Sentences with phrase «taking direct shots»

Now, LexisNexis is apparently running scared and taking direct shots at Casemaker, Fastcase, and Google Scholar.

In the era of Woodstock and Port Huron, Haggard was viewed as a kind of counter to Joan Baez, a poet laureate of Richard Nixon's «silent majority» who took a direct shot at the 1960s hippie scene and student protests in his most famous song, «Okie from Muskogee.»

By targeting «generation rent» and portraying UKIP as «more Thatcherite than Lady Thatcher herself», he is taking a direct shot at UKIP's vulnerabilities.

The McMillan announcement — which did not include a music video, like many of his past runs for office — took direct shots at Gov. Andrew Cuomo, who is seeking his second term in office.

Instead, Astorino, the Republican county executive of Westchester took a direct shot at the Legislature, releasing a 10 - point ethics reform package that called for everything from term limits and a less generous state pension system for state lawmakers to an overhaul of the state's Byzantine campaign finance laws.

Nixon also says she heard a need for help with immigrant rights and affordable housing, and took a direct shot at Cuomo's economic development strategy, which she called top down economic development.

Cannes Film Festival director Thierry Fremaux has taken a direct shot at one of the staples of modern celebrity culture, banning selfies on the red carpet of this year's event.

Few automakers have taken a direct shot at Toyota's green icon, the Prius hybrid.

Mercedes - Benz is taking a direct shot at the Porsche 911 and Jaguar F - type with its latest sports car, the Mercedes - AMG GT.

To counter those advances, Chevy has taken a direct shot at the F - 150's aluminum bed, claiming it's more easily prone to damage than the Silverado's steel bed.

Not exact matches

«Edmonton needs a mayor with experience, one who doesn't reduce significant issues to one - liners,» she told reporters, taking an obvious direct shot at Councillor Kerry Diotte.

Trump's comments took aim at a private business, dictating what should be done with the employees of the company, and was a direct shot to owners of the league who donated millions to help get Trump elected.

We need to be more direct but the problem is we play with too many playmakers at the same time and with too few players that can make a run or take a shot.

As expected for a big game, the fans were in a fine form as well and directed a brutal chant taking shots at Chelsea owner Roman Abramovich before kick - off.

But instead of a direct shot down Route 20 or the Thruway, these transports are taking a circuitous route because of the size of the parts.

He called the shooting death of the cops the «direct spinoff» of anti-police-brutality protests that the sympathetic mayor had allowed to take over city streets, blamed marijuana — which, thanks to the mayor, you can now carry a larger quantity of without getting locked up — for a spike in murders, has proudly declared stop - and - frisk isn't going away, and has repeatedly broken with the mayor on the subject of how many more cops the city needs (the mayor has said none, the police commissioner now says at least 1,000).

But at the same time, Faso took a more direct shot Gov. Andrew Cuomo and Senate Minority Leader Chuck Schumer, two of the state's most prominent Democrats who have vocally opposed the measure and pushed Republicans in marginal House seats like Faso's to vote against it.

Inside the app is an algorithm that directs the user where to position the camera allowing them to take the best shot possible.

So DRESS ME brought together an awesomely creative team, directing and styling while THE SWANK provided a new wonderful wardrobe teaming with hot garments to be shot by Fact Photography, taking Jessica through the transformation of mainstream to model.

It opens with a succession of direct - address shots, uses the same approach to incorporate meta indictments of culture (the viewer takes the POV of a box - office attendant when a group of black filmgoers complain that the new Madea is the best they're offered), and Lee's name is dropped at least twice.

An impressive achievement considering it was Lumet's first film, extremely well - written and superbly directed, with many elegant shots, fluid camera movements and a gripping plot that takes place entirely inside a room and is sustained only by a tense, smart dialogue.

Shot last year, the film (a USA / France / Czech Republic co-production) is directed by Ian Edelman (HBO's «How to Make It in America»), with a story that follows 2 detectives working in NYPD's Luxury Goods Recovery Unit, who are responsible for taking down bootleggers selling knockoff consumer items.

Academy Award - winning director will officially take over directing duties for the remainder of the film's shooting schedule — there's nearly a month of principal photography to go in addition to five weeks of pre-scheduled reshoots.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Problems ensue after the script, pilfered from David's neighbor Toni (Parker), takes on a life of its own and receives the go - ahead to start shooting, leaving David with no choice but to direct the movie himself (albeit with a substantial amount of help from Toni).

And the more I talked about that, the more I felt like I have this movie more or less in my head and I know how I would shoot these scenes and how the camera should move or if I were to direct it this is what I would do... Saying that enough times sort of gave me the confidence where I felt like maybe, just maybe, given the right chance, I could take a crack at it.»

