Sentences with phrase «everything in a film like»

Everything in a film like this depends on performance, and it is hard to imagine how it could have been better cast.

Not exact matches

One more thing Netflix has over traditional studios: It is so good at cloud computing that it has put its «studio in the cloud,» Hunt says, and uses cloud computing to do everything from managing logistics (like union drivers delivering cameras to a location) to film editing (uploading the footage to be edited immediately in another country).

We Indians love our turmeric and use it as a multi-purpose weapon, just like Gus Portokalos uses Windex for everything in the critically acclaimed film My Big Fat Greek Wedding.

This isn't the same as the rotating cameras seen in the likes of IndyCar and MotoGP (and occasionally trialled in F1), but the kind that films everything at once.

It is definately a thinking persons film, so if you are somoene who likes to have everything spelled out nicely for you along the way and tied in a pretty bow at the end - skip it.

The young firecracker is everything you could want in a leading lady, and yet it seems like the masses have deemed her «not pretty enough» to carry a film.

Everything about this film moves at a very solid pace and you feel like it is giving you a slice of life at this moment in their lives.

Although it could use tighter editing — like most everything in this regrettably paced film — the third act reappearance of Gollum is terrific, and amplified by a go - for - broke motion - capture performance by Andy Serkis.

Some of the establishing shots, for instance, are filmed in a way that makes everything look miniaturized, giving the world an appropriately board game - like look.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

While Harlin's big action sets in other films like Die Hard 2 suffered from an unfortunately dated sampling of CGI, everything you see in CutThroat Island has been constructed — and destroyed in grand fashion.

The second act of the film finds Petit and his allies casing the twin towers, making sure that they know everything about the tower that's still under construction — the workers» schedules, which areas give access to staircases, which elevators are best to use... Essentially, The Walk becomes a heist flick in the middle — and like all good heist flicks, everything goes like clockwork until it doesn't.

Everything that made the first film so much fun is still here and done in a way that doesn't feel like a simple rehash of the first movie.

After setting the screen alight in films like Kingsman and Legend, he had to change everything about his appearance to play Eddie: adopting an underbite and wearing glasses that were so thick that he had...

Unfortunately, for the rest of us, it's everything we've seen before, and better, in films like those and countless others.

During this time he would also show up in small cameo roles in films like «Shakes the Clown» and «To Wong Foo Thanks for Everything, Julie Newmar.»

Not everything he's made has been a hit, but the last few years have seen Nicholas Stoller establish himself as one of the more reliable comedy directors in the business, with films like «Forgetting Sarah Marshall,» «The Muppets» (which he co-wrote) and «Get Him To The Greek.»

The NBR is much better at helping a film get into the Oscar race than it is in calling out a winner, unless it's a winner that is going to win everything anyway, like Slumdog or No Country for Old Men.

In the beginning, the still - at - odds Sophie and Ethan argue in the main house and make up in the guest house and, then like everything else in the film, the rules changIn the beginning, the still - at - odds Sophie and Ethan argue in the main house and make up in the guest house and, then like everything else in the film, the rules changin the main house and make up in the guest house and, then like everything else in the film, the rules changin the guest house and, then like everything else in the film, the rules changin the film, the rules change.

Like I was telling you, in most film criticism, certainly before the invention of VHS, everybody would get everything wrong all the time because they couldn't go back to check it before publication, and one of the real whoppers is Raymond Durgnat describing «Under Capricorn» in his writing, and then Francois Truffaut taking Raymond Durgnat's description in the «Hitchcock / Truffaut» book and getting everything all wrong.

A film without significant highs or lows, everything about The Martian feels in - between, like a narrative waiting for its spark.

This is a film in which the laughs just keep coming, floating like waves on the Lego sea (yes, water is made of Legos, everything is made of Legos).

Though the times are troubled — the Korean War rages in the background, and attitudes toward both sexuality and mental illness, as depicted in the film, were less than enlightened — everything looks like a dream.

Most of the women in Woody Allen films feel like everything's awful.

The game does a good job of offering enough variety in content that you won't feel like you've seen everything even if you've watched the film.

The relationships between the characters are interesting, pictures are beautiful, actors are playing really well - everything I usually like in indie movies - however the lack of storyline make the film boring.

Memento is highly recommended for anyone who likes to be thrown for a loop while watching a mystery and not have everything wrapped up in a tidy bow by the end of the film, a la Jacob's Lader and its brethren.

