The best sources
of tension in the film come from an early sequence in which Leonetti masterfully presents the neighbors» murder with a voyeur's view of the grisly scene through Mia's and John's bedroom window and later when Mia rushes for safety up a stairway.
The comic and romantic
tension in the film comes from the push - and - pull between their divergent temperaments, not to mention the generation gap that yawns beneath their feet.
Compounded with the question of Boyd's testimony, the search for JT builds a
palpable tension in the film that has the potential to be broken at any moment, should Boyd, Owen or Bill tell the truth about their involvement in the tragedies.
The
central tension in the film relies on a constant ambiguity about whether Dominika is a double agent or a triple agent and exactly whose side she's on.
What's more, there's always a two -
directional tension in this film, as we see a number of people simultaneously finding the acceptance of some family members and at the rejection others.
The events, evoked through news coverage, play out with
little tension in a film whose chief concern is to laud a man already held in high esteem.
His trademark slow - burn menace is nowhere to be found and his low - key comedy, which he used to
punctuate tension in films like The House of the Devil and The Innkeepers, has undergone a transformation.
There is only one scene of
real tension in the film, and that is when a wall of the hall where the hostages are in is hammered to make a large hole, and the Israelis are told to walk through it.
The
dramatic tension in the film is provided by Simmons» performance, which does the tricky job of suggesting a nurturing artistic impulse as credible impetus for Fletcher's near - sociopathic behavior in the rehearsal room.
Best of all, though, the level
of tension in the film is palpable because we ca n`t figure out how Arnold is going to terminate the Terminator.
Dad's suspected infidelity is
the tension in a film that hammers its nineties setting so relentlessly it could be called Sex, Lies and Videotape (and Floppy Disks and Payphones).
Much of
the tension in the film revolves around us wanting him to be our cynical hero — to be even more Stanley.
I think in a way that's
the tension in the film, because it is a genre film on some level and yet it's told in a naturalistic fashion.
And I think in a way that's
the tension in the film, because it is a genre film on some level and yet it's told in a naturalistic fashion.
If all it takes is knowing what happens in the story to kill
the tension in a film then no film adapted from written works would have any tension for the people who have read it.
You can feel
the tension in this film, as both sides have a huge lack of trust for one another.
The tension in this film begins with the very beginning and keeps it all the way to the end.
But Clooney realized in the editing room that even though Brolin's scenes were «the funniest in the movie», they «let the air out of the balloon, in terms of
tension in the film».
There's also a level of
tension in the film's tightrope - walking sense of humor, which isn't afraid to openly discuss ideas about gender discrimination, cultural double standards (beyond the fraternity - sorority divide), and the actual definition of sexism vs. the practical one (Lisa Kudrow appears as the college dean who's afraid of being labeled as prejudiced, while also dismantling the absurdity of the concept of «reverse sexism»).
The acting is superb, the camera work is top notch and the lack of soundtrack compliments
the tension in the film superbly.
He said that it was the light in the painting and the grandeur and
tension in the film that influenced his later work.