Sentences with phrase «often films are made»

Often films are made to coddle its viewers, to stray from the truth, to feed into a virile formula we've become desensitized to.

The words «based on a true story» can strike dread in the heart of the frequent moviegoer, since so often a film is made no more interesting by the fact that it's about actual events.

Not exact matches

While I welcomed all the attention Oliver was bringing to school food reform, I was often quite critical of the show, either because Oliver was hiding the ball from viewers in some fashion or because his filming techniques unfairly made LAUSD officials look like buffoons or villains — or both.

Backed by scientific research, the film's doctors and expert researchers made a radical but convincing case that modern diseases can be prevented and often reversed by leaving meat, dairy, and highly refined foods off the plate and adopting a whole - food, plant - based diet instead.

These cases are often dealt with outside the criminal justice system: a woman filmed crushing a kitten and the video's cameraman both lost their jobs following a «successful» human flesh search and a man recorded arguing with a foreigner over a traffic violation was forced to make an apology on national TV.

This law, however, is often disregarded when such political films are made supporting the ruling People's Action Party (PAP).

It is a film of many a missed chance and I often felt like shouting at the screen to make them listen to sense.

«People make decisions based on what they can afford, and sadly what they can afford often is cheap foods,» Ritz explains in the film.

Shooting film is a bit of a guilty pleasure, the results are often hit and miss but with just one chance to get it right it makes the outcome even more magical.

Downey Jr. has a distinctive acting style that is often the saving grace of many otherwise forgettable films and his work in both the Iron Man films plays a huge part in what makes them so enjoyable.

There's nothing wrong with reworking the score of Annie — as this film does — but too often, the movie seems a little embarrassed to be a musical at all, making it seem as if it's having a crisis of confidence.

Needless to say, this film is hardly as driven by its musical aspects as its 1969 counterpart, and makes sure to remind you by underusing Richard Addinsell's score, which, upon actually being used, is typically not fleshed out to the fullest, and is all too often tainted by a degree of conventionalism that further disengages, but ultimately does only so much damage to Addinsell's efforts, which are still spirited enough and recurring enough to play something of a hefty part in breathing some liveliness into this generally dry project.

Unfortunately, he has only made a handful of films, though, and there is often long periods inbetween.

With a giant god like hand, Whedon destroys viewer expectation by carefully crafting the perfect satire film with a wit, intelligence and depth that is often lacking in the films it makes fun of.

They pull you out of the moment far too often to switch to the control room sequences - which is what makes this film entirely unique and interesting - and funny!

Easily the most ambitious film of the director's career, but also the most infuriating for all of the sociological and psychological points that it tries to make in ways that are too often unearned or poorly defended.

When films are made about straight men in this predicament, they're often considered explorations of a «midlife crisis,» but Denis» film poses the questions: What if crises aren't limited to a certain age, and what if love itself is the crisis?

There's no looming apocalypse or badder - than - bad supervillain that often make these films so unctuously serious (which also render them faintly ridiculous).

Mr. Berardini's packed documentary makes its case early and often, perhaps too often, but it's more chilling than your average issue film.

And MY point is that the failure of SOME female - led films is often used by the industry as an excuse not to make more, even when the failure of SOME male - led films never stops them from making more.

On the obverse side of the same coin are the character traits that often make his films worthwhile.

Directed by horror expert John Carpenter, Masters of Horror: Cigarette Burns concerns a man who makes his living hunting down films that are often thought lost.

The film works up to a totally conventional ending: It's never much of a comedy or an exploration of the phone - sex phenomenon, and it often seems to be just an excuse for Madonna, John Turturro, Quentin Tarantino and other Lee pals to make cameo appearances and mug for the camera.

Everyone concedes that this 1941 Hitchcock film is a failure, yet it displays so much artistic seriousness that I find its failure utterly mysterious — especially since the often criticized ending (imposed on Hitchcock by the studio) makes perfect sense to me.

Denis films the men around Isabelle with the same tenderness that she affords her heroine — though this doesn't blind her to their myriad foibles and failings, any more than she is tempted to make a martyr of the self - pitying, often oblivious Isabelle.

