Sentences with phrase «very opening of the films»

«Full of charm and wit, with a little mystery thrown in for good measure, APPLESAUCE is a rare and very original take on the relationship drama and mystery genres, excelling quite well in both... It's a film that keeps its viewer wondering what will happen next, from the very opening of the film, to the moment the credits roll, and is by far Tukel's best work yet.»

Not exact matches

Soderbergh was very open about feeling that he had lost the plot with those films, but they're still highly fascinating documents of a frustrating moment in global politics, featuring a stellar performance by Benicio Del Toro.

Dinish is well at home with the GOP crowd «For there is no faithfulness in their mouth; their inward part is very wickedness; their throat is an open sepulchre» (ps.5: 9), but God is «not a God that hath pleasure in wickedness» (ps.5: 5) and so although Dinish and by extension the GOP don't care who they hurt with their lies and behind the scenes dirty tactics like that silly film, they are cautioned not to include the name of God in their wickedness.

For a very eye - opening look at the concerns of GMOs in our food supply, I recommend the book Seeds of Deception or the film Genetic Roulette.

There are a number of great set pieces littered throughout the film, each one very different than the next, although the opening attack on Philadelphia is probably the most exciting.

Whilst filming their latest horror masterpiece, a group of young filmmakers unwittingly open a portal to an alternative dimension that happens to be occupied by hordes of angry, and very hungry, zombies

«The film is very much about family, specifically the importance of remembering family and passing along stories to future generations so that people aren't forgotten and lost to time,» director Lee Unkrich told Vanity Fair at the Morelia International Film Festival in Mexico on Friday evening, where the picture opened the event with its world premiere.

The very opening shot of Garland's film makes clear that the phenomenon of Area X is extraterrestrial in origin.

Dano does very layered work as Hank who, throughout the film, gets peeled back more and more revealing someone who is just so full of hurt and loneliness but through Manny has maybe opened up to happiness in a way that he's never truly known.

From the very outset Resnais sets up the theatrical artifice of the film with opening scenes of repetition and staged production design.

The opening credits sequence is a clever and hilarious parody of a very popular film franchise that has been around for over 50 years.

Moreover, in what's arguably a more brazen case of cinematic larceny, director Daniel Espinosa, best - known for the 2012 thriller Safe House, swipes his anti-gravity stylistics from Alfonso Cuarón, opening the film with a single, very long, VFX - heavy take that sends the camera around in gentle swoops from character to floating character as the space station itself tumbles slowly around its axis.

On a deeper level, though, this brief opening battle establishes the central theme of Lincoln, and it's a theme that lies very much at the heart of Spielberg's cinema: if Lincoln is intended to be a biopic about arguably the most revered commander - in - chief in the history of the Republic, it also positions itself with its opening images as a film about race.

A cringe-fest of microaggressions and eerie entrances, the film also boasts a very funny supporting performance from Thou Wast Mild and Lovely director Josephine Decker as a blithely condescending, self - styled patron of the arts who only opens her mouth to switch feet.

From the washed - out greys and blues of its visual palette in the very opening moments, and with nary a colour traditionally linked to passion present during its entire runtime, United States of Love might seem like a deliberately ironic English title for Polish director Tomas Wasilewski's latest film.

That she's played as thoughtfully and open - heartedly as she is by an Oscar - winning Alicia Vikander makes the film more moving than it might have been otherwise, but it remains a thoroughly cautious study of a very brave act.

It's clear that Masters of the Universe is a derivative film, from the very Superman - like opening credits and theme song, to the Star Wars type confrontations, and some even cite Jack Kirby's «New Gods» comic books as a primary source, although my belief is that the film's creators merely ripped - off other sources that were influenced Kirby's creations rather than a direct lifting of characters and themes.

Like some film got an amazing opening weekend as big as 100 Millions but then the next week it dropped to 35 millions, which is 65 % dropped rate... that kind of drop rate is very rare in the Hollywood films industry.

It was the very first film of Venice, and the festival seemed to open on such a high that the worry was that everything else over the next ten days would end up paling in comparison.

Focused only slightly differently is «San Andreas: The Real Fault Line» (6 mins., HD), which spends its opening moments very superficially discussing the real threat of earthquakes in California before delving into the production tricks behind the film's earth - shaking scenes, like a restaurant set designed so that everything visible in the frame is shaking except the floor itself, since it was being prowled by a Steadicam operator.

If it's true that Atkinson was recently motivated by the stateside failure of this very film to check himself into an Arizona rehab centre for depressed celebrities (and frankly, don't blame audiences — distributor Universal didn't exactly tax themselves advertising Johnny English to domestic moviegoers), I hope his caretakers remind him in haste that none of Monty Python's features grossed an enviable sum abroad, that the James Bond franchise has already satirized itself into the ground (it's no casual point that Johnny English was co-scripted by the same writing team behind The World Is Not Enough and Die Another Day), and that his first problem is trying to please a country that opens rehab centres for depressed celebrities.

We are dropped into the heart of the action and visual splendour that one expects in the film from the very opening scene, set in (an unbelievably pristine) Ancient Egypt.

