Sentences with phrase «very opening scene»

From the very opening scene, the NP10 emitted a relatively potent jolt of power, and a virtual backdrop that occasionally curled around the space behind the speaker in a seemingly tangible semicircle.

From the very opening scene, in which Drake is climbing a train hanging off a snowy cliff — which then intercuts in a non-linear fashion back in time; something relatively daring 2009 — Among Thieves is an artistic success.

His nervous, fidgety performance feels so unique and lived in from the very opening scene.

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.

In the very opening scene of the latter, male protagonist Mario (Enric Majó) expresses his affection for Barcelona and compares it to a living organism that breathes «just like you and I.» 5 This declaration of love echoes Pons» own tribute to his city: «Yo estoy agradecido a la ciudad en la cual me muevo y que es muy bonita.

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.

Not exact matches

Pursuing poetry on the side, he became very active in the New York open poetry scene, and met Dina Friedman at an open reading in Greenwich Village.

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.

It also seemed very dated - the opening scenes with women with the bejesus drugged out of them.

With a presentation, it's very chaotic behind the scenes and then when the curtains open everyone has to be very polished — it's kind of the same but in the end it's different.

There's a scene toward the end of the movie that really resonated with me and it's when Maya tells Miles, who has been saving a very special bottle of wine for a very special occasion, «You know, the day you open a ’61 Cheval Blanc... that's the special occasion.»

The issues can even be seen in the opening scene where the voices are very bad, the character animations are amature and the scene lags.

The Hangover does have some very raunchy scenes, and a lot of the funny scenes are unveiled in the trailers, but anyone with an open mind who wants some good laughs will find them here.

The inbred lowlifes in this B - movie black comedy are members of the Smith family, a clan of troglodytes in a seedy Texas trailer park replete with vicious barking dogs on chains, who swing into ruthless high gear from the very first scene, when penny - ante drug dealer Chris Smith (a game turn by Emile Hirsch, who has grown from the appealing, open - faced kid in The Emperor's Club into a scabby, hirsute roughneck) arrives in a torrential rainstorm and is greeted at the screen door by his father's new wife Sharla with a female full - frontal.

The guys are staying at the modest Buck Wild Ranch, whose owner Clyde (Joe Stevens) has gotten very sick after the opening scene, in which he offs his slutty daughter's boyfriend with a thrown wrench for screwing on his tulips.

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

A wry opening, with protagonist John Marston seated between fellow passengers of a very different social class, sets the scene nicely, with just a passing glimpse at what lies ahead as the train ride reaches its natural conclusion.

He's one of Coogler's kids from the Oakland basketball court in those opening scenes, lashing out at the very fantasy this comic book movie represents.

From the opening sequence — a clogged freeway overpass filled with singers and dancers lamenting a traffic jam — where Sebastian and Emma's first (very) brief encounter is entirely negative; to the final scenes (in which our expectations are heightened and then thwarted), this is a unique film experience.

The opening scene of Showtime's Billions was unexpected, to say the very least.

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.

After that, only time will tell, though LaBeouf's character leaves an even wider door open for further options down the road, which the filmmakers acknowledge with a very telling final scene showing that he is primed to wear the fedora, but not just yet.

We were shooting a scene in the wine cellar together very late at night, and at around 2 a.m., for some inexplicable reason, the door to the cellar locked and we couldn't open it or continue doing the scene.

A lifeless cast of lead characters did very little to alleviate the turgid, convoluted plot which only became relevant (and intriguing) in the opening and closing scenes of the game.

At the same time, Rivers» second solo feature is the closest to «conventional» that his work as ever come — the term being used very loosely here, given that The Sky Trembles opens as a somewhat absurd behind - the - scenes documentary before following Spanish filmmaker Oliver Laxe off into the unknown.

We went through the scenes, blew them wide open so they felt very naturalistic, and we got a lot of laughs.

I'd be lying if I said I understood Mutant Mudds» plot from its opening cut scene, which, as far I can tell, is just a very brief, random slideshow of pixelated images.

Apart from the opening scene, which incorporates special effects to help create a massive dry dock that serves as a prison (the prisoners hauling a ship into it with lines as thick as tree trunks), and a few brief establishing shots, which include dramatic rises and falls of the camera through space and time as each new stage of the story begins, Les Misérables keeps us in close — sometimes very close — proximity to the actors.

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.

«Even though they have an open world they are able to render very rich scenes with many objects.

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.

Taking the classic Shakespeare play and setting it in modern times does make for some very awkward moments, especially during the artificial opening scenes depicting the confrontation between the Montague and Capulet boys.

The surround sound effects are very good here, and this is made apparent from an explosion in the opening scene.

I remember there was this one scene where we were preparing for the opening night, and my character's very silent, and he's like, I'm not doing this stuff, like trying to get everything organized.

After opening with one of the most terrifying flying scenes I've witnessed, in which an airplane is saved by being flown upside - down, Robert Zemeckis» «Flight» segues into a brave and tortured performance by Denzel Washington — one of his very best.

The opening scene, where Landa interrogates a French family hiding Jewish refugees, shows that Landa is just too damn good at what he does to let anyone slip by him (and, later on, that turns out to be very true for some chatacters).

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 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).

Outside of the first sequence (an alternate opening in which Spencer dreams of meeting an attractive older girl), the deletions are very brief moments that would merely have extended existing scenes or montages.

Quite a twisted little set - up, and from the opening sequence, director Juan Carlos Fresnadillo (Intacto, 28 Weeks Later...) peppers the film with some very tense and scary scenes.

The film begins with a suspiciously insouciant opening scene in which Rich and his wife, Andrea (a very limited Catherine Keener) are headed to the airport for his upcoming assignment off the coast of Africa.

Rogue One opens with brilliant engineer Galen Erso (Mads Mikkelsen) being kidnapped from his pastoral retreat by sneery Director Krennic (Ben Mendelsohn, very good in his first scenes, less so later on in a particularly sheety cloak), taken to help create the Death Star, so seeming to turn to the dark side.

The film is well acted, has a very creative opening credit scene and the closing song by The Kingston Trio make the ending credits a must see.

Film Review by Kam Williams Headline: Blacks Serve as Brunt of the Jokes in Insensitive Buddy Comedy In the opening scene of Grown Ups, a black kid (Jameel McGill) who has very obviously double - dribbled during a basketball game unreasonably calls the referee a racist for blowing the whistle on him.

With an almost Kubrickian opening credit sequence, it then cuts to a very realistically shot, written and acted scene.

The opening scenes are straight - out of «Raiders of the Lost Ark» and «The Mummy», as an archaeologist and his son, in 1938 Egypt, discover an ancient tomb and very special tablet.

The game looks like it's very adult - oriented, opening with an interesting scene of Snake rubbing the ashes of someone on his face, as well as multiple scenes of him bloody and battered.

Twilight Princess opens up very familiar to what we have scene in Ocarina of Time, where you are instantly introduced to Link's town and a new problem that awaits them.

The Oscar winning screenplay is character rich, although many of the best insights are ad - libbed by actual veterans in a very poignant opening scene.

Danny Boyle's «28 Days Later...» rewrote the rules of zombie movies forevermore (witness the souped up remake of «Dawn of the Dead» that appeared a year later), and includes the boldest opening scene an unknown actor has performed in recent memory: naked — and, if you must know, completely flaccid, and very hairy — in a hospital bed.