Sentences with phrase «if everything in this film»

Not exact matches

«If what the public wants is immediate and free access to the Olympics, then the network needs to get a cable partner and show everything live, wall - to - wall, and get Bud Greenspan to do the show in prime time, present a completely taped, movie - fied package,» he says, invoking the name of the Olympics» most renowned film chronicler.

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.

If good intentions were everything, this benevolent film would be Best in Show.

Everything that happens in this film is for a purpose, even if it brushes through everything quickly due to it's very lEverything that happens in this film is for a purpose, even if it brushes through everything quickly due to it's very leverything quickly due to it's very low budget.

That crazy mask in the photo above was also in teaser, but we have no clue why or what or any of that, but suffice it to say, if you've seen any of Don Coscarelli's films, you know to expect any - and - everything.

Christmas, giant monsters, rock and roll, talking animals, toys coming to life, magic; it's pretty much everything I would want in a film if my head was cracked open and pure into a cinematic jar for preservation.

Goring is a clear stand - in for Oscar, which the film plays for everything it's worth, yet it avoids showing the degree to which Sir Robert is an equally relevant, if less obvious, stand - in for Wilde.

Will be awesome if... there's a surprise or two that's not in the trailer, which appears to give away everything except the last two minutes of the film.

It is a shame that this film isn't as good as it should be, but if you throw everything else out the window for a little less than 90 minutes, some fun can be found in this foreign language film.

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 thought about simply explaining what happens in this film to allow people to understand how overwhelmingly ridiculous it all is, but the truth is that if I wrote down everything that happens in this movie scene for scene, you genuinely would not believe me.

In the same way, if you've decided not to see the film, the game does a good job of tying everything together into a complete story.

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.

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.

There's all kinds of complexities inherent in the film, and even if the movie turns out to be everything we hope, it doesn't really seem to be something that'll get a lot of awards play.

«Touchy Feely» Lynn Shelton's latest isn't perfect, but damn if its highs don't exceed just about everything else I've seen this year, packing more emotional wallop into a single scene than most films do in their entire running time.

Also great (and everything Smith does in this film is great) is Dench and Smith's relationship where the two legendary actresses get to play off of one another with such naturalism that you wouldn't be surprised if they'd been acting together their entire lives.

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.

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.

I seems as if they wanted to film in black and white (it's likely that the money hungry producers wouldn't let them) because everything is composed in harsh blacks and whites.

Since seeing the film in May at the Cannes Film Festival and in a second viewing more recently, I've wondered if everything Blanchett does is scaled correctly.

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.

If everything in Fiennes's film was quite as staggering as Redgrave, we'd be looking at a Shakespeare adaptation for the ages.

If the finale verges on a rehash of themes in The Wrestler (sacrifice everything for the thing that you love), the film nevertheless has a forceful directness that cuts through its murky ambiguities.

And if this tasty slice of Toon Sandwich leaves you hungry for more, you can find further spoofs that mercilessly mock everything from the latest Star Wars movie to Sean Bean's tendency to die in so many of his films on the ArtSpear Entertainment YouTube channel.

If you're living in Austin or thinking about moving there, check out these five notices for everything from ABC's new drama series «American Crime» to short film «Booty Call of Cthulhu.»

If the film is trying to convey the importance of the main character, nearly everything is at least somewhat significant in the life story of that person.

But I'm the first to admit that I haven't seen everything, so I'm going to start including just title and basic info for films that I've heard positive things about but haven't seen myself; if you have seen a film that's listed without a blurb, please feel free to write a little blurb and either send it to me (faithx5 AT gmail DOT com) or post it in the comments, and I'll include it for any future showings of that film, credited to you.

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

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.

She carries the film in a role that, if misjudged, would cause everything else to suffer.

As a note, I've included everything I've seen so far in 2014 (something approaching 200 films), regardless of if it's been released yet.

If I am not mistaken, Carrell actually allowed Apatow to film him have a real chest wax and everything that happens in that scene are Carrell, as well as the other actors standing and watching, creating the jokes with whatever feels natural.

Even if you go in with no knowledge of the film's final plot point, everything in the film falls into place to make the moments preceding it all the more heartfelt in retrospect.

That might have been what people were looking for back in 2001, when nobody was quite sure how this would play as a film franchise, but with everything that's happened in the interim, don't be surprised if this feels a little quaint.

It is everything I like in a film, big performances, stylistic rigour, difficult themes, and that it utterly doesn't give a shit if anyone likes it or not.

The film documents the situation well in its own cinematic fashion, creating a perfect sense of tense drama and intrigue, even if we know everything turns out fine in the end.

But anything I could say about this sequel — 30 years on in its internal world, 35 years on for us — even if I spoiled almost everything about the plot and the characters, could just as easily be said about the original film.

This movie is ridden with plot holes, it has an unacceptable amount of logic issues, Mystique's costume is distractingly fake and silly looking, Anna Paquin gets a title card yet is in five seconds of the movie, multiple story beats are repeated and the narrative puts into question everything that's happened in previous «X-Men» films, but, if you can get past the fact that the «Days of Future Past» narrative is downright ridiculous, you can still enjoy some of the mindless, summer fun — and Quicksilver's sequences, because that's high quality cinema right there.

The first impression Kim Pine makes says nothing but ass - kicker, even if she doesn't do any actual fighting in a film with plenty of combat, she commands everything in front of her drum kit; each war cry pre-song is dynamite.

If everything continues to fall into place behind the scenes, then Martinez will quickly make himself more than useful in the production of Wolverine 3, and provide a score against which the film's actors will find room to perform and further develop their individual characters.

SHHS: If everything goes to plan what is the tentative release date for the film and what formats will it be available in?

The Third Wheel isn't a good film, but it isn't the worst film in the careers of any of the actors involved, so if you watch anything and everything with Affleck, Damon, Wilson, or Richards, you'll most likely find it at least worthy of a rental, and you might even come away liking it in a modest way at times.

This one boils down to a film to watch for completionists — if you have to see Pegg in everything he's done then this should be on your list.

But while many of us don't need to know who's who and why, the film pitches itself as potentially being most satisfying to an audience who know everything: you or I, cinephile reader of Film Comment, might enjoy this film quite a lot, but imagine how much more we'd enjoy it if we were the ideal viewer it presupposes, who can spot specific winks at iconic moments in Captain America # 332 or Avengers # 123.

Since many of you might not have the time to read a full report or you just might not care about everything I did, here's the most important thing I want to tell you: if you are a fan of Zack Snyder's three previous films, Sucker Punch is going to ram its figurative fist in your face with how cool it is.

I haven't seen the film, but if it features hours of Jesse Eisenberg typing away in front of a computer screen ignoring everything else, then it's accurate.

It's also nice to know that the film isn't just a rehashing of Raimi's first movie, but rather a whole new story with new characters in an otherwise familiar setting, and if the early buzz from the film's world premiere at last month's SXSW festival is any indication, Fede Alvarez's remake / reboot / sequel (whatever you want to call it) has everything horror fans could possibly want — namely, the gooey red stuff, and plenty of it.

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.

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.