Sentences with phrase «visual pacing of the film»

But he never gets overenthusiastic for big events; even with 2001's always magnificent sometimes dramatic choice of music, the visual pacing of the film never changes.

Not exact matches

After that hour, though, the scheme goes into action, and with Zemeckis» consummate control of tone and pacing and visual effects, the film, especially once Philippe prepares to take his first steps across and over the void, becomes something altogether astonishing.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

Here he was one of the reasons the film somewhat came alive with an energetic pace, well executed scare scenes and polished visuals.

These golden nuggets of cinematic genius are peppered throughout the films conservative eighty - four minute narrative, each presenting a different overall feel and visual tone to each scene, and it is this impressive variety along with the films pace and subtle humour that is key to its success.

OUR TAKE: This Latin - themed animated film is a welcome change of pace in visual design and aesthetic.

Director Judd Apatow is no stylist, and the film suffers a bit from a general visual drabness and a limping pace that keep some of the jokes from hitting as squarely as they should and drains some of the third - act momentum.

Though Boyle masks a lot of the script's problems with some nifty visuals and the same kinetic energy prevalent in his other films, the frantic pace only lasts so long before the story grinds to a halt, suffocated by a never - ending series of twists and red herrings that makes it almost impossible to discern what's real.

While Reveries of a Solitary Walker is without a doubt an impressive visual feat, the film lacks steady pacing and tone.

Steven Spielberg always puts his best foot forward and while the story wasn't paced or created in the best of fashions, it was a joyous visual film that allowed newcomer Jeremy Irvine and Emily Watson to show some beautiful humanity.

Burroughs» story and Stanton's visual treatment are fine for film escapism, but the script flaws (and some of the acting and pacing) really lessened the movie as a whole for me.

Like all of Rohmer's films, this one observes a moral dilemma in which some people act well and others badly; it has the visual beauty of an engraving, a pace that echoes the inexorable progress of the revolution, and the belief that it is less important whether you are Left or Right than whether you behave bravely in accord with your principles.

The film has a frenetic pace that never lets up, with a constant barrage of witty verbal gags, visual jokes and enough characters to fill a 10 - storey parking garage.

The visuals, the pacing, an all - time great performance and a timely theme add up to make There Will Be Blood one of the most memorable films I have seen.

«The Grand Budapest Hotel» isn't exactly more of the same — it's the closest he's gotten to an action film, although «caper» is a more apt word — but even if its heightened visuals, frenetic pacing, and wondrously odd characters do hew too closely to his past works, more of the same from Wes Anderson isn't a tragedy.

Working again with cinematographer Yorick Le Saux, the visuals are stunning, but there are a few more of those really obvious shots — you don't have to know La Piscine to get that the pool is Bad News, given the way it looms in the frame, like it's stalking victims — and the jittery pacing of some of the editing is at odds with the languorous and sumptuous tone of the film.

It's a very fast paced film, the scatter gun jokes do mostly work, the visuals are some of the best you will see using 3D technology.

His mise en scène is very sober, with deliberate pacing, no music, and muted cinematography in blue and gray hues, with things moving in and out of frame, in and out of focus... In a not so specific way, this made me think of M. Night Shyamalan's visual style; the fact that the film is about how people deal with grief, like many of the «Sixth Sense» director's films, only furthered this impression.

«Jim's insight as a photographer and skills as an editor made this film solid in terms of visuals and pacing,» he says.