Sentences with phrase «thoughts on the film from»

Not exact matches

The film is loosely based on the ABSCAM investigation of the late 1970s and early 1980s, in which the FBI got several members of Congress on videotape agreeing to accept bribes from a man they thought was a wealthy Arab sheik.

The images from the film are forever imprinted on my mind, and I still think of Moses as Charlton Heston and Pharaoh as Yul Brynner.

I'm not sure the film even needs such a premise to be effective, (in fact, it may distract from the main point a bit... and I hate to think there are people who need it to be reversed in order to empathize), for what really moved me was its depiction of bullying, which is based on real reports from LGBT kids.

While I'm not quite sure what to do with all the information from the film, I think it has a good point about protein and what «needs» to be on our plates at meal time.

The coda to the TurinGames will be inspired by Venice's annual winter Carnevale — think acrobats,high - wire acts and actors in costumes from the 1971 Fellini film The Clowns.When the tumbling is over, Italian tenor Andrea Bocelli (above) will performand pass the Olympic torch to Canadian pop star Avril Lavigne, who will acceptit on behalf of the host of the 2010 Games, Vancouver.

I hope you see the film and let me know what you think by posting on our Facebook Group page, http://groups.to/includingsamuel/ Looking forward to hearing from many of you!

I can think of more than a few presidential candidates who would benefit from watching this film, from Mitt «Our most basic civil liberty is the right to be kept alive» Romney to Ron «Lincoln was a despot» Paul to all the Democrats who didn't stand with Chris Dodd on the FISA bill.

Instead, we see films based on a huge range of issues, from immigration to healthcare to Islam, which pushed the intellectual envelope and provided entertainment and food for thought for political fanatics everywhere.

In a Daily Politics film, Giles Dilnot puts on a thinking cap to look at what they do with Nick Pearce, from the Institute for Public Policy Research, and Conservative MP Charlotte Leslie, who was at the Policy Exchange think tank.

«Knowing what we know now... film footage of Dealey Plaza from November 22, 1963, seems pregnant with enigmas and ironies — from the oddly expectant expressions on the faces of the onlookers on the grassy knoll in the instants before the shots were fired (What were they thinking?)

So Shostak — who has advised Hollywood on a number of feature films, including 1997's «Contact» — thinks this year's surge may just be part of Hollywood's regular cycle, which tends to feature waves of alien movies from time to time.

Like the dad who smeared peanut butter on his toddler's nose, then waited for a bear to lick it off (photo op, he'd explained) or the dude who left a cookie trail leading from his backyard to his couch because he thought it'd be fun to, you know, film a bear eating cookies while watching TV.

I would think turning the jars would disrupt any of the organisms from creating a film on the top of the liquid

a predictable film that could have benefited from a little more thought and perhaps less reliance on clichés.

«The Shape of Things» marks the last good film LaBute has made (for whatever reason he moves on to goofy Hollywood thrillers like «The Wicker Man» and «Lakeview Terrace» and the embarrassing «Death at a Funeral» remake - one would think those films were from a totally different human all together; my bet is he became a drug addict because no one looses such talent so quickly) but this wonderful, tricky and rewarding series of films is well worth your serious time and attention.

As you watch any of those films, you think about what they're trying to say, or what they «mean,» or on a much simpler level, what the heck is happening from one minute to the next.

American Pie Presents The Naked Mile's latter half, as a result, moves along at a plodding pace that's compounded by an episodic structure, as the movie lurches from one ill - conceived set - piece to the next with little thought towards momentum or consistency - which inevitably does confirm the film's place as just another interminable waste of time designed to cash in on the original trilogy's success.

-- but the issue was raised in the hubbub around the fourth film from Quentin Tarantino, Kill Bill: Volume 1, so I think we're owed an answer on this pressing matter.

But there's absolutely no flow to the film's screenplay - which is based on a series of short stories by J.T. LeRoy - as it lurches from one vignette to the next, without any thought to keeping the audience engaged.

If you look at the start of the film carefully, when the crew is first getting into the alien mothership, you can see what look like pockmarks on a wall from zap gun fire, I think.

The best performances lie with the supporting players (aside from Umbers, who's so dull that you'd think he was one of the many statues you see throughout the film), and the finest one comes from Tom Wilkinson, playing a twice - divorced man who sets his sights on Stella, knowing full well she'd be in it just for the money.

Sure, this film's subtlety lapses are limited in quantity, and even when they're at their very worst, a descent into just plain corny is never made, or at least very rarely made («I thought I was gonna die from your love»...), but this drama can only go on for so long before slipping out of relative consistency in bonafide resonance, which isn't to say that unevenness ends there.

It is this commonality that brings them together in scenes that brought on surprising tears in a film I thought would be entirely too silly from the trailer.

