Sentences with phrase «life than any other film»

Not exact matches

While the studio did not name the troubled film, Variety and other outlets reported that the culprit was believed to be the live - action, computer - animated hybrid Monster Trucks, which cost more than $ 100 million to make.

Turtorro can not save this film, but so help him, he tries, and he goes further than anyone or anything in bringing life to this bore, which still has enough other strengths at its back to be brought to the border of true decency.

This wry, wonderfully detailed film catches the enormous imbalance of a morose teen with no life experience other than the thousands of fictional and pop - culture references that fill his head and his room: A sketch of Woody Allen's head hangs over Oliver's bed.

The first hour of the movie is virtually unwatchable, with Braff oddly sprinkling in fantasy sci - fi sequences that are supposed to convey the character's inner - life, but never really add anything to the film other than make it feel alternately goofy and pretentious.

Violent content is minimal (other than a religious fanatic blowing himself up) leaving an otherwise thought provoking film that promotes the idea of intelligent life on other planets, and maybe even in Hollywood.

It can be difficult to access independent and limited release films if you don't live close to a cinema showing anything other than blockbusters, or if you can't afford to pay climbing cinema ticket prices.

The Way Way Back does generate a fair amount of laughs throughout the film, but misses on the emotional level because of the underplayed drama between mother and son — a shame because Collette's character had real potential to be more than just a naïve mother who is content with looking the other way for everything in life.

Because the film sticks so closely to Megan's perspective, we see the Iraqis, whose lives the U.S. military upended through their invasion of the country, as little more than Others, giving off the feeling that they're merely supporting players in this one American woman's emotional journey.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

The same would hold true of a Lead Actor bid for Boseman — though James Brown is an enormously compelling real - life figure whose life is replete with the material that wins actors awards, the Best Actor race more than any other acting category is closely tied to the Best Picture race, and Boseman will likely struggle against competitors in stronger films overall.

While other films have played with her image, Life Of The Party (directed by her husband Ben Falcone and written by the two of them together) is the first film that leans so fully on the sweet side of her, with results that are more conventional than her best work but funny and sweet nonetheless.

Overall, The Danish Girl is a more nuanced exploration of the life of a trans person than other trans - films I saw at TIFF this year (here's looking at you, About Ray).

So no great surprise here that The Lincoln Lawyer turns out to be superior piece of crime storytelling with some characters clearly designed for recurring roles (in other novels and perhaps other films should this one do well) while others are designated for showy guest appearances as larger - than - life evildoers or tough - guy eccentrics.

Much like with Renoir's other films, Toni is more preoccupied with the rhythms of everyday life than strict plotting.

Ostensibly a documentary about a real - life horse whisperer, this film actually has more to say about how people treat each other than how they interact with horses.

If you want to break the film into thirds, the scenes with Jude Law at the diner which bookend the film are adequate, the middle portion involving the stalking husband are dreadful, and the film comes to life a bit during the second half during the Natalie Portman scenes, mostly because her character is far more interesting than any of the others up to that point.

His success with «Alias» ultimately launched his career, and now, ten years later, here he is approaching A-list status, starring in a fine - looking action film, sharing the screen with none other than, in the words of Ricky Gervais, «the greatest screen - actor to have ever lived» — Robert De Niro.

The Life Aquatic, in other words, contains a great deal more activity and adventure than Anderson's previous films.

The movie also furnishes a resonant complement to other TIFF darlings that have enjoyed film culture's attention throughout the fall: as perceptive but less schematic than Mudbound, and even more credibly lived - in than The Florida Project, which could easily have been Méndez Esparza's title.

Unfortunately where I live it can be very difficult to track down films in languages other than English (only place that properly stocked them and classic film closed down a few years ago), but this one definitely seems to be worth the extra effort to track down a copy.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

The film's few scares and gory moments fail to compensate for the fact that the story really isn't about anything other than a big monster living in the basement.

Austrian film - maker Michael Haneke has often been open to the charge of obscurity, ambivalence and obliquity, but no one has ever accused him of suggesting that life is other than a vale of tears best endured by honesty, love, unremitting work and a frank recognition of its essentially tragic nature.

The first terror is harder to put on film, but director Denis Villeneuve brings the second to life with this freaky and audacious contact sci - fi — and makes it something other than terror.

And until then, the film is so remarkable at synching its picturesque style to Moonee's seemingly limitless freedom that the one time they do fall out of sync feels jarring, almost offensive: In long shot, Moonee and her friends charge past a series of stores and toward the promise of ice cream, and even after the children have exited the frame, the camera lingers on the sight of an obese person on a scooter riding in the other direction, the sound of the scooter going over a speed bump nothing more than a punchline, an easy potshot, at the expense of a person who isn't even a bystander to Moonee's life.

Watching Liusaidh return to the same locations over and over again throughout the film gives the audience a sense of the true loneliness of her life; she clearly finds more comfort in these places than she does with other people.

Yes, it's a love story but it's in the details of their lives that make this something more than a silly romance film to take your significant other to.

This French film follows Rose, a young women determined to break free from her stifling life and amount to something other than a housewife.

4 Still others see Marge as the moral center of the film, suggesting that it is her very morality that gives her the ability to love and empathise, but also the capacity for shame — something sorely lacking in most of characters.5 The thing that Marge «just can't understand,» in her brief conversation with Grimsrud, is this: «There's more to life than a little money.

These moments are rooted deeply within social realist cinema, and the everyday interactions of these men and the women in their lives reveal far more than any of the other, more grandiose statements the film attempts to make.

The «Evil Dead» series at times had more in common with the Three Stooges and Warner Bros. cartoons than it did with other zombie films like «Night of the Living Dead» and «Dawn of the Dead.»

