The giant settings, especially the one representing ancient Babylon, have remained a benchmark for motion-picture spectacle, and the opulent settings for 16th-century Paris were almost equally impressive.
There was also no mention of the fact that such producers as Scott Rudin and Megan Ellison, a millionaire with superb judgment, have played a significant role in the revival of American filmmaking even as the studios remain sunk in cynicism and big-picture, digital-spectacle production and marketing.
Japanese tourists and Spanish schoolchildren fought their way through TV crews to get a picture of the spectacle.
In this sort of picture, the madness spectacle comes at the end, having been prefigured, usually, by hallucinations of steadily increasing intensity.
While some angry commuters honked and, in a few cases, confronted the protesters, others leaned out their windows to take pictures of the spectacle.
But those of us who enjoyed the first picture as frivolous pop spectacle must have been wrong: we quickly had our mouths washed out with texts.
The last-minute demise of a prestige picture is a rare spectacle in Hollywood — one that is painful, expensive and damaging to all involved.
By the end of the picture, a strangely joyful spectacle of lamentation and misery adapted by Mr. Maddin and George Toles from an original screenplay by the novelist Kazuo Ishiguro, you may be inclined to agree.
A Spanish foreign fighter who had promised his followers a video of the spectacle had to make do with only providing pictures of the sadistic act.
Empty and vast, these places can sometimes seem like just occasions for photographic spectacle, the pictures are often so chillingly awesome.
Civilians watched in horror as newsreel footage of the camp at Belsen appeared on the screen at their local cinema, turning an evening at the pictures into a shocking spectacle that would give them nightmares for weeks.