From literally the very first second of the film where Will Arnett's gravelly voiced title character provides a hilarious narrative guide to the opening credits, there's silliness to spare, and much of it is based on Batman's self - absorbed tough - guy persona.

From the very beginning of the film Fincher sets the tone with a brilliant opening titles sequence that projects dark and twisted techno - punk imagery to an adrenaline fueled cover of Led Zeppelin's «Immigrant Song» produced by Trent Reznor and Atticus Ross with vocals from Karen O from the band the Yeah Yeah Yeah's.

We're very excited to announce that, starting from the beginning of June, we're reopening the Short Films Showcase section of our website to open our doors for aspiring filmmakers to submit their short films for review and analysis.

Hill and Tatum are very funny together (e.g., the opening scene, in which Schmidt disguises himself as a Hispanic gang member and Jenko tries and fails to play along) and funny enough on their own (e.g., Schmidt's take on slam poetry and Jenko's delayed, childlike reaction to discovering the identity of his partner's romantic interest), which is vital because the film's questioning of itself extends to the relationship between these characters.

Set entirely during the course of one eventful day, the film opens with a very artificial - looking CGI deer invading the home of Lenny Feder (Sandler) and urinating all over him and his kids.

But while the title and film's opening setup may lead you to believe you're going down the road of typical alien - invasion sci - fi, the romantic comedy journey that the film takes instead makes for a very enjoyable alternate route.

The very first aerial shot of the film suggests this is an open - matte presentation, as fast - moving helicopter blades find their way into the top of the frame.

The performances of the young cast are very natural, and Sloma is perhaps the standout: she is given the opening and closing sequences as well as at least her share of the interwoven narrative, but the film couldn't work without her confident portrayal of a young woman on the verge of maturity.

The opening sequences of the film are the most troubling, where there are very grainy shots particularly involving the sky.

This film opens very self - consciously: we are watching the projection of the latest silent film starring George Valentin, played eloquently by Jean Dujardin.

There's also an alternate opening scene, a costume - test montage, and one very short special feature on the use of animals in the film that's only notable for Kenneth Branagh's apparent diplomacy regarding furry creatures.

In an interesting bit of scheduling, the film opened across from another wedding - themed comedy, the very white Something Borrowed.

The film opens strong as two bloodied passengers rush to a desolate gas station to clean up and take stock of their situation — a situation we're given very few clues about.

When a film begins with shots on the yellow lines of a dark road very similar to the iconic opening sequence from David Lynch's Lost Highway, one better start bracing for impact.

Deraspe opens her film in a very unique manner for a documentary, recreating the imaginary affair between Amina and Sandra in hypersexualized images of women undressing under explicit texts between the pair.

The film opens in an unexpected and very graceful way with a montage of faces of the audience members as we listen to the musical overture.

It's not always successful, the film can topple onto the wrong side of silly at times, but after a very shaky opening 15 minutes I warmed to it and tapped into the unusual tone and bafflingly peculiar goings on.

In the opening shot of Skyfall, Roger Deakins» (The Assassination of Jesse James by the Coward Robert Ford, Shawshank Redemption) cinematography has established a very distinct visual language that doesn't exist in Bond films prior.

I am not sure how a film of this kind may be viewed by the public though, as you need to be very open - minded for that, but....

Just two months ago, we didn't know of its existence, and now, following a very solid opening Stateside, the film arrives on U.K. shores.

The differences between that film and this reinvention are obvious from the very start; rather than the original's scene - setting opening where Yul Brinner and Steve McQueen stand up for the rights of a deceased and unknown native American, instead we have a pantomime villain doling out ugly violence and not only that, the only native American onscreen murders a fleeing innocent woman in cold blood.

The film's tone is open and emotive from the very start, with warmly glowing cinematography, a surging musical score and lots of over-serious conversations.

That's evident from the very opening scene, in which the film's big bad is revealed to be a squawking New York foreman whose clean - up crew is cheated out of a chance to clean up the mess that Loki left behind in Manhattan.

Something about this film feels very clunky, as it moves into its second half it drops much of the sexual nature of its interesting but flawed opening and focuses instead on the actual nature of this heist, using a non-linear sequence that, whilst amusing enough, tends to sap almost all of the tension by virtue of its retrospective nature.

The film opens quickly — Bruce Willis and Mary - Louise Parker going shopping seems to be very fast, but turns out to be one of the slowest sections of the movie — and never stops.

Besides the obligatory exciting bits of score provided by Jon Brion, the film has a likably eclectic taste for pop tunes, opening with Wyclef Jean and proceeding to make very appropriate use of everyone from Phil Collins and Little River Band to Donovan and TLC.

The opening scene that depicts the building's imminent collapse is tense and superbly sets the film's tone; clinically stark, devoid of warmth or any musical score and working within a very drained palette - a style that appears to be straight out of the Michael Haneke handbook (Amour, Funny Games).

Tatum even talked about the project yesterday, saying that it's still very much in the cards and that the success of distinct and unique movies like Deadpool and Logan, which both opened while Gambit was in limbo, has changed their approach to the film.