Sentences with phrase «voiceover narration from»

Titles such as these are no longer limited to words on a digital page, as the interactivity of the title means actual screenshot footage, voiceover narration from the actors in the movie, and the ability to bring the story to life through bonus features, a crucial step in the process of developing a reading fluency by drawing on prior knowledge and a high - interest subject to the young reader.

Very little is revealed about Rick and that which is comes courtesy of voiceover narration from one tertiary character or another as they reflect on their experiences with him.

With a healthy sense of caffeinated advocacy and voiceover narration from Jason Bateman, A Lego Brickumentary delves into the $ 4 billion Lego brand, who manufacture an astonishing 100,000 pieces per minute.

Aside from a voiceover narration from the protagonist and a disarming photograph, widow - murdering Henri Verdoux's t...

Minac re-creates these moments by placing actors in costume and play out the scene with voiceover narration from the survivor.

As our unreliable window into his past, Amalric's Paul abruptly switches his voiceover narration from the first to the third person.

Not exact matches

First Cousin Once Removed benefits from the clarity provided by Honig's published poetry, which surfaces in voiceover narration and words on the screen, rendering the undulations of his life in sweeping abstractions.

The film opens pleasantly enough, with voiceover narration by Emma Thompson accompanying an image of the Voyager I spacecraft, the furthest man - made object from earth, hurtling toward the edge of the solar system.

Some of the most striking images allow you to draw your own conclusions, free from voiceover narration.

For one thing, the voiceover narration isn't limited to Payton, slipping into Carrie's point - of - view as she decides to help him woo Samantha, mostly to divert the dork's attention from herself.

Still, at least this sloppy brass orgy has a pulse, as opposed to Horner's «mournful theme,» i.e., the one that accompanies the retarded voiceover narration of journalist Jack Burden (Jude Law), which sounds a lot like the piano exit music from the old «Incredible Hulk» TV show.

10,000 BC embroiders the classic coming - of - age, boy - with - a-heroic-destiny legends and lore told around camp fires for millennia with straight - faced, pretentiously sober spirituality, made - up mysticism and reams of voiceover narration (from Omar Sharif).

A soundtrack of music from the 1960s onwards and voiceover narration by the artist himself provide an insight into P - Orridge's difficult early life and influences, but this is a genuinely moving love story first and foremost.

The film is saddled with a sing - songy, frequently dopey voiceover narration, and the solutions McGill and Vittorio ascribe to the predicament range from simplistic to politically dubious.

Filmmaker Richard Levine, working from his own screenplay, delivers an opening stretch that admittedly doesn't hold much potential, as the writer / director places an excessive emphasis on narration from both Tucci and Timlin's respective characters - with the seemingly ceaseless voiceover making it initially impossible to work up any interest in the characters and their exploits (ie neither Ted nor Angela are developed beyond their most obvious attributes).

His voiceover narration just as pedestrian as everything else here, Bobby Marks (Blake Cooper from «The Maze Runner») recounts how he dreaded his New York family's summer forays to a lakeside cabin in small - town Rhode Island, where all the available outdoor activities seemed designed to humiliate his athletically challenged, pudgy self.

Scorsese himself seems less interested in screenwriters Jay Cocks, Steven Zaillian and Kenneth Lonergan's plot concerns than the real - life events; the power of the film's climax derives largely from his stunning recreation of the 1863 Civil War Draft Riots than the resolution of the Amsterdam - Bill conflict, and the needless voiceover narration provided by DiCaprio (reportedly an addition that came late in the long post-production — and does that ever show) revels largely in extraneous historical details.

Finally, someone let him direct his own script, and the result was Kiss Kiss Bang Bang, a riotous riff on the hard - boiled works of Raymond Chandler (chapter titles are all from Philip Marlowe novels: Lady in the Lake, The Simple Art of Murder, The Little Sister, etc), that nimbly satirizes the movie business, detective - movie plotting (there are always two cases that implausibly tie up together), the action hero as idiot and the conventions of the film noir voiceover («Oh shit, back up, back up, I forgot to mention — Jesus, this is terrible narration, it's like my dad telling a joke and saying, oh, I should have told you the cowboy's horse is blue...»).

The film is pieced together from outtakes from the long - time documentary filmmaker / cinematographer's extensive body of work, but beyond occasionally hearing her voice behind the camera (and one shot towards the end in which we finally see her face as she points the camera toward herself), Johnson forgoes the safety net of voiceover narration to tie all this footage together.

That willful self - deception is beautifully summed up by a single sequence in which Harley, in rare voiceover narration, sighs about the worlds Ilya opened up for her, and about how there was «an elegance» to him, while the pictures tell the story of two lank - haired dullards stealing bottles of 5 - Hour Energy from drugstores to fence to kiosk vendors.

Additionally, White imbues his film with an added layer of surrealness with occasional cutaways to fantasy sequences; and while the use of voiceover narration is arguably on - the - nose, it does nudge the film closer into earnest territory and further away from conceited, navel - gazing white middle - class folly.

Mattie's wry, sanctimonious narration doesn't make the leap to the screen barring some voiceover (from older Mattie, played by Elizabeth Marvel) in the prologue and epilogue.

Selections include classic movie themes from Touch of Evil, Laura, Chinatown, Vertigo, Taxi Driver, Blues In The Night, Twin Peaks, Toute Une Vie, High Wall, The Long Goodbye and Stormy Weather, modern standards Estate, Caravan, Here's Looking At You and Golden Lady, and two originals: Film Noir (from a poem by Dana Gioia) and Crime Scenes, a San Francisco - inspired jazz suite with voiceover narration in the hardboiled style of Dashiell Hammett and Raymond Chandler.