Sentences with phrase «visual end of the movie»

Well, there's no official word about anything on the visual end of the movie, and before you say ZOMG SINGLE TRACKING SHOT MOVIE cool your jets, because — again, if this is accurate, and that's a big maybe — it's at best constructed to look that way, like Alfred Hitchcock did with the careful edits in the aforementioned «Rope.»

Not exact matches

i do nt have words to explain how good the visual quality of the game is, i mean from the moment game starts everything seem real and as if ur are playin a movie... gameplay mechanics are tigher and interchange b / w first person and third person is smooth... also the drebin points improves longevity of the game... but all i can say about the game is from the moment its starts and ends... u on every occasion u praises KOJIMA for his fantastic work..

i do nt have words to explain how good the visual quality of the game is, i mean from the moment game starts everything seem real and as if ur are playin a movie... gameplay mechanics are tigher and interchange b / w first person and third person is smooth... also the drebin points improves longevity of the game... but all i can say about the game is from the moment its starts and ends... u on

An actual chase sequence involving Jack trying to avoid an assassin trying to clean up loose ends from earlier seems so out of place midway through the movie amidst all the scenic travelogue visuals and minimalist conversations.

It's ultimately clear, however, that Fear and Desire simply isn't able to justify its feature - length running time (ie the whole thing feels padded - out even at 61 minutes), with the movie's less - than - consistent vibe paving the way for a second half that could hardly be less interesting or anti-climactic - which does, in the end, confirm the film's place as a fairly ineffective first effort that does, at least, highlight the eye - catching visual sensibilities of its preternaturally - talented director.

The aforementioned coherent scenes are exciting to watch — there's an entertaining segment early on where a seemingly blown - apart robot uses its various limbs to separately fight a band of enemies — but by the end of the movie, we're treated to yet another assaultive Michael Bay finale, where everything is fighting everything else as visual reality collapses and the soundtrack (by Steve Jablonsky, «Deepwater Horizon») just booms and booms and booms.

Leaving the 3D aside, which in my opinion can piss right off, there is a real interesting visual look to the movie; especially towards the end of the trailer.

The movie that ended up in theaters is drastically different from the one that executive producer and visual effects supervisor John Knoll originally pitched, and it even has significant changes that were made from the first draft of the script by Gary Whitta.

Nonso Anozie talks about the visual effects of «Ender's Game» and how much fun it was to shoot the movie.

Perhaps my biggest gripe is that the makers of this movie, probably knowing that their creativity ends with the visual elements, throw plot developments one after the other.

A disclaimer at the end of the movie reassures viewers that no worms were harmed during the making of this production, however the visuals are realistic enough to make at least some audience members feel a little queasy.

Sure, other MCU films have taken advantage of changes in setting to spice up the visual side of things (to a point), but at the end of the day, there's still white people at the forefront of these movies and white culture is the dominant motif everywhere you look.

The movie ends, over two hours later, with almost the same exact sequence of shots, in a visual coda redolent of futility.

Mike Nichols once said he liked to articulate a movie's theme in its opening moment (first line of The Graduate: «Ladies and gentlemen, we're about to begin our descent into Los Angeles»), and Baker finds a visual way to do it at the end instead: He gives us a snapshot of what it's like to live in physical proximity to the American dream and yet light - years from it.

What really made the movie super creepy beyond the visuals was the soundtrack that easily made your skin crawl and the hairs on the back of your neck stand on end.

Kids are visual learners; if Mom has the remote and they're stuck watching an adaptation of Pride and Prejudice, they'll at least, by the end of the movie, be able to describe the high waistlines, wide - brimmed bonnets, and pastel parasols of the period.