Frame
in sentence
794 examples of Frame in a sentence
The director tries to be Quentin Tarantino, the screenwriters try to be Tennessee Williams, Deborah Kara Unger tries to be Faye Dunaway, the late James Coburn tries to be Orson Welles, Michael Rooker tries to be Gene Hackman, Mary Tyler Moore tries to be Faye Dunaway (older version), Cameron Diaz tries to get out of the
frame
as quickly as she can (successfully), don't ask about Joanna Going.
This "twisting and turning" I speak of refers not to the story (which contains all the suspense of a recipe for tuna casserole) but to the director's inability to keep the characters' faces even remotely centered in the
frame.
Scott cuts the film together in segments that rarely last more than a few seconds, cranking up the resolution to make the film a neon-drenched nightmare that's frankly unpleasant to watch--if Scott's given an opportunity to shakily
frame
an image, ghost it, or distort it in some way, he will; but all this tacky stylistic overload overwhelms what little plot, characterization, and suspense the film has (to say nothing for its, ehm, "entertainment" value).
Instead, the movie to watch, that deals with similar themes and the same basic time frame, is the great BOOGIE NIGHTS.
It's supposed to be a homage to Spaghetti westerns albeit set in a sort of mythical modern time frame."
There were a few times that the lighting was way too hot but the shots were generally in
frame
and stayed in focus.
In an overly long running time, the redundancy of Esther's struggle is too melodramatic to be effective and reduces the storyline into a frail
frame
of a disastrous display.
Jenny Gabrielle is spectacularly unconvincing in justifying her own presence in the
frame.
The story line was good but the facts and actuality of the time
frame
was so far off base that it made the movie seem cheesy.
I hope that who ever reads this understands that I mean no discontent to those who fought the war but the facts and time
frame
should have been a little more closely monitored.
It's one of those movies that seems to have been made exclusively for the Oscars: music throughout the film in almost every single frame, almost no profanity, set in a time long gone, sepia-toned imagery, pretentious title, NO SEX, and a genius that explains everything he thinks and concludes in sfx/cgi so that we (the stupid audience) get it.
Firstly, for the most part they just looked stiff and I'm sure their scripts were in their hands just out of
frame
- but that's a minor issue.
Lots of arty shots through windows and with people out of
frame.
Yet his style and grammar originate and remind viewers of films made in the World War 1 era of film-making: the
frame
composition, use of mid-shot, the static camera.
An amusing exploitation film thats enjoyably silly in the right
frame
of mind.
Until then, it might be slightly amusing to look at daily chores of japan workers, but later it becomes obvious that anything that appears on the screen is a propaganda, and no single
frame
is an exception.
He can't hurt her because he loves her and she's the mother of his child (I think the time
frame
makes it clear it's his child and not his brother's), but at the same he can't forgive her for all she's done, sleeping with his brother (which shows the love and obligation he felt was pretty much one way) and then being part of his death.
There is no end to what this show will reports and no time
frame
that dictates how long they will focus on a story.
Because Ligabue is a born storyteller and a film lover, and every
frame
of his film is made with love and care.
Every
frame
of The Man in the Moon is evidence of film making at its best.
I absolutely went out of my head over the film's visual look (by cinematographer Hagen Bogdansker),who gave each
frame
of film a painterly look (with the help of production designer,Patrice Vermette),as well as some tight editing (by Jill Bilcock & Matt Garner).
Possibly a drawback was the director and/or cinematographer's choice to
frame
certain shots picture postcard perfect.
The story is simple, but it is used as a
frame
for Antonioni's brilliant observations of, and critique on American consumerist culture, student life, the counter-culture, and the whole anti-establishment, anti-war backlash that was so prominent then.
With 47 years when shooting the movie she looks hotter than many stars in their 20s, but it's more than her being beautiful, it's brilliantly acted, with all her looks, her famous smile, the way she speaks and moves... from the very first
frame
she's in you can't take your eyes off of her.
it's also one of the very few movies that capture you from
frame
one til the credits roll, despite the fact that there are, really, just two (very involving) characters.
See it in the right
frame
of mind and you will laugh out loud.
There is a simultaneously subtle but intense dread induced by the woman in black lurking at the edge of the frame, not quite clearly visible, so that you feel (like the solicitor hero), unsure whether its just imagination or not.
The film is loaded with all kinds of jokes ranging from the blatantly obvious to the more subtler kind that you must pay attention to everything in the
frame
or you'll likely miss them.
The sense of reverence displayed for the history and traditions of the Shaolin Temple is palpable in every
frame.
This grips you from the very first frame, and does not let go until the end credits start rolling.
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