Sentences with phrase «about films as a whole»

it starts with a bang and ends with a shrug, and how you ultimately feel about the film as a whole will primarily be determined by how much that initial bang is still resounding in your ears at the time it is all over.

I assumed that the discussion of distribution difficulties would be a long shot; I didn't expect there to be so little said about the film as a whole.

There were a few complaints I had about the film as a whole.

While I see your points, overall I disagree about the film as a whole.

Not exact matches

Furthermore, they can easily parody the whole position so that (as one critic, a friend of mine who is not unsympathetic to the wider process conceptuality, has phrased it) talk about divine memory may be taken as nothing more than indicating God's continually re-playing some old film or continually listening to some old soundtrack.

It didn't appear as though the French defender was too concerned about it though as the camera panned round to show him in fits of laughter filming the whole thing on his phone.

As a result, Siren City provides an insightful look into some of the more neglected areas of film noir study, while furthering larger discussions about film sound and film music as a wholAs a result, Siren City provides an insightful look into some of the more neglected areas of film noir study, while furthering larger discussions about film sound and film music as a wholas a whole.

As The Dissolve reported last year, Kaye is still bitter about the whole affair, but concedes that the performances are excellent and the overall film is «good.»

Ultimately, I found the film to be just OK, and as narcissistic and self - congratulatory as this is: the best part about the whole experience, was seeing myself on the big - screen as a panicked / witless civilian.

Family films that actually appeal to the whole family are about as rare as Cuba Gooding Jr comedies where Cuba is actually funny.

Part of what's so terrific about The Fits is that so much of it is open to interpretation, even though the film as a whole isn't that oblique.

The disc is packed with extras, including some deleted scenes that add very little, a blooper reel and a featurette detailing how Wonder Woman fits in with Batman and Superman as a DC flagship character that are all fairly throwaway, but there are a few neat production featurettes that detail how director Patty Jenkins approached making what could have been a potential disaster given the negativity towards the DCEU's previous movies, and also interesting effects details about the lighting, costumes and the chosen colour palette that may not sound like much but actually prove to be quite enlightening about the whole filming process.

As someone who appreciates the art form as it is more commonly employed, I didn't find much to love about this bleak, bloody film, whose story and characterizations felt lacking on the wholAs someone who appreciates the art form as it is more commonly employed, I didn't find much to love about this bleak, bloody film, whose story and characterizations felt lacking on the wholas it is more commonly employed, I didn't find much to love about this bleak, bloody film, whose story and characterizations felt lacking on the whole.

There is much much much to enjoy about Django Unchained, but as a whole it doesn't bite with the cleverness of other Tarantino films.

I wasn't blown away from the film as a whole but I like certain things about it.

Finally, each disc includes an assortment of outtakes and photo galleries, and the set contains a 58 - page booklet with four essays, one on each individual film and one about the collection as a whole.

Coming from the US, I take as much as I can from films that depict a culture I am unfamiliar with, but having the opportunity to discuss the technique and story of a French drama with someone who is more than familiar with the director's work and the social commentary surrounding a film brings about a whole new understanding and experience from what I initially left the theater with.

The whole experience isn't quite as good as actually sitting down and watching a movie with Wright — whose clear enthusiasm for film and gabbing about it is pretty much unquestionable at this point — but it does make for a pretty good excuse to bust out one of our best comedies since 2000 and give it another watch.

Movies based on true stories are already hard enough to critique on a plot or character level, but when you're dealing with such a harrowing, difficult story as the one about what happened on New Year's Day of 2009 in a BART Station by Oakland, California, there are a lot of things that need to be acknowledged, regardless of your overall feelings for the film as a whole.

A few jokes about a torture room might cause some parental squirming but taken as a whole, Minions is a much smarter and funnier film than most would expect.

As the engaging newcomer this series needed, stand - up comedian Cristela Alonzo makes Cruz Ramirez adorable, soulful, and worth caring about that it makes one wish the whole film had been about her the whole time; her enthusiasm is as infectious as Ellen DeGeneres» DorAs the engaging newcomer this series needed, stand - up comedian Cristela Alonzo makes Cruz Ramirez adorable, soulful, and worth caring about that it makes one wish the whole film had been about her the whole time; her enthusiasm is as infectious as Ellen DeGeneres» Doras infectious as Ellen DeGeneres» Doras Ellen DeGeneres» Dory.

Their on - screen battle could serve as a perfect example of what this whole thing called acting (and, in fact, film) is about.

The film as a whole has a similar problem, feeling uncertain at the script level about which characters to emphasize or discard, what genre or tone to pursue, and how much flashback or fantasy to incorporate.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

«From a comedic standpoint, you'll find something to laugh about at certain points during ADULT BEGINNERS, but there isn't anything to love when looking at the film as a whole.»

4:00 pm — TCM — His Girl Friday This is a remake of a 1931 film called The Front Page about newspaper buddies who go after a major story — Hawks took it to a whole new level by turning one of the men into a woman, and setting reporters Rosalind Russell and Cary Grant as a former couple, now divorced who can't seem to stay apart, either personally or professionally.

