Sentences with phrase «with slow films»

I'm okay with slow films if they have good characters, dialogue and situations.

Not exact matches

After all, when Strange spoke with the Ancient One before her death in his solo film, she slowed time down to micro-seconds to hold a fairly lengthy conversation with him.

It is our first one since I returned from filming in LA, and I slow - roasted tomatoes with garlic and red wine vinegar earlier in the week as part of the base for one of the two pots of chili I'm making.

I'm hoarding 2 squares of this in my freezer at the moment for just the perfect morning... like tomorrow Cracking in to the top of the crumb and then the soft moist cake with your fork (or spoon) is one of those moments that should be captured on film and made in slow motion.

There's something organic about shooting film that feels like a pleasant match to me with time spent in the quiet, slow, and calm of nature.

Myhrvold's irreverent advice was just one of the cutting - edge food science and cooking tips that he shared during his talk, all the while dazzling the audience with film clips of wine glasses shattering, orange zest vaporizing, and a kernel of popcorn exploding in slow motion (as illustration of the kernel's «structural failure» to illustrate how water in food can become a «steam rocket» as the latent heat of the water builds up).

While slow motion is typically achieved by filming scenes with a high - speed camera, Benza and his team were able to achieve the same effect by bringing the footage into Apple's Shake digital - compositing software, then retiming it using a Shake plug - in called Furnace Kronos.

He has written and directed multiple films including Slow Burn, with Johnny Depp and Hussy starring Helen Mirren.

Our solution to this problem was to film without music and then add the music back to the video scoring the music to the movement and exercise as best as can be done until the rep speed drastically slows down because of fatigue.You will notice how the music ebbs and flows with the intensity of the exercise and even the breaks between exercises have their own special music that is much calmer in nature.

House of Sand and Fog is a ponderous, slow moving film which, if you allow yourself to take the time and let yourself fall into the excellent characterizations by Connelly and Kingsley, becomes a ponderous film with a killer ending that, even if you see it coming a mile away, is still a killer ending worth sitting for.

The problem with the early episodes — written and directed by Jim Mickle, who also made the film «Cold in July,» based on a Lansdale novel — has to do with a slow pace and a sameness that muffle the humor and menace we expect from smart noir.

Writer / director James Bridges made his name in the 1970s with such socially aware, character - driven films as The Paper Chase (1973), but his unassuming style and non-blockbuster mentality slowed his career in the 1980s.

And when the film slows down to take an emotional beat, those are perfectly handled too, with one scene in particular that should have the entire audience wiping away a tear.

With shadowy, black - and - white production, a slow - burning jazz soundtrack, and a wide ensemble of characters that runs the gamut of crime movie archetypes, Dick Hopper serves as a love letter to film noir, even as it skewers the genre with no meWith shadowy, black - and - white production, a slow - burning jazz soundtrack, and a wide ensemble of characters that runs the gamut of crime movie archetypes, Dick Hopper serves as a love letter to film noir, even as it skewers the genre with no mewith no mercy.

The film is quite personal, despite its slow and insistent historical sweep, and it's co-written by Hansen - Love with her brother Sven, based on his experiences as a DJ in the French house scene.

Their best known films — Room with a View, Howards End, The Remains of the Day — tend to have that slow, melancholy reflexivity that Izzard ridicules.

It's certainly not a bad setup, and director Yuthlert Sippapak initially imbues the film with a sort of slow - paced sense of dread - something he completely abandons at about the 30 - minute mark.

It's adapted by Tracy Letts from his 1993 play (Friedkin also turned Letts's play Bug into a film in 2006), and its theatrical origins do become obvious in the way certain characters are left disconcertingly off screen; the movie is concluded with a long, slow and single - location sequence, which makes it looks oddly like a filmed stage play.

Admittedly, that's in keeping with the book's cavalier attitude to its supporting cast as the plot races to its end, slowing only for Harry's sake at key moments, but it's a shortcoming that the film could have corrected.

But have patience with this film, it starts out slow, building, collecting characters and emotions throughout each scene.

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

A torpidly slow epic with a script that moves at the speed of light, the film is pockmarked with incidents that never cohere into a clear narrative.

But Garland's film more closely resembles Denis Villeneuve's recent science fiction hit Arrival, another slow, airless, fascinating film pocked with moments of sudden explosive action.