Directed by Ernest Dickerson, the film looks fine, as one might expect, but isn't particularly funny and often makes no sense.

Making a film adaptation of Philip Roth's Pulitzer Prize - winning 1997 novel American Pastoral, often named one of the best books of the 20th century, would be daunting to any director.

One reason why he formed a team to make «Dog Eat Dog» and «First Reformed» of people who hadn't made films before and were often just in their twenties.

It's as if the film hadn't quite made up its mind on how to build these crucial and often brutal confrontations.

The film often veers into the realms of «torture porn» while trying to make comment on our interest in such material, and this is more than a little dishonest.

Ford made his directorial debut six years ago with A Single Man, a beautiful and often painful film about love and loss, and now he's back with a very different type of movie.

It makes you wonder why film as pure experience is often frowned upon in critical circles, as if «visceral» is synonymous to «cheap thrills.»

However, that film was a great deal like the other wise - cracking crime comedies that have come out since Tarantino's debut, often encroaching into Guy Ritchie territory, except without the skillful writing or wit required to make these eccentric oddball characters remotely appealing.

The film is, as I wrote in my own review, an immaculate and often startling piece of work, and while I think Haneke has made richer, more satisfying films in his career, I'm already looking forward to revisiting this one.

Often times, when an action film like this is a hit, the studio will often make a major downgrade on the director for the seOften times, when an action film like this is a hit, the studio will often make a major downgrade on the director for the seoften make a major downgrade on the director for the sequel.

When he talks about film - making, it is very often «we».

We don't make enough room in our movie culture for imperfect films, even though they're often where you'll find some of the finest and purest filmmaking.

What's often forgotten in that honor is the talent that gave her a successful 25 year making films for -LSB-...]

Even when the films» stories are set in distant lands and deal with ancient empires, her cleanly organized frames (often filled with carefully spaced plants and animals) and characters» lightness of motion make the fantastical always seem within reach.

It's perfect, too, because Parker's background in commercials often leads him to make films that are told in images impossible to misconstrue with concepts that aren't necessarily substantial enough for a feature.

Ingrid Goes West will make you think twice when you next log into post the latest photo of yourself on whatever social media platform you frequent and thanks to standout performances from its two lead actresses, Spicer's impressive debut film overcomes some highly implausible plot developments to become a memorable and in many ways important musing on our growing dependency to be connected to an often fanciful online world.

When artists make films about artists, they too often portray them as misunderstood geniuses, whose personal torment and torturous indulgences are the price we may for their great works.

«Tom DiCillo has made an extraordinary film that is simultaneously meditative and exhilarating, surreal, and often heartbreakingly beautiful, Down In Shadowland is a masterpiece of keenly observed human experience that transforms the subway underground into something deeply mysterious and mystical.»

In our dossier on «American Extreme», we are joined by guest co-editor Jack Sargeant: not, in this case, to make «sense» of these films as such, but rather to engage with more sensorially demanding cinematic experiences, often well beyond the scope of what is deemed acceptable.

Festival organiser Michael Eavis is a constant ironic presence, his beard in various states of disarray depending on the year.Although the soundtrack is superb, the film is too long and the lack of factual context often makes you wonder just what you are watching and when.

WHY: «The Other Woman» is one of the worst movies you'll see this year — the kind of film that gives female - centric comedies such a bad name that it's no wonder Hollywood doesn't make them more often.

Personally, I'm not a fan of this genre and can't fathom why anybody would be interested in making this, although I am fully aware that family films can make serious money at the box office — despite their (often) poor quality.

Of course, it's often predictable, and the characters make a few silly choices, but this film mines one idea for all it's worth.

The talk was often of two films, each roughly covering three books of the six - volume manga (Otomo's two - hour original film was made before the books had finished, and ends differently).

But the film, which tells the story of how mystery man Tommy Wiseau made what's often been called the worst movie of all time, The Room, has earned mostly positive reviews and was nominated for two Golden Globes, including Best Picture (Comedy or Musical.)