By the way, speaking of names invoked, it was nice to hear the names John Huston and John Ford mentioned on your site along with your listing of some of their masterpieces (personally, I think that just about every other film John Ford made from Stagecoach on to his retirement was a masterpiece).

On a second viewing, I hope that the film undergoes a transformation from a structuralist to a post-structuralist school of thought after that demolition scene.

Robert Redford is both informative and charming in his commentary track, where he chronicles the making of the film in great detail (it was a pet project of his from way back in 1972 when the Watergate break - in occurred) and offers his own personal thoughts on the legacy of the film and the events it depicts.

Many would say that the Mission: Impossible films rest on Cruise's shoulders, which it does when it comes to getting consumers in seats, but I think this film was able to remove itself from the mediocrity shown in M: I 2 because of Hoffman's performance.

Therefore, one would think that if a film is going to be made on the topic, it should either shed new light or portray it from another perspective.

Steven Spielberg serves as producer on this latest film from director J.J. Abrams, and if you hadn't seen the credits or been told beforehand, you might well think he'd done more than produce.

This film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I think, really, the film is just the byproduct of global DVD residuals from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming from, what her dramatic need is, who she interacts with, and so on.

Unlike many of the slasher / zombie / out and out horror films, FAULTS relies on its fear coming from the audience's involvement and its ability to provoke thoughts.

The film is framed as a documentary — think The Office or Best in Show — and follows Harding from the trailer park with her foulmouthed mother (played by Allison Janney, who is already generating Oscar buzz) to the skating arena to the infamous Nancy Kerrigan hit that would define her life from there on out.

In that 1982 media - age satire from Martin Scorsese, a film that becomes more prophetic with each passing year, Pupkin is a struggling comedian obsessed with talk - show host Jerry Langford (a self - parodying Jerry Lewis) and the thought of appearing on his program.

Rather than looking at the films from an objective point of view, they largely settle on things like, «The audience thought they were paying to see TV in the theater!»

But what we learn from the book and the film is that, in all likelihood, McCandless had no regrets and that he was never happier than in the final months he lived on his own in the wilds of Alaska, with nothing but his thoughts and reflections on a short life, but one he lived honestly and on his own terms.

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.

The dreamy and detached feel of the film sets it apart from most horror films, in a way that makes it sneak under your skin (heh), becoming more disturbing as you think back on it even than it was while viewing.

Little is known about the plot, but a short synopsis posted on casting database site suggests that we can look forward to more of the same: «Picking up where the 2007 film left off with the incompetent underboss Kirill thinking that he and his henchman driver Nikolai really have inherited the throne from his crime - lord father, without knowing that Nikolai is actually a clandestine agent working undercover in Russia's federal security service.»

We will have our full interview with Alan Howarth up later this month, in which we discuss the musician's writing process, his thoughts on the Halloween films he contributed to, and learning from the School of Carpenter.

With a resume that big, it's tough to say how accurate the number is, but if you thought this might be the one with which Corman would break from the cheap, crass playbook he's relied on for over fifty years, then take another look at the cover art above and notice that the film is called Camel Spiders.

I recorded a video blog reaction with my thoughts on the film with Steve from Collider.

But 20th Century Fox seem to think they might have something, as they moved the film from an inauspicious January release date to the height of Oscar season, on a similar date to the one that proved so successful with «Life Of Pi» last year.

Finally, «Through the Producer's Lens» (4:04) has Kathleen Kennedy share her photographs from the set and her thoughts on the film.

As you're watching the trailer, every time you think you're understanding what's going on with this film and it's tone, it completely pulls the rug out from under you.

On the surface you may think a film could be fun with: The ER doctor from The Hangover, Thorin from The Hobbit, and Lori from The Walking Dead.

Armies swoop towards one another across a vast plain, each group displaying their own intricate maneuvers and battle strategies, wielding their own specific weaponry, making one think it could be a deleted scene from John Woo's «Red Cliff,» or that a fussy Middle Earth equivalent of John Keegan had been a consultant on the film, providing information on how the dwarf infantry worked, and how the elves moved in formation.

The Rock does show good screen presence, and definitely fits the role of the sergeant well, but he isn't really on screen as much as you might think from the billing, and he also isn't the most interesting character of the film.

Nicole Kidman is being mentioned as a possibility for «Cold Mountain,» but I'm lukewarm on the film and think the other three nominees will be Jennifer Connelly, for «The House of Sand and Fog» (they respect her transition from sexpot to serious actress) and Patricia Clarkson for the low - profile but much appreciated «The Station Agent.»

I thought as the film went on their performances got stronger simply because what was happening in the story required a certain reaction from each actor.

We reported on the film from the Glasgow Film Festival, so check out further thoughts here.