Sentences with phrase «about anything in the film»

There's no reason to care about anything in the film; it comes at you without a hint of subtlety, as if you're just expected to buy in simply because they're selling.

Not exact matches

My colleague, Kirsten, had to sign an NDA promising she wouldn't reveal anything about Smith's character ahead of the film release in order to receive a making - of book on the film.

Trump's longtime personal attorney Michael Cohen paid Daniels, an adult film actress, $ 130,000 in exchange for her signing a nondisclosure agreement in the final days of the 2016 election that kept her from saying anything about an alleged affair with Trump.

Speaking about the hymn, she said: «This song is so important to me because I never wanted anything more than I wanted to be in the film The Color Purple.

I used to do stop motion short films in college, but have been too afraid to do them for the blog (the quality of my old videos werent anything to brag about).

I'm not sure there is anything creepier than children in horror films, there is just something about taking that innocence and turning them into something dark and sinister that doesn't sit well with...

I think the film represents my thinking about inclusion more than anything I can write in a few sentences.

Trying to underplay conventional plotting as much as it can, this film is seriously meditative upon the life of a man who we barely known anything about, and makes matters worse by portraying gradual exposition in too abstract of a fashion for you to receive the impact of the would - be remedies for characterization shortcomings that do indeed go a very long way in distancing you from a conceptually sympathetic and worthy lead.

Once the fear has passed, just in time for nap, visual and musical style are sometimes played in an immersive fashion by highlights in a directorial performance by Nicolas Winding Refn that bring some life to the film, though not as much as John Turturro's inspired lead performance, which does about as much as anything in bring the final product to the brink of decency, which is ultimately defied by the serious underdevelopment, overambition, monotonously unfocused dragging and near - punishingly dull atmospheric dryness that back a questionable drawn non-plot concept, and drive «Fear X» into mediocrity, in spite of highlights than can't quite obscure the many shortcomings.

In one of the strongest scenes in this final film, a character tells Harry about the importance of words and how things that exist only in the mind are as real as anything elsIn one of the strongest scenes in this final film, a character tells Harry about the importance of words and how things that exist only in the mind are as real as anything elsin this final film, a character tells Harry about the importance of words and how things that exist only in the mind are as real as anything elsin the mind are as real as anything else.

If there are truths about Nick Cave to be found in this film, I don't know that they will reveal anything he doesn't want revealed.

While the respectable result is a more meaningful film than just about anything Mandoki worked on during his 17 years in Hollywood («Angel Eyes,» «Message in a Bottle»), pic suffers from an overindulgence of triumph - over-adversity cliches and a meandering narrative.

People like Daniel D obviously don't know anything about film, and look for improbabilities in a narrative to decide wheather its a good movie or not.

But the whole film is a missed opportunity because the situations repeatedly defy credibility, and the humor never says anything remotely fresh about human nature or the world we live in.

If Rampage's giant monsters stand for anything — and giant monsters usually do, even in films as silly as this one — it is the destructive self - interest of the monstrously rich, and there is an unexpectedly topical plot thread here about billionaire grifters in gilded office blocks getting their FBI - mandated just desserts.

I am frustrated by the lack of modern - or future - set films without strong female characters, but I'm aware that, historically speaking, women haven't been given much training in warfare or an equal share of about anything.

LaBute is in a league of his own when it comes to making a film about completely repulsive and unlikeable people and having his film be anything but.

There is always just something about his films that seem larger than life, grander in scope than anything else released nowadays — and perhaps that's his intent.

If there is anything I didn't like about the film, it's Cameron's lack of realism when dealing with the roles of children, especially Jonathan Lipnicki's (Stuart Little, The Little Vampire) character as the boy that Maguire forms a bond with, as he's too unrealistic in demeanor and too strange looking to buy as a real kid, and for that matter the same goes for Tyson Tidwell's (Suarez, The Ladykillers) demeanor (son of Rod) as well.

This is a film about a horrific act of violence that eventually results in more bloodshed and gruesomely realistic, Cronenbergian body horror than anything I've seen in a long time.

Just about any film that explores the question that all of us ponder about what happens to us after we die already starts with built - in intrigue, and while Flatliners eventually becomes a relatively standard «Twilight Zone» - esque story about dealing with the guilt and remorse of one's past to resolve one's future, it's certainly a movie that stands out as quite different in style and, to some extent, subject matter than most anything that Hollywood had churned out before.

But truthfully, it isn't saying anything about the relationship between the media and society — and the toxic and symbiotic voyeurism that fuels it — that hadn't been said already, decades earlier, in eerily prescient films from «Ace in the Hole» (1951) to «Network» (1976) to «Broadcast News» (1987).

His work also refuses to be pigeonholed; for example, defying his reputation as a period film director, 1957's The Eleventh Hour is an ensemble - cast, social realist melodrama about a rescue at a caved - in mine that equals anything made by Hollywood during the same era.

If Saving Private Ryan taught us anything, it's that you can make a damn great film about a Damon in distress.

We never learn anything about Harry's past as a husband and father, and intuit only a few traces of his background as a cop and a former alcoholic, but we discover a great deal about his emotional life in relation to his friends and former colleagues, which is all the film really cares about.

