds kind of like «Edison», but the filmmakers had to have some corny joke somewhere in the casting, for it's not like Edison has been earning enough attention from, well, anyone to get a gig even this low in profile.

Early in the film when John Malkovich's character makes a crack about a visual and visceral betrayal, it does sound like a deliberately self - aware moment.

As he does in every film, he stubbornly plays John Malkovich, sounding like a Brooklynite who has strayed off the tour bus.

It's a point of pride with any horror film, or any thriller verging on horror: Used correctly, a perfectly innocent song suddenly sounds like the scariest bleep in the world.

Directed by Catherine Hardwicke, the woman who scored with another film portrayal of troubled youth in Thirteen, the look and sounds of the 1970s are accurately recreated, even if some of the costumes look like they are more suited for Halloween than the actual mid-1970s.

His latest, Nocturnal Animals, sounds like a real trip, almost like two films in one that, according to critics, calls to mind the works of Douglas Sirk, Alfred Hitchcock, and Sam Peckinpah.

Sound was added during production, but the film's trance - like images could stand on their own as a visual poem in which the action seems to take place on the cusp of dreams and reality.

Noel: As much as it pains me to say it — in part because it sounds like sour grapes, and in part because it's almost too big a topic to tack onto this discussion — I think the rise of the OPs corresponds with the rapid decline of film criticism in the mainstream media.

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.

After Submarine made my Top 10 Films of 2011, hearing that the film's young star Craig Roberts was starring in another coming - of - age romance sounded like just what the doctor ordered.

That may sound extreme but somehow it comes across, selling you on all that transcends and making the film play like a look at a shared time in these individuals» lives, and not a conventional three - act Hollywood script.

Christian Slater really sounded like a hyper kid in the film.

Sounds like Ivan Reitman, Dan Aykroyd and everyone involved in Ghostbusters are putting the pieces together to do something truly big once the Feig film hits.

And while, on one hand, a Dukes of Hazzard film in the Peckinpah mold sounds totally ridiculous, it also sounds like the sort of ridiculous movie I'd watch without a second thought.

While it may sound like one of the platitudes that James Franco «s character is accused of delivering at one point, the title of Wim Wenders «new film «Every Thing Will Be Fine» contains a clue to its approach and it's in that space between «Every» and «Thing.»

Indexed by chapter headings separate from those found in the scene - selection sub-menus, Scott indelicately remembers, among other things, that David Bennent's vocals were re-dubbed by the New York - born Alice Playten because a studio stooge said he «sounds like a goddamn Nazi;» that a 10 - year - old doubled for peak - diving Cruise; and that the film's convincing fairy F / X were accomplished with fishing line and a light bulb.

The otherworldly quality to the mind - boggling visuals aside, Legend looks like a recent film — sounds it, too, in Dolby Digital and DTS 5.1 configurations that immerse you in bucolic exteriors and fire - and - brimstone interiors of constant ambience.

It sounds like a little thing, but it makes the film feel like it's made by an amateur — which Beatty is decidedly not — and doesn't seem to have a precedent in the older films it wants to emulate.

It doesn't sound like a great idea to Maddie, whose reaction — shocked horror — is the most genuine thing in the film.

While The Discovery plays in many ways like a more effective version of the concept - choked Brit Marling / Zal Batmanglij movies, the cult scenes feel underdeveloped next to their film The Sound of My Voice, an intriguing but ragged thread left dangling as The Discovery turns towards more concrete, backstory - driven explanations for its characters» obsessions.

It's a score that re-defines what a science - fiction film can sound like in a way that's reminiscent of Vangelis revolutionary electronic composition for Blade Runner.

As such, like another second - tier Marvel title before it, Guardians of the Galaxy, that allows for some deviation from the core Avengers films in terms of how things will look and sound, giving us a movie that feels organically different in visual design than most we've seen before, even if it still retains the same formula structure of the rest of the MCU features.

Contrary to popular belief, she made a successful transition to sound, displaying her fine singing voice in films like Tonight or Never (1931) and Music in the Air (1934).

Improvising to Jim Jarmusch's film in real time, Neil Young created a rich parallel environment that sounds like a force of nature.

While it may sound like a late April Fool's joke, it seems that the news of Will Ferrell and Kristen Wiig starring together in a Lifetime film is really happening, according to The Hollywood Reporter.

This may sound like a rueful, rambling ride in a dark tunnel of love, but the film never wallows in woe.