Sentences with phrase «everything in the film works»

To me everything in this film works, the timing of the lines, the jokes are all hysterical, the acting is fun and entertaining, and some of the racing is pretty entertaining.

Not everything in the film works.

Everything in the film works from start to finish.

Not exact matches

Not everything here works... But it's an interesting, great - looking film, and Simmons is just dynamite in it.

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.

The unit's work was top secret, its members» experiences, recounted in this film, fascinating above all for what they tell about the determined inventiveness, the all - out ambition to try everything, characteristic of that war effort.

Ridley Scott «s 2012 prequel remains divisive and the public details about the new film paint the picture of a production that keeps everything that worked in that first film while quietly throwing away everything that did not.

Naturally, the film removes the basic idea that made it work, adds a whole bunch of superfluous special effects and puts everything on the shoulders of star Hugh Jackman in hopes that he can pull out a winner.

In other words, Boll's latest evokes the form but not the content of such film series as Lord of the Rings, Pirates of the Caribbean and Star Wars, which means that few if any fantasy fans will be deceived into believing that Dungeon Siege is a legitimate endeavor rather than the same everything - must - go yard sale of clichés and familiar formulas the director mined for his previous work.

I really had to crank it up to hear everything properly, which didn't work well when some of the louder portions of the film kicked in later on (airplanes, bombs, etc).

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.

White House Down is having as much fun as it wants the audience to have, and everything is kept charmingly light; one of the final scenes in the film might as well have come from the end of a Scooby - Doo episode, and it really works in an oddball way.

Working from a script by Anthony McCarten (The Theory of Everything), he films this politics - as - war movie in a slam - bang yet also rhythmic and expansive style that reflects Churchill's own temperament.

It's a hard balance, and everything works fine, but there's no more energy in the film as it comes to its sad and desperate end.

Inevitably they can't fit everything in, but as an attempt at rounding off the series with impact, whilst answering the question of what happened to virtually every character we have seen in the series the film works brilliantly.

For his part, Martini is clearly trying to go for a stylized, hyper - real effect in which everything looks normal but is a bit off but his results are off in all the wrong ways — the film feels as if it was made by someone who has been charged with making something in the tradition of «Blue Velvet» and «Donnie Darko» but who never actually got around to seeing them and is basing his work on what he thinks was in them.

But when everything else is working so well in the film and the story is this riveting, these very small critiques are easy to look past.

What is a surprise is that this film works in an almost completely different way from — and to pretty much the same degree as — its predecessor, despite the fact that it is essentially doing everything the original has already done.

I don't pretend to understand everything about «Hidden Figures», about three brilliant women who worked for NASA in the early 1960's, but instead of being put off, I found myself intrigued, even wanting to know more about the work they did following the events of this film.

In terms of what works in the final film, the answer is pretty much everythinIn terms of what works in the final film, the answer is pretty much everythinin the final film, the answer is pretty much everything.

Everything that happens in this film is the work of people on the same side of the aisle.

Not everything in Top Five works, and a couple of scenes involving sexual farce seem to belong more to a Seth Rogen film than something as intelligent and pointed as this.

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.

While this works for about 85 % off the film, there is a courtroom scene about 70 minutes in that changed everything for me.

back staging it on pop fashion and art food,, cold play and you being almost as funkadleic as,, kl f our totnes pop band the west country bring out comicness and fun with bil lbalies as standup comedy, but the uncanny, comic connections,, and ideologies,, divine intervention etc has to be confronted,, in this instance,, there, writer,, everything went,, lahlah lah when i found out1999 my first son was deaf,,,, your film baby driver now he is 21 effected,, very deeply as a deaf man him and he would love to meet you,, and help you do baby driver two accompanied rap back, on his life in the deaf community London as an artists and lover of fast cars,, and anti war gang block buster, he has all the locations and sights he just needs u when u next in London,, he is Leonardo Patterson on Facebook but as his mum - an interpreter,, i have to translate he wants to take u top the 32 floor of the shade, an ask u how come sign language music blips u got him quite emotional echoes his child hood with his Jamaican father,,,, he just wants the anti war second mix,, none violent comedy,, with bil bailey unit as a mixed race teenager growing up in south London, he has seen the,, how gangs nonviolence,, have ruined it,, for, cant give any more away he cant work out how to meet your pr,, as he is dyslexic,, soi he is getting me to write this,, Lamborghini,, s are his love,, its cosmic,, could u make a,, deaf teeagers dream come true,, we could meet you clpahm picture house where wesaw bay driver with subitles at thier subtitles for deaf club every Thursday,, can you messge me onfacebook messgenr,, thanks his deaf club,, eevry wed,, would also love avisit,, deaf club central, reards su and,,, leonardo patterson,,,

Everything - the script, the cast, and especially the highly - anticipated performance of Heath Ledger - seemed to work together to make that film the classic that it became in 2008.