For all that the film bills itself as a character study (and a star vehicle), it is at least as much about the dynamics of a whole society under police surveillance.

Spotlight, the feature film account of how The Boston Globe broke a major series of stories about the Catholic Church's child sex abuse scandal that encompassed «not just Boston, it's the whole country, the whole world» as one character puts it, figured prominently at Deadline's The Contenders event Saturday.

Speaking at Variety's Entertainment and Technology Summit in Los Angeles earlier this week, Nintendo of America President Reggie Fils - Aimé spoke at length about the console's current success and momentum moving forward, as well as reiterating Nintendo's stance on theme parks, films, VR and a whole lot more.

All in all, as you could probably tell, we're pretty excited about the whole thing and will be interested to see how the film turns out when it opens May 25th.

The difference here is that Orci and Kurtzman are more engaging speakers and also relay more facts and trivia about both this film and Star Trek as a whole.

10:00 pm — TCM — His Girl Friday This is a remake of the 1931 film The Front Page about newspaper buddies who go after a major story — Howard Hawks takes it to a whole new level by turning one of the men into a woman, and setting reporters Rosalind Russell and Cary Grant as a former couple, now divorced who can't seem to stay apart, either personally or professionally.

To his credit, he does manage to milk some creepiness out of damp carpets and water in general — but then, that's old hat to him, particularly after building a whole film about the evils of wetness in 2002's Dark Water (which, as it happens, is set to get the Hollywood treatment in August, directed by Walter Salles and starring Jennifer Connelly — incidentally, one of the initial choices for the lead in The Ring).

Romy and Michele's High School Reunion gets the job done as popcorn entertainment, but in the end I can't say that a whole lot really goes on in its 90something minutes — ditzy Romy and Michele go to their reunion and get their revenge — and the film is just about instantly forgettable.

While they shouldn't be treated as the key to decoding the film as a whole, they must reveal something about how the movie works cinematically — they are too prominent to not have some meaning.

The whole crew is back, and acquit themselves well for the most part — Karl Urban is as crotchety as ever as Bones, Simon Pegg gets more to do in Scotty's expanded role, Zoe Saldana manages to kick ass as Uhura (despite the unfortunate need to make much of her role in the film about her lover's quarrel with Spock), and so on.

As Jones puts it in PNC, film criticism at its best is not only about film but about «the whole wide world around it.»

We already knew that Kevin Smith's Red State would be on the list, but there's also Tom McCarthy's new film Win Win, Morgan Spurlock's documentary The Greatest Movie Ever Sold, the highly buzzed - about Submarine, Fantastic Fest darling I Saw the Devil as well as Hobo With a Shotgun and a whole bunch more including films with Al Pacino, Tobey Maguire, Jeremy Piven, Kevin Spacey, Demi Moore, Paul Rudd and others.

In a mere 90 minutes this horror film (pun intended) casts serious aspersions on the integrity and social responsibility of its Pittsburgh - based makers, the film industry as a whole and [exhibitors] who book [the picture], as well as raising doubts about the future of the regional cinema movement and about the moral health of filmgoers who cheerfully opt for this unrelieved orgy of sadism.»

Meanwhile, The Last Samurai lifts the nursing - from - injury / courtship / surrogate father cycle whole from Peter Weir's Witness (an accidental voyeur moment nearly shot - for - shot), marking the piece as over-familiar even as the realization that we are in this film only about sixty - years before the Japanese begin their massacre of the Chinese at the onset of WWII provides the piece a sort of ambivalence that compels as the one thing truly its own.

It's a challenge to even focus on this film in its own context without thinking about Part 1 and the series as a whole.

Just as intriguing is the excellent casting of Frances Farmer as the sultry, yet sharp - willed first cousin Ben intends to marry (the whole romance seems to ignore any worries about spawning three - eyed blinkies), whose last completed film this proved to be before her mental breakdown, and incarceration in a mental institution (vividly depicted in the 1982 bio-drama Frances.)

Del Toro is good with the little he has to work with on the page as Che, and the rest of the casts (including such too - generally - underseen faces as Julia Ormond, Catalina Sandino Moreno, Franka Potente, and Joaquim de Almeida) do well in limited time (though Matt Damon's cameo in the second film is distracting to say the least), and the HD - shot images look great, but by the end of the 4.5 hours I can't exactly say that I really learned much new about nor gained a whole lot of insight into Che.

Sotor, speaking in a separate interview about their next film's goal, was clearly on the same wavelength as his friend and collaborator: «The whole idea is just to humanize them.»

The film talks about the kinds of real reform — inside schools and in society as a whole — that we urgently need to genuinely transform education in this country.

Seen as a whole, his practice raises fundamental and evergreen questions about the value of images and art, the nature and possibilities of painting and film, the intertwined relation of our subjectivity to cultural identity, and the ways we address what we experience in life in parallel to the mediated world of images.

Many contemporary artists are getting to show great interests in the cinema historically or technically, and many works referring to the films in the past have been produced in order to express their ways of understanding about the work or a perspective about the world as a whole.

We did think about it but decided on wood in our case as we filmed the whole build.