Misjudged, miscast, ludicrous, saccharine, underdeveloped and manipulative, it's everything that Crowe's work normally isn't; even his sense of music is absent, the film overloaded with tracks that feel like they were purchased in bulk.

Focused only slightly differently is «San Andreas: The Real Fault Line» (6 mins., HD), which spends its opening moments very superficially discussing the real threat of earthquakes in California before delving into the production tricks behind the film's earth - shaking scenes, like a restaurant set designed so that everything visible in the frame is shaking except the floor itself, since it was being prowled by a Steadicam operator.

Perhaps that's why large portions of this film feel like scenes Toback just wanted to use up somehow — particularly the Grodin sequence, in which his character rails against his fading faculties by turns sweetly and violently, and which might have been moving if it didn't feel so detached from everything around it.

I didn't make this film, but I will say that the internet has changed everything in terms of distribution and because of iTunes and other outlets like that, length is no longer something you really think about, in my opinion.

It's everything Anderson couldn't yet get on film in Boogie Nights (97); like Doc, Anderson and Phoenix are just along for the ride, besotted and overcome.

Each epic, in its way, is an example of what happens when a lot of money is spent on everything except the things that truly matter to a film's longevity, like a speakable screenplay, for instance, or affecting performances.

In the incredible digital worlds of Pixar and DreamWorks films, where everything has shape and gloss, nothing looks like you could really touch it if you could somehow get inside the movie.

It's certainly not going to be one of those awards seasons where one film picks up almost everything, like with La La Land in 2017.

Some, like William Friedkin and Wim Wenders (who cast Fuller Sr in his film «The American Friend «-RRB- were friends, some, like Jennifer Beals, Mark Hamill and Bill Duke, were collaborators, and some, like Tim Roth and James Franco (because James Franco is in everything) are admirers.

Like everything in the film, these passages are rich and strange because they are presented in the light of everyday where we are all just trying to understand each other a little more if only to just understand ourselves a little more.

Aussie filmmaker Nash Edgerton has done pretty much everything in the medium of film, from writing, directing, acting, producing, editing and even stunt work in the likes of THE MATRIX and STAR WARS prequel trilogies.

Sucker Punch is a man's action movie fantasy — rolling everything a guy would enjoy in a film like hot women, heavy gunfire, a mother dragon who basically makes explosions come to her, and enough insanity injected into its most adrenaline racing scenes to keep you talking around the water cooler for hours.

Much like other horror and thriller films, A Quiet Place has a dominating, droning score that, while fairly good in terms of melodic interest, somewhat undermines the feeling that everything should be utterly silent as our characters hide desperately from the monsters.

The first film felt like a fun little movie to pay homage to some classic horror movies, and seeing the success, it felt like Wirkola put in everything he had to make sure that this movie stood on its own and it sure a fuck does.

Their loyalty to Malcolm is essential in a film that becomes a series of unlucky events strung together like shoddy beads on a string — you wait for everything to fall apart as they desperately pedal their bikes through the neighborhood trying to keep it all together.

If the film feels like everything and nothing in contemporary nonfiction, it seems entirely a result of its uniquely open and spontaneous evolution.

At 162 minutes, German director Maren Ade's latest film, Toni Erdmann — her first since the 2009 Everything Else — seems like a lot to handle in a single viewing.

Altman gives it a loose, modernist treatment, and like Brewster himself, in the end, this film manages to soar despite everything going against it.

In early 2009, the «everything - is - connected» movie finally hit bottom when its chief architect, writer Guillermo Arriaga (21 Grams, Babel), made his directorial debut with The Burning Plain, a film that epitomized the dirge - like self - importance of the worst cinematic puzzles.

The new film feels like a capstone, a summation of everything Diaz loves about and finds so profound in Dostoevsky, a transmutation of the writer's melodramatic genius into grist for his more distanced, more emotionally chilled films.

Apart from the fact that Natalie Portman is pretty much perfect in everything she does, and that this film is directed by Darren Aronofsky (Requiem for a Dream, The Wrestler), Black Swan looks like it's going to be a beautiful and nightmarish blend of insanity, rivalry and a psychological, sexual thriller.

Being set in space or alien worlds for the most part, Guardians can cheat a lot — it's not like things have to look too «realistic», but this film really does throw everything at the wall.

That's the big problem: everything in the film is so solid, so real - seeming (partly as a result of Gondry's brilliant way with analog as well as digital illusion, and techniques like stop - motion), whereas the novel is by nature light, a construct of weightless, casually handled language from which images emerge as if by magic.