Sentences with phrase «against films like»

Despite strong competition against films like Call Me by Your Name and Mudbound, Logan actually stands an actual shot at winning its Oscar.

«The Big Short» will now open against films like «Star Wars: The Force Awakens» (Dec. 17), the latest David O. Russell and Jennifer Lawrence collaboration «Joy» (Dec. 25), and the Will Smith drama «Concussion» (Dec. 25).

It should secure the teenage market, and against films like «Miami Vice,» just might surprise people.

This single - minded narrative has no room for subplots, and such a focus works for and against a film like this.

Not exact matches

Now filming its third season, the show pits Leroy against three fellow antique dealers, who jet off to locales like Normandy, Glasgow and cities across the United States, bidding for everything from Chinese space helmets to 18th century paintings found at airport lost - luggage auctions.

The sites, which often act as launching pads for smear campaigns against entertainment properties that users don't like for one reason or another, are being credited for sinking films before they even see the light of day.

Like I said before, Manning's film against the Steelers is what swayed me to pick the Broncos over the Patriots.

It still has really unique prints including some new ones like the adorable «Sprinkles» print, which excited me so much that I went against all my best maternal instincts and let my one year old chow down on a half dozen donuts while I filmed her for the video review.

At times her memoirs feel like a list of rebuttals against the negative images, films and news stories which «hounded» Ms Blair.

Huntsman is cutting against the grain with his online strategy, using an unconventional web presence that places a heavy emphasis on Internet videos that look a bit like they came from the outtake reel of a documentary film.

He's argued against targeted tax cuts, like those going to the film industry (which Cuomo continues to champion).

I would also caution against eating enormous amounts of fruit, like Joe Cordelli, the calorie restricter at the beginning of the film.

That makes the film a pretty straightforward morality tale about a man, who actually does have a soul, weighing the price of taking advantage of people, who are just like him, against the need to provide for his family, who are living in a hotel with a group of other people who have been evicted from their own homes.

She continued popping up in excellent film roles into the 1980s, as well as appearing in TV movies like MADD: Mothers Against Drunk Driving (1983).

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

Perhaps its unexpected box office success can be attributed in part to the popular reaction against an entertainment industry whose laser - like concentration is on big - budget franchise and sequel films.

The look of the film adds to its feeling almost like a fable, as do the importance of several everyday objects: a torn photograph, an empty water bucket, a child's bright red dress, a pair of scissors, a crutch belonging to Parvana's father (he lost a leg in the fight against the Soviets).

Spicing up the obligatory deck of title cards that films like these invariably require for context — there's this new country called Israel, and the Palestinians are super pissed at them, and now everyone is going to stop being polite and start getting real — Padilha frames the introductory text against a rapturous performance by the Batsheva Dance Company.

Not only are these scenes a lot longer and more expository than they need to be, but they give the sense of a film crew fighting against the material; the camera chases after the story, rather than grabbing it by the scruff of the neck like a proper adaptation would.

The film is, like the other Alien and Predator features, a desperate struggle for survival against unthinking demonic killers.

As the first film had a pretty terrifying thing going on, this second offering really goes against what the previous film established and plays out more like a comedy horror film.

The film begins with Arash (Arash Marandi), a handsome gardener, leaning against a ’57 convertible in sunglasses, doing his best Martin Sheen in Badlands; like Malick's character, he will soon become entangled in a doomed romance.

The ending went completely against the tone of the rest of the film, and to have that cheezy ending after all that intense violence and realism made the film feel like a sham.

While there are still hindrances and biases against certain films and genres (like superhero films, comedy or sci - fi), we could see some interesting things unfold this season and in the years to come.

I like focused biopics that don't feel they need to go from cradle to grave, but the focus here gives the film a bit of unearned hero worship, as we see LBJ hold the country together after tragedy and fight for civil rights against caricaturish opponents.

As the title implies, the focus of this hour - long live - action series is not on the larger than life costumed superheroes who turned The Avengers into the third highest - grossing film of all time, but the employees of the Strategic Homeland Intervention, Enforcement and Logistics Division, the government agency of espionage and law enforcement that has worked with and sometimes against the likes of Captain America, Iron Man, Thor, and the Hulk.

The Guy Ritchie directed film will, like the series, fix on two agents Napoleon Solo and Illya Kuryakin, employees of the United Network Command for Law Enforcement, who use their gadgets and wits against the evil forces of Thrush.

More important, though, the often comic Brazilian film contrasts a maid's affection toward her employer's child whom she treats like a second mother against her dysfunctional relationship with her own daughter whom she abandoned years back to be brought up by another woman.

So much of this film is about Glen standing against the idea of being just like everyone else.