She's starred in 28 films and a lot of stage and TV work - everything from the Arena Stage in Washington, D.C., to the New York Shakespeare Festival.

The 26 - year - old Oscar nominated actress was joined by the stars of The Theory of Everything, Eddie Redmayne and Felicity Jones, who are both also nominated for their work in the film.

Despite everything you have gone through with Tommy, you're working with him on another film, Best F (r) iends, which you're writing and directing as well as starring in with Tommy.

There's neither the overheated lyricism of Raging Bull nor the pulp grittiness of a noir like The Set - Up; everything in Kuosmanen's film feels earthy and grounded, and, unlike Bill Conti's work in Rocky, Kuosmanen forgoes a non-diegetic music score, thereby denying us any easy emotional signposts.

A highly fictionalised account of the life and work of Jiro Horikoshi (Hideaki Anno), and adapted from Miyazaki's own manga, The Wind Rises is a period drama that has everything you want in a Studio Ghibli film.

But even these crutches aren't funny anymore, as tired as everything else in this homage to 80s cop films that is neither consistent enough to work as a satire, nor focused enough to work as a rehash.

It's nearly everything else in the film that simply doesn't work.

by Walter Chaw As a huge admirer of John Sayles's middle - period body of work — a period marked by such pictures as Matewan, Eight Men Out, and Lone Star (still my pick for the best American film of the Nineties)-- it pains me to look at something like Honeydripper and recognize in it everything I like about Sayles side - by - side with everything that's fast making him irrelevant.

What really makes this work is the fact that he manages to juggle all of the film's tones and always keep in mind that everything depicted here — even the stuff that Ralphie isn't privy to — is imagined from the perspective of a child.

(There's an amazing moment of recognition, late in the film, when she looks into a mirror and realizes that everything she's worked for is about to be lost, and we see the determination that has carried her for years begin to melt away.)

The movie is directed by Rupert Goold, who previously helmed an episode of the miniseries «The Hollow Crown,» and co-stars Gretchen Mol of «Boardwalk Empire» as well as Felicity Jones, who was recently nominated for a Best Actress Oscar for her work in the 2014 film «The Theory of Everything.»

Everything that worked in the first film — the isolated locale, the details of a makeshift society, the aura of mystery — is tossed aside here.

What You Need To Know: Arguably the most famous scientist in the world, Stephen Hawking's story has been brought to the screen before (Benedict Cumberbatch played him in a television film a decade ago), but «The Theory Of Everything» marks the first time the story's made it to the big screen, and has some hefty names behind it: an adaptation of Hawking's ex-wife Jane's memoirs «Travelling To Infinity,» it's backed by «Atonement» producers Working Title and is helmed by Oscar - winning «Man On Wire» and «Shadow Dancer» helmer James Marsh.

I was lucky because the first films I made were so small and so D.I.Y. that everyone did everything, so if I wasn't acting in a scene, or writing the next scene we were shooting, I was holding a boom or a camera, and sitting and working on the editing at night.

As for Simmons, while he may be familiar from his great work in everything from «Oz» and «Burn After Reading» to the Sam Raimi «Spider - Man» films, it is fair to say that he has rarely been given the chance to go off the leash and run flat - out like he has here.

This film doesn't have any flaws, it's perfect, from the soundtrack to the cinematography, the performances, the costumes / production design, the direction, the story, everything works in harmony.

But everything works out in the favor of this film, which is the most enjoyable entry to the so - called Marvel Cinematic Universe born out of Disney's purchase of the company.

But Mahershala Ali's astonishing work in Moonlight, which makes for an excellent way to reward the film even when it may not win the top prizes (see best drama, above), ought to be rewarded here, even if its understated power is pretty much the opposite of everything the Globes stand for.

Everything that makes Chan - wook's films work so well seem to be present here in this very first look at the film.

Aussie filmmaker Nash Edgerton has done pretty much everything in the medium of film, from writing, directing, acting, producing, editing and even stunt work...

These two components work together so well that they actually weaken the movie as they underscore how badly everything else misses the mark in comparison and leave viewers yearning for a film that could have capitalized on this project's potential.

Travis was the Director of Photography and Editor for 5414 Productions» friendly fire documentary A SECOND KNOCK AT THE DOOR.Travis puts to good use his Bachelor of Arts in Film, working with a wide array of clients, shooting everything from commercials and television shows, to documentaries, webseries, and feature films.

This version, starting with Episode 1: Tangled Up in Blue, captures everything that worked so well with the film and instantly feels fresher and livelier than other recent fare (The Walking Dead, Batman).

The show opens on an explosive installation in the mezzanine that pivots from 1966 to 2009 with film, sculpture and paintings referencing everything from the Taliban to UFOs to the German working class.