Sentences with phrase «about anyone in the film»

We learn next to nothing about anyone in the film, aside from the fact that Newt was once in love with someone whose family plays a large role in the events that take place 70 years later.

Not exact matches

Everything about the film and the characters in it is a throwback, and purposefully so: From their clothes (can anyone please direct us to where we can buy Stone's below - the - knee backless dresses?!

Early in my challenge I had heard about the Summer Screen series at Somerset House, and keen to include one of the evenings in my 30 Dates by 30 Challenge, I posted on Facebook to ask if anyone had a friend who might like to go and watch an outdoor film with me.

Here, respectfully, Glazer raises more questions about male reactions to sexualised femininity than anyone could be entirely comfortable answering and his film is more potent in its message for this.

Anyone who hates this movie because it does not comport with their beliefs about the «real story» is either a racist or simply misses the point: Phiona overcomes great odds to achieve what she does in the film.

The formless navel - gazing of the film's first half, which consists mostly of Ruth complaining about her life to anyone who will listen, turns into a ridiculous and bloody neo-noir in the second half.

He did several suspense films, including Johnny Allegro and Dangerous Profession, but it was his work on The Window that earned Tetzlaff a permanent place in the memories of filmgoers — a dark, chilling, and suspenseful thriller, based on the fable of the boy - who - cried - wolf, this film, about a young boy (Bobby Driscoll) known for telling tall tales, who witnesses a murder in his tenement building and can't get anyone to believe him, was an instant hit.

For anyone who finds films about affairs boring, We Don't Live Here Anymorecould feel like being stuck in a bad marriage - for all the wrong reasons.

As anyone who knows anything about LA, its police organization has had long standing problems with corruption and racism, but the film never addresses that even though one can see the roots of it in the material.

As for the rating, anyone who knows anything about The Hunger Games should know that this doesn't lend itself towards light material — this is one of the darker «PG - 13» films to be released in a long time.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Fans of well - acted period dramas and good gothic mysteries should consider tuning in but the film will be of particular interest to anyone curious about the origins of modern British horror cinema.

In American Gigolo, written and directed by Schrader, Richard Gere plays the ultimate narcissist, who refuses to care about anyone beside himself until the film's ending.

Anyone who was a fan of the «Naked Gun» movies is in for a treat - there are definitely undertones of NG «blundering good cops» about this film.

The film already played at a film festival last year and arrives in theaters this February, for anyone curious about it after checking out the trailer.

Responding to separate tweets both criticizing and thanking the creative team for the scene, Edmondson acknowledged the cameo but explained and later clarifying that anyone thinking Marvel and the creative team were making a «petty statement about the film» are wrong - making it clear he does not sing in the chorus of those lambasting the film.

On the other hand, anyone with sensitivities about how inhumane man can be towards animals will likely appreciate the messages conveyed in this film where man gets a taste of his own medicine.

Disturbingly, Bertolucci, a poet raised on the cinema in Langlois's Cinematheque, a «true artist» now refusing interviews to anyone not associated with a «major daily,» has crafted a film that talks about growing out of movie love as something inevitable and to be accepted with resignation.

It also highlights the effort that Linklater has made in support of Independent filmmaking and how he was influential in helping create the Austin Film Society whereby old film prints could be saved and showed, as well as raising money from filmmakers to help make more films.Overall, it does little but scratch the surface and a bit more in - depth analysis to his films would have been welcome but to paraphrase Billy Bob Thornton on the outtakes at the end; «Rick Linklater doesn't need anyone to make a documentary about him.

A few days ago I caught up with Jay & Mark Duplass for a chat about their new film and their filmmaking process in general, since the ways these guys shoot their films is unlike anyone else out there.

There is a thoughtful bitterness about this film, which makes it a must - see for anyone interested in the subject.

I'm not sure anyone in movie history runs as well as Widmark runs in this film, pulling Donald O'Connor - esque twists and turns that send his limbs flailing about in silhouette, and then ducking around a corner and pressing himself flat against the wall, as though wishing he could disappear into the bricks themselves.

He's not shy about shooting anyone in their way, even a troublesome girlfriend, and he's so tough that the film has to throw everything at him (starting with one of the great urban car crash stunts of its time) in the third act just to slow him down.

La La Land was probably hit worse with backlash than any other movie since I've been blogging about the Oscars in terms of a thinkpiece - prone community that really does need to run every film through the filter of «does it offend anyone for any reason.»

Aasif Mandvi hits his (very odd, in fairness) role at about twice the volume and pace of anyone else, Justin Bartha barely figures, Mia Farrow is sweet enough, but doesn't make much of an impact, and Christopher Walken is interestingly restrained, adhering to normal human punctuation for the first time in recent memory, but at the same time, hiring Walken to play an average suburban dad is about like hiring Jason Statham for a film where he doesn't punch someone in the face.

Lynne Ramsay is a tremendously talented director, as anyone who has seen her films We Need to Talk About Kevin and Ratcatcher can tell you, which makes the latest ripple in her career quite a bummer: When production began Monday on her latest film, the Natalie Portman - fronted Western Jane Got a Gun, Ramsay was nowhere to be found.