The film starts out slow, building up with character development and the start of a new friendship.

With the addition that it's a fairly slow moving film, I can see many viewers complaining about this picture and stirring up controversy.

The thing that hits you first about this film is it looks sharp, the opening credits are damn nice and Murphy looks his coolest since «Beverly Hills», its a slow builder for sure but with Wincott as the baddie with his raspy devilish voice it keeps you glued to the screen.

The film is, even by Schrader's standards, a bleak endeavor, concerned with the durability of spirituality, its susceptibility to corruption and radicalism, and its place in modern American life: with the slow decay of the planet, as well as with pain, penance, and the validity of suicide and murder.

My only problem I have with this movie is that the film does have a somewhat slow pace for a animated movie especially for a 90 minute animated film, but everything is all done extremely well and it is definitely one of Ghiblis best.

The film drags along with its timely duration and slow pace.

This film plays out more like a very slow - burn romance with a few action scenes that are pretty average.

There's a jittery, you - are - there immediacy to Kaminski's rough handheld photography and the textured, gritty film stock, and his frequent play with shutter speed gives the explosions the crystal clarity and detail of slow - motion, but at terrifyingly real speed.

Sicario is a well written story, however the film does fall short in some scenes with slow moving plot points and a handful of unnecessary scenes.

Although the film is quite slow at times, Hitchcock manages to keep a sustained level of suspense throughout the film, with the character Rupert Cadell being increasingly suspicious of the boy's activities as the film progresses.

This one has a slow, shuffling story involving people whose miseries are often obscure and whose personalities don't inspire affinity — and then the film is burdened further with ponderous piety.

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

However, it wasn't so much for my slow reading ability but something I believe the film - maker was trying to «trick» us with.

As I just mentioned, you really do need to pay attention to this film, even with the slow pace, or you will get lost.

And while Disney has been very slow to confirm anything, all reports positioned the film as a direct continuation of Tron Legacy, with Joseph Kosinski returning to direct, and Olivia Wilde and Garrett Hedlund reprising their roles.

Both films are post-apocalyptic sci - fi thrillers where the the population of Earth is threatened into nonexistence in a short amount of time, while the survivors do what they can in order to keep from suffering the same fate at the hands of those who have gone rabidly insane — the zombies here aren't the slow, lumbering ones we generally associate with the genre either.

To be completely honest, I am slightly disappointed with «Take Shelter», the pace is just too slow in that film for my taste, and something tells me I would like this film more (though you say that «Take Shelter» is better).

There's nothing wrong with directors slowing down a film in order to develop characters or give focus to a particular scene.

Luca Guadagnino directs the film with a sense of languor, as though the heat or the beauty of the surroundings were persuading him to slow down and take it all in.

STX's strategy of limited specialized initial play starting Christmas Day followed by a big national release on a slow week for new films has paid off with a decent if not spectacular second week.

With such strong players at the core, the resulting drama is gripping and builds momentum at a slow but steady pace, ending with a final conflict that should generate sufficient energy for those that have already seen the first film to re-watch it in an all - new, fleshed - out liWith such strong players at the core, the resulting drama is gripping and builds momentum at a slow but steady pace, ending with a final conflict that should generate sufficient energy for those that have already seen the first film to re-watch it in an all - new, fleshed - out liwith a final conflict that should generate sufficient energy for those that have already seen the first film to re-watch it in an all - new, fleshed - out light.

However, the idea with slow direction and pace is that we have to enjoy the actual story and I am sad to say that I did not connect with the actual script at all, meaning that this entire film became a long and arduous journey for me.

Everything about this film oozes class; the 60's setting is beautifully captured with it's attention to detail and strikingly rich photography by Eduard Grau; the slow motion scenes with overbearing sound effects; the subtle changes of colour saturation providing an excellent technique in developing the mood and feeling of Firth's character and a fitting soundtrack to accompany the lush imagery.

Despite the films slow pace following the incident itself, there is a larger overall problem with PARKLAND.

At times the film does feel a little drawn out, too slow and soothing in parts, but your patience is rewarded with a satisfying final act.

«The Infiltrator» isn't a film that captivates immediately, it's a slow introduction that eventually wins you over with cinematic intelligence.

Instead, the film is a slow burner and Elliot Goldenthal's grim score broods with melancholy.