Sentences with phrase «while filmed images»

Salvaged decorative pieces from the site's current restoration are presented as sculptural interventions while filmed images of a Buddha figure, originally from the 3rd - century Kushan Empire in what is now Pakistan, are projected onto layered screens on the top floor.

Not exact matches

And, while there have been a few images and supposed plot lines leaked online for the film, everyone has stayed tight - lipped when it comes to revealing information.

The company envisions systems that will let consumers download a high - definition, full - length feature film in less than five minutes, allow rural health clinics to send 3 - D medical images over the Internet and let students collaborate with classmates around the world while watching live 3 - D video of a university lecture.

In any event, they have made their film, and while they haven't completely abandoned what they know about moviemaking, they have clung tightly to the image of Jesus given them by a Sister Josephine — or in Schrader's case, someone like the harsh father in his movie Hardcore.

Balanced Optical SteadyShot technology provides image stabilization as you move while filming.

A sample of the mineral perovskite is shown in the foreground, while behind it is an image the researchers used to prove the effects of intense light on a thin film of perovskite.

Sam Shepard makes an appearance in a 2002 video interview, while Richard Gere's memories are heard as an audio featurette backed with images from the film.

Sheen's next major success was also a comedy, the 1991 military - film satire Hot Shots, and while box - office blockbusters tended to elude him, Sheen worked steadily over the next several years, and racked up a respectable number of box - office successes.By this time, Sheen had developed a reputation as a hard - living star who spoke his mind regardless of the consequences, but his fun - loving image began to take on a darker hue in the mid -»90s.

The film is a deep character study of Riggan Thomson played by a moving and stellar Michael Keaton a once - time big movie star struggling to regain importance in his contemporary setting while trying to establish himself as an artist worthy of praise and to get rid of his «Birdman» image.

Valeria Bruni Tedeschi has mere seconds to etch a piercing mirror image to Isabelle's internal agony, while Gerard Depardieu gamely helps shoulder the film's most unexpectedly whimsical turn — his blithe tête - à - tête rapport with Binoche belying his publicly stated animosity toward the actress in years past.

Admittedly, the climax almost seems prosaic for a movie with this much to say but, while offering some of the film's most impressive images, it satisfies a need for closure.

In the end, there is just about enough narrative to hold interest, while the lyrical camerawork, constantly in motion, blurred images and all, offers a single emotion that is impossible to stretch over a feature - length film.

For Hitfix, Gregory Ellwood called the film «a near - masterpiece» while declaring «it has some of the most haunting images of the year and features the bravest performance of Scarlett Johansson's career.»

While walking the floor of the American Film Market (AFM) this morning, Steve was able to grab some images and synopses for a few upcoming films.

While it is certainly okay for a bit - player like Kevin Durand (Gabriel) to feature in a film like this, it is somewhat disappointing that Bettany's promising career has taken him to this unfortunate mishmash of ideas and images, even in the «whoa dude, angels killing angels!»

While Christopher Nolan has enlisted a number of A-list stars for his upcoming World War II epic Dunkirk, 19 - year - old newcomer Fionn Whitehead (Him) is set to take on the lead role in his feature film debut, and Entertainment Weekly has released a new image of his character, the young British soldier Collins; check it out here... -LSB-...]

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

Pictorially speaking, this is the most accurate small - screen rendering in recent memory — the film's colour and contrast look exactly as I remember from the cinema, while there's been no digital compensation for the soft - focus quality of DP Robert Elswit's images.

While the first film had a sense of newness on its side that made it somewhat effective as a straight - up shocker, we've seen all of the scary images in this sequel a few too many times to experience their original effect.

While other films have played with her image, Life Of The Party (directed by her husband Ben Falcone and written by the two of them together) is the first film that leans so fully on the sweet side of her, with results that are more conventional than her best work but funny and sweet nonetheless.

While both films were romantic, Spielberg's was also sentimental, perceiving the past in the same glowing soft - focus images that had marked Hollywood studio films of the 1930s and 1940s.

The continued disrespect of films of this quality will forever remind me of the indelible image of Opie getting the statuette last year while David Lynch and Robert Altman talked to each other in the audience.

While the more critically esteemed New Wave cinema of Walkabout (Nicolas Roeg, 1971), Picnic at Hanging Rock (Peter Weir, 1975) and My Brilliant Career (Gillian Armstrong, 1979) presented a refined image of Australia, early genre films like Stork (Tim Burstall, 1971), The Adventures of Barry McKenzie (Bruce Beresford, 1972) and The True Story of Eskimo Nell (Richard Franklin, 1975) were seen as portraying a more crude side of Australian society.

... Entertainment Weekly unloaded a wealth of Captain America: Civil War material this week, including a cover featuring Cap (Chris Evans), Iron Man (Robert Downey Jr.) and Black Panther (Chadwick Boseman)[see here] and several new images from the Phase Three - launching film [see here and here], while we also got a glimpse at the Sokovia Accords thanks to an image from the Marvel Cinematic Universe Phase Two Blu - ray box set [see here]...