Other than the announcement that the ending would change, the other changes from this stage to celluloid transition was casting; French Bob (played by Inglourious Basterds» Denis Menochet on the theatre stage) became Mexican Bob (Demian Bichir), James Remar «s part was re-cast with a bonafide movie star (who we won't discuss until after posting our spoiler warning), and Amber Tamblyn «s Daisy was recast with Jennifer Jason Leigh (whom, I will say I spotted in the audience of the live - read talking to Harvey Weinstein and I astutely wrote that she should be in a Tarantino film; hey readers, sometimes armchair casting actually happeOther than the announcement that the ending would change, the other changes from this stage to celluloid transition was casting; French Bob (played by Inglourious Basterds» Denis Menochet on the theatre stage) became Mexican Bob (Demian Bichir), James Remar «s part was re-cast with a bonafide movie star (who we won't discuss until after posting our spoiler warning), and Amber Tamblyn «s Daisy was recast with Jennifer Jason Leigh (whom, I will say I spotted in the audience of the live - read talking to Harvey Weinstein and I astutely wrote that she should be in a Tarantino film; hey readers, sometimes armchair casting actually happeother changes from this stage to celluloid transition was casting; French Bob (played by Inglourious Basterds» Denis Menochet on the theatre stage) became Mexican Bob (Demian Bichir), James Remar «s part was re-cast with a bonafide movie star (who we won't discuss until after posting our spoiler warning), and Amber Tamblyn «s Daisy was recast with Jennifer Jason Leigh (whom, I will say I spotted in the audience of the live - read talking to Harvey Weinstein and I astutely wrote that she should be in a Tarantino film; hey readers, sometimes armchair casting actually happens!).

It's not a film that needs to be seen on the big screen, but Life of the Party is more light - hearted and jovial than most other movies playing in theaters right now (independent and big - budget films alike) and should please the steadfast members of McCarthy's fanbase.

The most walk outs happened during The Raid 2 and The Voices more than any other films I went to, and I remember distinctly standing ovations at Boyhood, the Ebert doc Life Itself and The Raid 2.

I remember watching Live and Let Die more often than any of the others, probably because — crushes on Jane Seymour notwithstanding — as a viewer without any working sense of social context, it was the easiest film of the series to just sit back and enjoy.

In a Facebook Live filmed on the «Avengers» set, Downey's Q&A was revealed to be shot by none other than Tom Holland, who plays Peter Parker in the Marvel Cinematic Universe.

In The Martian, Mars itself doesn't represent hope (or anything other than a colossally unworkable living environment, per Gravity two years ago) but the behaviour of the characters within the film suggests the value of intelligence, optimism, and perseverance nonetheless.

The list of icons making appearances was truly unprecedented: Superman soars twice — once in the «return» and the other as Ben Affleck; Crockett and Tubbs exude cool; Ethan Hunt falls short; Captain Jack Sparrow sets the stage for the finale; Jack Black sometimes wears stretchy pants; Huey Long is resurrected and somehow over-played by Sean Penn; the mass appeal of the DaVinci Code novel fizzled onscreen; Robert Altman's amazing career ended with an excellent adaptation of a radio series starring Garrison Keillor's made for radio face; Johnny Depp tried to untrack his career with The Libertine; Nicolas Cage was front and center in the disastrous remake of The Wicker Man, but if the preview is any indication, his sleep - walk was merely a tune - up for this year's Ghost Rider; Woody Allen (with Scarlett Johansson as his muse) re-emerged with his best comedy since Crimes and Misdemeanors; amazingly, Jen and Vince's real life break - up was more entertaining than the film version; and while on - set hook - ups seem to the norm, how could the dreadful You, Me and Dupree have been an aphrodisiac for Kate and Owen?

If you have older teens begging for an action film, unfortunately they don't come much tamer than this, even though it includes some action violence, two unneeded sexual expletives and other profanities, along with the overall theme of glamorizing a life of crime.

During a recent interview with Oregon Live, none other than Patrick Stewart, Professor X himself, made some very interesting comments regarding the film, saying, «What I'm excited about is that we have been talking about a Wolverine movie, which would team Hugh Jackman and myself together.

The film is surprisingly spiritual, in fact, not simply an excuse for mayhem but a tale with genuine ideas about our place in the universe, our reliance upon others for our own karmic enlightenment, and how death is inherently even more ridiculous than life, no matter how grizly the end.

This gives Tarzan the feel of a live action film moreso than others.

It's a film, not just about race, but about class and gender as well, and how the station one's born in will practically determine the ease by which one's life will proceed, for no other reason than societal norms and traditions.

I really hope that you and others like you (Jeffrey Wells comes to mind), will have some effect in giving this film a strong theatrical life, both here and abroad — it really deserves a bigger audience than films of this «size» usually get, in my view.

In the end, Levant's versitility and centrality to the film edge out Phoenix's remarkably physical, extreme - method performance, and Day - Lewis's uncanny ability to breathe life into an impersonation, either of which would be more than worthy winners in any other year.

The 17 - year - old beat out more than 3,000 other actors to play the role of a young man stuck on a life raft with a tiger in the 3D film, which has a December 2012 release date.

The forthcoming live - action film based on the massively multiplayer World of Warcraft will be directed by none other than Sam Raimi, Variety is reporting.

Each film suggests the possibility of a different experience of the present, a time other than that dominating contemporary life.

Each film thus encourages reflection on the possibility of a different experience of time — a time module other than the «on the clock» time of factory labor and the «clock time» that dominates contemporary life.

It shows us the world's most famous living painter, who turned 80 in February, at work with greater intimacy than any other film portrait of a contemporary artist provides.