Almost everyone is talking about Cooper getting an Oscar Nomination for his role as Pat, however, I feel that if anyone in this film deserves an award it's Jennifer Lawrence.

In a film that asks for a great deal of disbelief suspension, the one thing I found impossible to swallow is that Jumpers have existed for centuries without anyone knowing about them.

However, the film is worth renting for anyone who is greatly interested in understanding more about this time in American history.

A serious - minded and decidedly adult fairy tale about a virginal young woman who learns from her brother (Malcolm McDowell) that they are descended from a race of human - panther hybrids doomed to revert to their murderous feline state while making love to anyone outside of their own bloodline — a problem as she has just fallen in love with a sweet - natured zookeeper (John Heard) who specializes in big cats — this is a film swimming in sex, violence, poetry, philosophy and swanky visuals in such extremes that it always seems to be on the verge of becoming utterly ridiculous but it somehow never goes over the edge into camp because of Schrader's serious - minded handling of the material; it may be nonsense but he never treats it as such.

«Moonlight is a profoundly moving film about growing up as a gay man in disguise, a difficult and damaging journey that's realised with staggering care and delicacy and one that will resonate with anyone who has had to do the same.

The horror of this film isn't about the name of the person behind the mask or why he stalks anyone in particular, but rather it explores the fears of the unknown assailant or more broadly, the «other.»

He exclaimed, «She was already one of my heroes, and that was before she took one of the most sought - after scripts in Hollywood and turned it into the best film about Dr. Martin Luther King that anyone will ever make.»

Anyone who sees Gone Baby Gone should immediately regret any assumptions made about Affleck in the past, as he's made a very powerful and memorable film.

Now, it is a fair question to ask why anyone who hates Edward Snowden would ever go see a film about him in the first place (especially a film about Edward Snowden directed by Oliver Stone) and sadly, the box office returns seem to indicate that even the whistleblower's partisans sat this one out.

The best film of 2017 shows a complete understanding of how children will play through, in, and with almost everything and just about anyone.

A film like Wind River usually requires a second wave of press at the end of the year, and in the wake of the allegations about Harvey Weinstein, I can't imagine anyone in their right mind sending Jeremy Renner out to do new interviews promoting his Weinstein - funded sexual - assault drama.

No one looks at photos anymore, since everything anyone would want or need to know about a person can be obtained from an oral swab (women and men visit a dating booth, where the recently amorous have samples of potential mates tested, and it's where a co-worker (Uma Thurman) tries to find out more about «Jerome,» in the film's clumsy and obligatory romantic subplot), which is helpful.

The sequel to this year's box office smashing Avengers: Infinity War (which'll be the 19th film in the MCU, for anyone who's counting), Avengers 4 — or, if you want to be official, the Untitled Avengers Sequel — is set to arrive in UK cinemas in April 2019 to bring about the end of the franchise's Phase Three.

In doing so, he misses out on establishing historical interest and wholly makes us wonder why he chose to make a film about Diana at all since this lame love story could have belonged to pretty much anyone else.

Anyone who has heard about the dual - film next sequel (and anyone who stays into the credits of this film), will know that these little buggers will all weigh heavily in the future against a purple guy who likes floating space furniture and sounds a lot like James BAnyone who has heard about the dual - film next sequel (and anyone who stays into the credits of this film), will know that these little buggers will all weigh heavily in the future against a purple guy who likes floating space furniture and sounds a lot like James Banyone who stays into the credits of this film), will know that these little buggers will all weigh heavily in the future against a purple guy who likes floating space furniture and sounds a lot like James Brolin.

With spotty acting, superficial developments, and rules that seem to be made up as the film moves along, Dead Silence is strictly only of interest to audiences who are all about scary images set to ominous music, caring far less about a good storyline to follow or characters who do or say things that might be plausible to anyone who experiences them in real life.

While Iceland has as much claim to the character as anyone and this film has some creative ideas in adapting the mythology, there ultimately isn't much to enjoy about this.

To have Dunaway here on Opening Night will be a spectacular moment for Dallas, and to have Paxton here in spirit, was a must to anyone that knows anything about this film festival's history and the people that are a part of it.»

Since its story was already related during a dull dumping of back story in the 2014 movie, Ouija: Origin of Evil may be relatively pointless, but co - writer / director Mike Flanagan's creepily effective film has at least one thing going for it in that regard: The first movie was so repetitive and forgettable that it's unlikely anyone really cares about or even remembers the story as it was told in the original.

«This isn't the piece of shit we made back in the 90s and I apologize for anyone who had to endure it,» she continued, speaking about her 1999 film «Virus.»

Anyone who saw Alps, a vicious, uncanny fable about stand - ins for the dead, knows exactly how Lanthimos manipulates the camera so that characters who are fixedly separate are still held captive together in the frame, lurking in the small silences that in his films herald a particular sort of tragedy.

But Stiller is as about as strong a leading man as anyone in comedy today, and he helps keep the film afloat despite a flimsy high concept, as do good supporting performances.

For anyone concerned about «what happens after death,» this film... Continue reading OCMC: Chris Nielsen in What Dreams May Come

I didn't care about Nick or Aurdey or anyone else in the film, except maybe for Hank Azaria's character «Animal», simply because he seemed to understand the fact that you don't mess with a big monster.