Sentences with phrase «time frame of the film»

This sense of dread stems partly from our assumption that something bad is always bound to happen in a Haneke film (Georges and Anne are favorite character names of his), but more because we know that sooner or later, whether it happens within the time frame of the film or not, there's only one way that a story of two very old people in poor health can end: these people are going to die.

The time frame of the film, 2008 to 2012, places it outside the specifics of the Affordable Care Act debate but very much within the framework of the crisis in healthcare.

And very early on we decided that even though the time frame of the film was about 25 years we didn't want Turner's character to have changes to his silhouette every five years, which would have been quite distracting.

Not exact matches

Another time sink Kowash helped alleviate was reading the size of the shockwave from frame to frame, something that could take days to complete manually for each film.

And whereas the sequence of events around the eruption in the film was accurate, Lopes says, the time frame was somewhat accelerated.

While filming the elusive Basilisk lizard, which can sprint on water for up to 100 feet in moments of danger, photographers ventured deep into the Brazilian rain forest with a super-slow-motion camera shooting at 2,000 frames per second, 80 times as rapid as a traditional camera.

The modulators can refresh their patterns at 240 hertz, or 240 times a second, so even at six patterns per frame, the system could play video at a rate of 40 hertz, which, while below the refresh rate common in today's TVs, is still higher than the 24 frames per second standard in film.

(Among the film's principals Wolverine alone suffers the torment of having his consciousness exist in two time frames at once, but the actor seems to be having fun).

The mood is also helped by an excellent score by David Holmes that taps into a 70's caper vibe while Soderbergh employs a whole host of stylistic, directorial flourishes; he cleverly plays with the time frame throughout the narrative with complex use of flashbacks and freeze frames and puts a fresh spin on film noir.

I watched this film because it came off a list of Universal International Pictures, I started watching in 1949 time frame.

After the painfully one - sided sexual adventure of the first film, in which she met Christian and was brutally exposed to his odd habits, and after Christian's even nastier control - freakishness in the ill - conceived «50 Shades Darker,» Ana is at last able to demand to hold the reins from time to time — a narrative turn that manages to frame their marriage as an empowering structure for women: now enclosed in the gilded cage of their union, Ana can pull on the rope that Christian had tied around her neck.

It's a long movie for its genre, but don't think for a second that it's going to drag; there's story and detail stuffed in every frame of this film, and it seems to run for half the time it actually does.

Who Framed Roger Rabbit is most definitely one of my favorite films of all time.

Said Lesher; «Scott Cooper is steeped in the time frame Hostiles portrays, and that gave him a thorough understanding of the complex characters Christian Bale, Wes Studi and Rosamund Pike play in the film.

Framing the film around the definition of «Altmanesque,» Altman goes through the filmmaker's work one at a time in chronological order, starting with his work on television up to his swan song A Prairie Home Companion.

Given the time frame — just a decade or two before Europe is engulfed in nearly a quarter century of turmoil — the film becomes an elegy of sorts: a secular memento mori, an after - the - fact portrait of loss and mortality.

By the end of the film, every frame becomes imbued with meaning, and you want to revisit it again as soon as possible to catch all the details that you might have overlooked the first time.

The actor swaggers through the film having the kind of fun no one else is having — us included — wringing out the soggy screenplay each time he enters the frame.

Ralph Fiennes adaptation of Coriolanus is another film that looks at the lust for power, within the frame of masculinity, and sets it in a recognizable time of war: this time a bit of an ambiguous Middle Eastern territory.

Like those other films, Gallery is divided into a series of segments highlighting different aspects of the institution: the tour guides explaining a work or an artist; the craftsmen and women building frames, gallery spaces, designing and testing lighting; restorers at work fixing paintings damaged by time; and administrators debating the best ways to persevere the museums brand and grow its audience.

While Hit & Run isn't going to be on any best of the year lists, it is a very good example of making a solid film in a tight time - frame (Shepard and Bell both had TV commitments they had to fit filming around), with a reasonably small budget.

Framing the film as a mystery whose answer lies scattered in time (and in character), filmmaker Derek Cianfrance constructs an elegant set of dualities: past and present, youth and adulthood, vitality and entropy.

Our educated guess (based on the evidence in the trailer), is that the aspect ratios work in a kind of reverse chronological order — the more black in the frame the older the time period, the less black, the more recent (which is basically similar to how aspect ratios progressed in film history anyhow).

With the arrival of Quentin Tarantino in the early 90's and his films «Reservoir Dogs» and «Pulp Fiction ``, it became cool again, to deliver films in different time frames and to manipulate the chronology of the narrative.

This time he alludes to the art - cinema context much more directly by opening with music from Francois Truffaut's Jules and Jim and evoking the form of that film with offscreen narration (delivered by Baumbach himself) recounting the story in past tense and with old - fashioned devices such as irises and wipes and French New Wave devices such as fantasy inserts, fleeting flashbacks, freeze - frames, and jump cuts.

Sticking with a tried - and - true formula of fast cars and scantily clad women, this sixth adventure fudges the series» time frame in order to bring back characters already killed off in previous films.

