Shots
in sentence
1287 examples of Shots in a sentence
The cinematography is horrific - tons of shaky shots/off center shots/ etc. Basically, this is a film where a bunch of extras were put in with a shoddy story (I'm not entirely sure there was a flowing story), terrible dialogue, and a musical score that never fits the scene.
Set in early 17th-century Flanders, which had previously been under Spanish rule, the story opens with
shots
of a busy village preparing for the yearly carnival, when the news break that the Spanish Duke Olivares and his troops plan to stay in town.
The cinematography was well done with some very thoughtfully choreographed
shots
with the Huey and the scenery.
During the race the car had pressed steel wheels most of the time, yet occasional
shots
showed wire wheels again.
The creatures are kept off screen during the first half, to only be heard and getting some POV
shots.
They appeared to be great whites in several shots, but sounded like 'tigers' (g).
Slow motion is used for
shots
that don't deserve it and money
shots
almost always feature a cutaway revealing the choreographer's complete inability to make the action scenes work.
There are plenty of point-of-view
shots
of the heavy-breathing masked killer, shock cuts, lots of red herrings and obscure motivations, etc.
McKee follows suit by having numerous visual references to that film, even copying whole
shots.
He uses mostly long pans and tracking shots, and then may stop to focus on a scene as he gradually pulls the camera in closer, but almost never to a close up.
There was some interesting camera work, but then, and especially in the dialogue scenes, there was the most awful,awful talking heads thing going on, the most static and boring
shots
I have ever seen in a motion picture.
INTERESTING shots, especially in scenes of dialogue, something that lifts it a little, and most importantly of all, get a screenplay that says something new about the human condition.
This is a stylish Sherlock Holmes film with the best foggy-London atmosphere I've ever seen on film - just great photography with some wonderful, murky
shots.
The opening
shots
of the Russian gunship's flying in for their "raid" looked as if they had been stolen right off an intro for a video game.
The
shots
of the academy and forest were just alluring and magical.
These people lived in immense isolation, but all we were given 90 percent of the time were tight shots, and landscapes were generally presented as one section of the pebbly beach with some stark rocky islands off shore.
Instead, we got close
shots
that could have been anywhere, and certainly shot in the style for 'straight to video".
The director also likes to concentrate
shots
on arbitrary objects in the scene, or a little dog on the grass, for no reason.
The Thai bathhouse scenes are what I attempt to "sell" as the highly erotic
shots.
It's worth noting that the vaunted technical achievement (long, uncut shots) was barely noticeable-which means that it did what it was supposed to do without drawing attention to itself.
Kurosawa accurately captures the feel of postwar Japan, by actually filming in its locations (when Toshiro Mifune travels through the market - those are actual
shots
of the black markets in various cities).
Lingering (as in "when will something happen")
shots
with no point permeated this movie.
The difference between making the movie today, than back then, would be the lack of melodrama between the William and Damita character (heck! it was the era of the woman's picture) Formulaic stuff but good formula all the same with an unusually expensive look (good cinematography, tons of location shooting, great sets, lots of wide shots) for a WB thirties picture tells you this was probably an expected blockbuster in the year of 1932.
Daniel Pearl's grainy, but polished cinematography offers several smooth and sinuous tracking
shots
that are positively breathtaking to behold.
The cinematography is inept, and the
shots
of New London are unconvincing to say the least.
And speaking of swamp, man there are a lot of
shots
of swamp in this one.
Matthew M beefcake
shots
everywhere.
We keep cutting to the same stock
shots
of frogs doing their best to look menacing, but the best they can do is hop up and down on Ray Milland AFTER he bites it.
All the
shots
of innocent children playing were gratuitous and emotionally manipulative.
The opening stock footage sequence and endless
shots
of the bomb-disarming (or is that 'device-treating'?) robot in action didn't help the picture any either.
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