While many parts of the film have minimalist tendencies — few images on screen, slower camera movements, decreased sense of timing and pace, accentuation of what is on screen — the pace of the film is not constant.

His images are both beautiful and repugnant, often at the same time, showing a side of 18th Century Paris few wish to venture through, while also capturing the beauty that is Grasse and the lush scenery of the rolling hills and mountains of France (sumptuously filmed by longtime Tykwer collaborator, Frank Griebe).

A temp logo was shown off at the expo, and while it doesn't likely tell us anything at all about the film — it just plays with the joke of the temp titled — you can now see that image below.

With its ambiguous ending, Tattoo seems to evoke François Truffaut's Les quatre cents coups (The 400 Blows, 1959), the legendary French New Wave film about another «troubled» teenager who experiences freedom only when he is in motion — whether while spinning in a rotor's drum or when running away from the reformatory in the film's famous concluding tracking shot that culminates in a zoom - in - on - freeze - frame image of his gaze addressing the camera.

While I like the idea behind releasing a bunch of images, I hope they're not spoiling a good deal of the film.

Adapted from Jonathan Ames's novella, it's a film distinguished by the force of its images and the compression of its narrative, and while its impact leaves you dazed, you can't quite believe that what you've just seen ever happened.

Dillinger (Arrow, Blu - ray + DVD), the 1973 gangster film and directorial debut of John Milius, plays on that image of the gentleman gangster who courted the public and the press while he robbed banks across the American Midwest.

While these films have undergone no extensive restoration, they have been professionally mastered from the best existing materials, which mean that damage and wear is visible but there is clarity to the image (many of the films look quite crisp) and the soundtrack.

Warner's DVD version of McCabe & Mrs. Miller is unfortunately something of a disappointment in the technical department: the 2.35:1 anamorphic widescreen image is too black for a film that was pre-exposed in order to decrease contrast, while digital video noise reduction looks like it was rather severely applied to the intentionally gritty images, resulting in a general lack of detail.

A recurring image of bees (part of the Candyman's torment) hints at the picture's eventual nod towards a matriarchy, while the evolution of the Helen character from scholar to myth points to film itself as the modern equivalent of firesides and oral history.

But while I would only recommend it to art - house enthusiasts due to its slow pace, it is refreshing to see a film that deals with body image from an older woman's point of view.

While some of the images are visually striking, little of the film is actually aesthetically pleasing due to the use of composite imaging and CGI.

We received the former for review, which contains a 2.35:1 transfer of the film in anamorphic video; the image is quirky in accordance with John Seale's cinematography: grain is overemphasized in several climactic shots, as if to ground the ludicrous plot machinations in some kind of hard - edged reality, while blacks are chalky throughout and detail has a filtered quality — a Lawrence Kasdan trademark.

While we all wait for the first trailer to pop up online for Luca Guadagnino's Suspiria Remake, we have two official images from the film to...

Adapted from Jonathan Ames's novella, it's a film distinguished by the force of its images and the compression of its narrative, and while its impact leaves you...

The Fast and Furious spin - off is due out next year, and while you wait for official filming to begin, take some solace in this image (or technically, images — there are two) of three men smiling.

The Blu - ray's menu moves around the cover image and two more suggestive publicity photos while playing Kitty White's night club version of «Rather Have the Blues», an original tune Nat King Cole sings over the radio in the film's opening sequence.

What with all the Twilighting going on lately, we should be thankful that once in a while a film like Easy A comes along: a film that honestly and unwaveringly addresses what it means to be a teenage girl in this image laden, information drenched age, rather than resorting to archaic romance fiction techniques with passive heroines who do nothing but wait for inherently violent men to make all the hard decisions.

While The Image film lacks graphic penetration, there's no doubt Radley Metzger used the film to test the possibility that a fusion of erotica, structured narrative, and hardcore elements could create a new and successful hybrid.

While all films in the set ring with Hammer's trademark attention to colour process, offering bloody reds and fleshy fleshtones, Horror of Dracula's 1.77:1 anamorphic widescreen image (recropped from its original 1.66:1 aspect ratio) is sadly jumping with grain so dense it's at times almost misty.

A «Transcendence» featurette explores the idea of self - aware computers, while new images show off the impressive cast for Wally Pfister's sci - fi film.

After Trent covers his padded cell, face, and clothing with black crosses (an image featured in the trailer and which hooked me, proving that while a picture may be worth a thousand words, it may not be worth 95 minutes of one's time), he recounts the events leading to his current state, and the film proceeds in flashback.

If anything, the image could be sharper still with noise reduction dialled back a notch, but Arrow is typically astute about maintaining the organic look of a film print while scrubbing away dust and scratches.

The image is a fraction too caliginous, and while this doesn't have an impact on contrast, it does seem to draw attention to some mild edginess — not so much so that it inhibits one's enjoyment of the film, however.

While the image suggests Josh Brolin's filming scenes are already underway, the comic - book comparison looks to be spot on as well, so fans shouldn't be that disappointed.

While it all looks well and good (okay, maybe a tiny bit goofy), the image happens to coincide with an announcement that's sure to make a lot fans nervous: both Thor and Captain America will be 3 - D films.