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.

The trailer indicates that Ridley's film is as much a work of Impressionism about Hendrix's experience performing as part of the 1960s London music scene as anything else - a sentiment backed up by the early reviews, with the Seattle Times» Moira Macdonald calling the movie «a mood piece, not a biopic» in her overall positive critique.

If you haven't heard anything about it or you want to learn more, here I share with you some things I learned about the film when I visited the set in Albuquerque, New Mexico, as well as two brand new images from the film below!

Is the film saying anything in particular about war or about the Middle East or America?

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.

His longing pre-fight ode to peanut butter - chocolate ice cream — «You can get it at Wal - Mart,» he deadpans — is, in its way, as revealing about the suffering athlete as anything in Black Swan, not to snark too much on Darren Aronofsky, whose recent films till similar ground.

And any time spent thinking about how ridiculous what they're actually talking about is, is still more entertaining than some of the antics the supporting characters get up to, be it John Malkovich trying to kung fu a robot or a former Special Forces soldier complaining stress or all the running he was having to do, or dear God anything having to do with Sam's parents who offer nothing to the film but reminders why they shouldn't be in it.

A beautifully - made and beautifully - written film about people stuck in a place that won't let them lead anything but a crummy, second - rate life.

Sadly, the film, which was adapted by The Artist's Michel Hazanavicius from Wiazemsky's autobiographical novel Un An Après, seems more interested in pastiching Godard's own movies than saying anything interesting about the couple.

The film can't quite make up its mind about Franco's Holy Fool character, either; we're meant to laugh at his naïveté and his malapropisms at one moment, then we find out he's a resident in a group home so we can admire his can - do attitude, and later it's revealed that he has made valuable and intelligent contributions to the sales report even though he never indicates in conversation that he understands anything about the deal.

It's interesting to see a film about a space alien that doesn't resemble anything we've ever seen before, as most others have some sort of humanoid appearance, (or reptilian, etc.) Indeed, it's a much more plausible depiction of an alien threat than most other sci - fi efforts have featured, almost the opposite in terms of story as The War of the Worlds which featured aliens defeated from exposures to germs and viruses of our own.

At a press conference held prior to the screening of his new film Men, Women & Children, director Jason Reitman dispelled the notion that the film was about anything other than human connection in the digital age.

As I mentioned in my most anticipated films of the fest article, I didn't know anything about Private Life except that Kathryn Hahn and Paul Giamatti were playing a married couple.

The actors aren't all well cast (I counted only about three I'd consider to be above average for their respective roles — Acker as Beatrice, Fillion (Waitress, White Noise 2) in the supporting role of Dogberry - the only time the audience I viewed the film with laughed at anything in the film that came from actual dialogue, rather than the injected slapstick and actors occasionally comical facial expressions, came from Fillion's delivery - and British actor Paul Meston in the minuscule part of Friar Francis) The rest often appear as though they're reciting lines without any sense of meaning in the words they are saying, and when one of those happens to be the male romantic lead, that's one hell of a liability.

After watching a film like Pulse, I feel a bit insulted that movie executives think so little about the intelligence of the American movie - going public that the vast majority of the attempts at popular entertainment are completely stripped of anything remotely resembling a thought - provoking element, eschewing those in favor of noise, special effects and music stimuli to try to induce a subconscious reaction in the audience.

More importantly than anything, it cuts close to the bone, with much of the film feeling like Gilliam confronting his own mortality: «for all the film's flaws, it feels like a very personal and moving piece of work as Qohen moves towards some kind of acceptance that his time on Earth will be brief in the grand scale of things... it's not so much a film about a search for a meaning, as an embrace of meaningless, and it's fascinating in that respect.»

The performances ring true, the focus is sharp and clear, and the themes are more compelling than just about anything found in the films of last year.

He talks about how this film is a fairytale and how he loves the little girl he cast and how honest she is in her complete inability to be anything other than herself (and, damnably, how much he let her ad lib her dialogue and thus alter his film).

There are a few things to watch for that may or may not be an indicator that a film is headed for the Oscars — and none of them include anything that just happened or is about to happen in the next couple of days.

Anything similar to In the City of Sylvia will immediately pop up on my radar, and when critics also said the film has a major surprise that people should avoid finding out about before watching, I was sold.

The interview is packed with information on the making of the film, but as always, they were being very guarded about spoilers, so don't worry — reading this will not spoil anything that hasn't already been glimpsed in the trailers.

Was there anything you learned about working in the English language that you brought to the Americanized remake of your film Gloria?

Anne Thompson interviewing Marling extensively ahead of Toronto ’14 about the film, writing «If you're eager to see movies about strong women who might actually exist in the real world, check out anything starring brainy actress Brit Marling.»

What could have been a super fun, super cool superhero adventure about a character that wears a ring that allows him to literally make anything he wants with it actually turned out to be one of the year's silliest films, not just the ins, outs and whathaveyous of the story but just the overall look and feel of it.

I never cared about anything that happened in this movie because the film makers never let us care about the main character.