And until then, the film is so remarkable at synching its picturesque style to Moonee's seemingly limitless freedom that the one time they do fall out of sync feels jarring, almost offensive: In long shot, Moonee and her friends charge past a series of stores and toward the promise of ice cream, and even after the children have exited the frame, the camera lingers on the sight of an obese person on a scooter riding in the other direction, the sound of the scooter going over a speed bump nothing more than a punchline, an easy potshot, at the expense of a person who isn't even a bystander to Moonee's life.

Brian Cox stars as Churchill in the film, which examines a narrow frame of time in 1944 around D - Day and the decisions he was burdened with.

The film unfolds entirely within the frame lines of a teenage girl's laptop screen, its characters squeezed into the tiny boxes of a group video chat, its protagonist toggling frantically between various browsers as her evening web time becomes an online nightmare.

Favourite films of 2017, in no particular order Milla (Valérie Massadian, 2017) Ourobouros (Basma Alsharif, 2017) Cocote (Nelson Carlo De Los Santos Arias, 2017) Meteorlar (Gürcan Keltek, 2017) Good Luck (Ben Russell, 2017) Qing ting zhi yan (Dragonfly Eyes, Xu Bing, 2017) Mon Rot Fai (Railway Sleepers, Sompot Chidgasornpongse, 2017) Le fort des fous (Narimane Mari, 2017) 24 Frames (Abbas Kiarostami, 2017) Good Time (Ben and Joshua Safdie, 2017) Chauka Tell Us The Time (Behrouz Boochani, Arash Sarvestani, 2017)

The film utilizes Turing's 1951 police interrogation by a sympathetic and curious detective (Rory Kinnear) as a framing device for the three significant time periods of his life.

During the bizarre (and embarrassing) courtroom melodrama that serves as the film's framing story, her hockey star attorney Bill (Woody Harrelson) will object to an exhumation of her sexual history — but by the time people have finished standing up in the gallery in a show of Dead Poets Society moral support, it's evident that for director Niki Caro and screenwriter Michael Seitzman, that Josie's sexual history be clean as the driven snow means absolutely everything.

The film's framing device, in which Clooney's Frank (whose childhood was defined by time spent in Tomorrowland) and Casey jointly tell the story, is mildly humorous but also shows signs of trouble.

It also has a filmed origin story, which quickly separates itself from the time frame of the four previous movies.

No footage was screened but Lee said it is the first time ever that a film is being shot on Sony cameras in 3D at 120 frames per second and he believes the future of filmmaking is exciting and will provide audiences with a new type of cinematic experience.

With a new domestic total of $ 198.3 million, the film is still 12 % behind where Mockingjay — Part 1 stood at this time last year, but at least the final Hunger Games feature avoided the ignominy of falling to second in its sophomore frame.

It comes with two commentary tracks, one by Roger Ebert — who screened the film one frame at a time for his annual University of Colorado film class in Boulder — and one by the filmmakers.

If you can imagine this film being shot in the same split - time frame structure that «Pulp Fiction» had, then this would give you an idea of how Tarantino intended this to look.

This added to two earlier Robert Zemeckis films (Who Framed Roger Rabbit, Death Becomes Her) that had been among the few non-science fiction productions of their time to claim the statue.

This is the studio, after all, who willingly — or perhaps wilfully — continue to make their films through that most time - sensitive of processes, stop - motion animation, laboriously bringing their creations to life frame - by - frame.

Growing pains in the form of broken hearts and drunken benders take on added import when the state of the union is involved, of course, but Whitaker wisely takes the edge off by framing his film like a fairytale, complete with «Once upon a time» opening and wise - old - storyteller closing.

When's the last time one heard of framing an entire film around the scattered lyrics of a song?

McDonagh also used his stage time to frame the film within the current political climate: «Our film is a hopeful one in lots of ways, but it's also an angry one, and as we've seen this year, sometimes anger is the only way to get people to listen and to change,» He added, «What I'm most proud of, especially in this Time's Up year, is it is a film about a woman who refuses to take any more shit.&ratime to frame the film within the current political climate: «Our film is a hopeful one in lots of ways, but it's also an angry one, and as we've seen this year, sometimes anger is the only way to get people to listen and to change,» He added, «What I'm most proud of, especially in this Time's Up year, is it is a film about a woman who refuses to take any more shit.&raTime's Up year, is it is a film about a woman who refuses to take any more shit.»

There are in fact four time frames represented in the film, but like a pink cake box that falls open, perfectly flat, at the pull of a ribbon, it dispenses with the present - day shell quickly and efficiently and in maybe the least original way possible: with the opening and closing of a book, entitled «The Grand Budapest Hotel.»

StudioCanal and Aardman team with Nick Park and travel back to the dawn of time for stop - frame film Early Man

Lindsay and Lance were responsive and attentive in the midst of a very tough time frame and produced a beautiful film we can use for years.

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Time Frame takes its departure from Robert Smithson's sculptural refractions of the late 1960s, and the artist is represented in the exhibition by the 16 mm film Swamp (1971), made in collaboration with Nancy Holt, dealing with the limitations of perception.

This requires running the unexposed film through the camera multiple times, giving each frame the capacity to traverse time and location in ways that parallel the effects of Ballard's fiction and Smithson's earthwork and film.

Lined up on a wall, the Sunday Paintings have a cinematic quality: each panel looks like a frame in a film sequence — a moment in time stilled — as if each is a part of a larger ongoing whole.