Watching Lou Bloom get the perfect shot on his handheld camera using knowledge of what works almost serves as a meta - ish take on directing, since we are watching first time director Dan Gilroy use much of what Bloom is harping on here.

Shot in a single, unedited take, the film directed by Sebastian Schipper premiered at the Berlin Film Festival, where it won a Silver Bear for Outstanding Artistic Contribution for cinematographer Sturla Brandth Grovlen.

Q: When directing, do you take the approach of Hitchcock and storyboard every angle, or do you like to get to the set and let the shots come organically?

This collection of production - diary - style footage finds Brian De Palma on the set of his 2002 film Femme Fatale directing the shoot, a process that — as seen in these specific clips — includes rehearsals with actors Rebecca Romijn and Antonio Banderas, working through movement / blocking and fight choreography, and the management of the movie's bravura opening setpiece that takes place at the 2001 Cannes Film Festival.

The directing duo also knows when to accelerate the action romp with a well - shot car chase on the empty streets and a one - take where the camera pans and swirls around the movie's MacGuffin.

Ponsoldt (who also directed the fantastic — and equally candid — Smashed) shoots their exchanges with long takes, letting long walks by lakes unfold with an unrehearsed air — but still finds time to blindside your expectations.

And Ron Howard took over directing duties after The LEGO Movie filmmakers Chris Miller and Phil Lord were fired midway through the shoot amid creative disputes with Lucasfilm.

Nonetheless, it's Eastwood's 36th time directing a feature, and he took a shoot at changing - up the re-telling of this American heroes story by starring the real guys who were involved in foiling the 2015 terrorist attack on the Thalys train much to the disappointment of critics.

Worth checking out if your a big fan of Paul's work or curious to see brother Whedon take a shot (and score) with directing.

The low - budget indie drama Starlet, beautifully shot by Radium Cheung, sensitively directed and edited by Sean Baker (the documentaries Prince of Broadway and Take Out), and performed with sparkling confusion by Dree Hemingway and genuine warmth by Besedka Johnson, follows...

The Revenant, written and directed by Alejandro Gonzalez Inarritu, is currently filming and is reportedly the cause of Hardy's scheduling conflict, as the film's shoot took longer than expected.

Based on the award - winning Margaret Atwood novel, the series is written and produced by Sarah Polley (Looking for Alaska, Take this Waltz, Away from Her) and directed by Mary Harron (American Psycho, I Shot Andy Warhol).

Reed Morano, a successful cinematographer, takes her first shot at directing with Meadowland.

Alias Grace is written and produced by Sarah Polley (Looking for Alaska, Take this Waltz, Away from Her) and directed by Mary Harron (American Psycho, I Shot Andy Warhol).

The story of Riggan Thomson's (Michael Keaton) effort to be taken seriously as an actor / director / playwright after having starred in three superhero movies twenty years ago — Birdman is directed as a continuous shot (which is difficult because the film takes place over a considerably longer period that its two - hour running time).

The low - budget indie drama Starlet, beautifully shot by Radium Cheung, sensitively directed and edited by Sean Baker (the documentaries Prince of Broadway and Take Out), and performed with sparkling confusion by Dree Hemingway and genuine warmth by Besedka Johnson, follows a friendship that develops between two women, one younger, one older.

First up is a shot of Spielberg on set directing Ben Mendelsohn as Nolan Sorrento, the vicious, power - grabbing corporate villain who wants to take control of the Oasis.

He shot the art - heist thriller Trance in late 2011, took a break to direct the London Olympics opening ceremony in 2012, and is now back at work putting the finishing touches on Trance.

But before both of these, Pearce had readied a script for «The Runaways,» a Marvel movie that was gearing up to shoot last year with Peter Sollet («Raising Victor Vargas,» «Nick and Nora's Infinite Playlist») directing before being taken off the slate in the fall.

Andrew Garfield took a break from shooting the film for Christmas, but here he can be clearly seen kissing Emma Stone, who plays Gwen Stacy in the film, which is being directed (in 3D no less) by Marc Webb (500 DAYS OF SUMMER).

In an equally somber film filled with melodramatics, Peter Landesman, directing the film with an adaptation of Vincent Bugliosi's book «Four Days in November,» the screen is taken up largely at Parkland hospital where almost ironically both Kennedy and his assailant Lee Harvey Oswald, were taken — the latter after being shot by Jack Ruby, whose name does not come up at all in the movie.

«Lost in London» Woody Harrelson stars in and also wrote and directed this film, which was shot and broadcast live in theaters in real - time all in one take.

Esmail directs every episode, and his love of long one - take shots could be considered ostentatious were it not so affecting.

Joseph Kosinski, who previously directed sci - fi action - adventure films Tron: Legacy and Oblivion, has an eye for stunning imagery and takes care with the way he frames his shots.