Let's face it: whether he's railing against Bush, pulling Katrina victims out of toxic sewage, dining with third - world despots, or savagely beating paparazzi (or loved ones), the guy — much like Christopher McCandless, the subject of the book and film — marches to the beat of his own drum.

Watch her as she tears up brilliantly during her first AA meeting, deftly handles an awkward come on from her boss, and, like a woman possessed, drunkenly rails against her husband in the film's most cinematic moment as she declares she can not have a sober life living with him.

Looking back at earlier films like City by the Sea or Stone, it's invigorating to see the effect a decent script and a strong performance to play against (from Frances McDormand and Edward Norton respectively) have on upping his game.

In a sense, it would seem like having all of these egos is a small - time film might work against the production, but by all appearances, everyone put in their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scene.

It's clear she has the physicality for it, and given she is a woman playing in a genre thats dominated by men, it's hard not to measure her against the likes of Linda Hamilton (the Terminator films), Sigourney Weaver (the Alien franchise), Charlize Theron as Furiosa from Mad Max Fury Road, and several others.

The real Desmond Tutu commented on the film: «This timely, compelling and intelligent film, movingly, and above all humanely, captures what it felt like to be working with those selfless members of the TRC who strove, often against the odds, to help bring both truth and reconciliation to the ordinary people of South Africa.»

Stealing Beauty's correlations with the later The Dreamers — a ripe lead with bee - stung lips; a moment in which the 19 - year - old protagonist nestles a paramour's photograph against an erogenous zone (a gesture Jonathan Rosenbaum called in his review of The Dreamers «the perfect encapsulation of Bertolucci's idea of a turn - on»); scatological punchlines; an unlikely virgin; shock nudity — are numerous and sundry, so much so that one would like to call the newer film an apologia.

Lesley Coffin: Because people go into a film expecting one thing from Michael Shannon and he proves not to be like that here and the film has an undercurrent of suspense and thriller, is that type of casting against type an asset you were looking to exploit?

Sure, Bryan Cranston and Helen Mirren are both nominated for Trumbo and the film has a Cast nomination as well but Cranston, despite the legion of TV voters who will probably cast a few his way, has very little chance against DiCaprio and non-Oscar nominee Mirren doesn't feel like a formidable candidate against Oscar nominees Alicia Vikander or Kate Winslet.

Perhaps that's why large portions of this film feel like scenes Toback just wanted to use up somehow — particularly the Grodin sequence, in which his character rails against his fading faculties by turns sweetly and violently, and which might have been moving if it didn't feel so detached from everything around it.

For decades, Toronto was a strictly noncompetitive film festival: Rather than pit movies against each other like race...

As much as everyone in Hollywood likes to deflect responsibility for putting words into action, the Oscars and the film industry share a symbiotic relationship; one can not make significant progress against history unless the other moves forward, too.

I personally am shocked that the film is nominated for a screenplay award and supporting actress (nothing against Melissa McCarthy because she is an awesome) but if that's all Hollywood needs from a script is a bunch of women fighting like 8 year olds and pooping in the street, please let me know and I will have my brothers write you up a screenplay in a few hours.

The rest of the film is spent resolving this dispute, with Robert against the entire underworld still seeming like a pretty one - sided fight in his favor.

Part of the film's focus is said to be on a small group of San Francisco - based scientists that are forming a resistance against the apes and part follows Serkis» Caesar as he, like his namesake, tries to maintain order and power within his new civilization.

And while it feels like a fully realized film for much of the time, every now and then the television - like pacing becomes distractingly apparent and jarring against Haynes much more relaxed flow.

It's a scary moment when you realize just how dangerous the world really is, especially if your day - to - day life involves battling against giant monsters, like the teens in Digimon Tri's second film.

While it boasts a similar visual style to a lot of Mann's films — saturated in a slick and steely blue hue — the tension is almost non-existent, and although there's an interesting dynamic at play between McAvoy's cop and Strong's robber, it's never fully explored, nor does it have the same allure of seeing Hollywood heavyweights like Robert De Niro and Al Pacino face off against each other.

That movie represents a much more explicit look at the concept of molding a woman in your image of what you want her to be, positioning itself as a rebellion against the manic pixie dream girl tendencies of films like (500) Days of Summer or Garden State, often the result of lazy writing that had a tendency to treat women simply as a formula to complete the man's desires.

Starting with blurry cameraphone imagery of the shooting incident, (footage like this would prove crucial in the case subsequently brought against the officer responsible) Coogler's film then spins back in time by 24 hours, to tell the story of Grant's last day.

Like a combination APOLLO 13 / CASTAWAY, the film involves a race against time, money, means, and priorities: the future of the space program vs. the rescue of one life.