Sentences with phrase «as anything in any film»

Maybe I don't know what this category is supposed to mean, but the sounds of Tsai Ming - liang's theatre mean as much to me as anything in any film from this year.

Not exact matches

«As the actor in the film, you just have to step away and say, I don't know anything, really, and whether any of it is true or false.

But if the story told by the film - makers is even close to accurate, the world the workers live in is anything but sane, and they're struggling, after all, to feed their families without the help of the power - brokers who see them as mere pawns in a very high - stakes game.

But when you have a film crew following you as you frantically run around San Francisco in heels, trying to abide by Rachel's styling criteria AND worry if you have lipstick on your teeth — the challenge was anything but simple!

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.

There are, one assumes, whole swaths of the book that develop Jack as an emotional character while he's not doing much of anything, but that doesn't — can't — work in a film.

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 you're still at a loss as to what makes the movies so popular, you're not likely to find anything in this third film to clue you in — in fact, it may give you a headache.

The film doesn't use sound anything like as effectively as Leone, but the fight scenes feel brutal and realistic, particularly in the final showdown (s) between Carver and Gideon.

I would have liked to have seen more in the way of extras however, the quality of the film is such that, I'm not really feeling as though I've missed anything by not having a wealth of extras to explore.

Issues regarding pacing and structural tightness are among the more considerable in this film, which promises to be rather extensive as a biopic, only to succumb to anything from repetitious filler, - at its worst with the forceful and recurrent insertion of a recital of Oscar Wilde's own short story «The Selfish Giant» - to meandering material whose being backed by steady directorial storytelling by Brian Gilbert leads to moderate bland spells.

It's just that the film feels so unusually empty; even if he has subtly snuck his usual hallmarks into the mechanics of the narrative itself, he's populated the foreground with characters who never come alive as anything more than archetypes, who trade in so much exposition it's hard to see how any audience member could be overwhelmed with confusion at the story being told.

Whether gracefully gliding across the stage in dance, pounding the boards in a play, or lighting up the screen in such popular films as Pirates of the Caribbean: The Curse of the Black Pearl, the multi-faceted Saldana seems capable of achieving anything she puts her mind to.

Yes I dislike the way Legolas is portrayed in these films, as if he's some kind of invincible super God - like character who can do virtually anything such as defy gravity.

In the film's final act, the screenplay serves them up what might otherwise be a moment of real conflict, but Roth's direction seems so blithely uninterested in anything but eagerly justifying Willis» violently sadistic rampages that the scene plays as limp and useless as a vestigial taiIn the film's final act, the screenplay serves them up what might otherwise be a moment of real conflict, but Roth's direction seems so blithely uninterested in anything but eagerly justifying Willis» violently sadistic rampages that the scene plays as limp and useless as a vestigial taiin anything but eagerly justifying Willis» violently sadistic rampages that the scene plays as limp and useless as a vestigial tail.

As Abraham Lincoln, Daniel Day - Lewis is nothing short of mesmerizing, even in this brief introduction, and in a way this sequence is evocative of the film as a whole — it's overtly chatty, with little interest in anything beyond the dynamics of two people communicating with each otheAs Abraham Lincoln, Daniel Day - Lewis is nothing short of mesmerizing, even in this brief introduction, and in a way this sequence is evocative of the film as a whole — it's overtly chatty, with little interest in anything beyond the dynamics of two people communicating with each otheas a whole — it's overtly chatty, with little interest in anything beyond the dynamics of two people communicating with each other.

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.

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.

Even now, though, it's hard to find anyone who'll really go to bat for the film as anything other than a new nadir in Burton's creative slump.

And just as with those films, my mind couldn't help but wander adrift in a sea of thoughts that had nothing to do with anything taking place on screen.

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.

As upsetting as the scene was (I'm intentionally not spoiling anything), it was still extraordinarily powerful and went a long way toward explaining Magneto's behavior — in all of the X-Men films, not just this onAs upsetting as the scene was (I'm intentionally not spoiling anything), it was still extraordinarily powerful and went a long way toward explaining Magneto's behavior — in all of the X-Men films, not just this onas the scene was (I'm intentionally not spoiling anything), it was still extraordinarily powerful and went a long way toward explaining Magneto's behavior — in all of the X-Men films, not just this one.

The initial sex scene between Douglas and Stone is as explicit as anything ever filmed in mainstream Hollywood, yet it is crucial to their relationship, and as far away from pornography as one can possibly imagine.

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.

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.

This precedent was set in this film, his feature debut, as Makoto struggles to decide what course to take when she is given power beyond anything she could've previously imagined.

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.

See Also: There's not a lot comparable to «The Lobster» in Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at alin Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at alIn Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at all.

A lot of focus on his personal life without actually telling you anything, in my opinion let the film down, especially as there was a lot more that could have been included as far as his relationship with Winnie was concerned.

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!

Rear channels get a nice workout during the abovementioned roller coaster sequence, but in a film lacking anything resembling pyrotechnics, the soundtrack mostly splits its time between reproducing Fenton's noxious compositions and trying to accommodate the whining of both Aniston and Alan Alda (as Nina's pop) in one speaker - busting scene after another.

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.

More than anything else, the film keeps its preeminent place because this is the movie in which Hitchcock became «Hitchcock,» earning the reputation he never relinquished as «The Master of Suspense.»

More than anything else, in fact, the look and episodic composition of the film reminded me of Wojciech Has's The Saragossa Manuscript, a Polish film based on a Polish writer's French - language novel set in Spain (that's no doubt as European as it gets).

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.

The team of animators working for co-director Duke Johnson deliver, on a Kickstarter budget, a film that looks as wonderful as anything from Laika Studios (Coraline, The Box Trolls) while, literally, leaving in the seams on the faces of the puppets untouched.

Not only did the film make all kinds of»80s jokes and references, but John Cusack's character existed as something of a throwback to the many famous roles he had in that aforementioned decade (Better Off Dead, One Crazy Summer, Say Anything, et cetera).

Relying on assumptions and prejudices brought into the film by the audience as much as anything shown on screen, The Loneliest Planet is something of a distant cousin to Roman Polanski's 1962 drama Knife in the Water, where a relationship is threatened and the presence of a mysterious other man is used to unsettle.

Loosely adapted from a Neil Gaiman short story (and co-starring Nicole Kidman as a punk queen impresario called Boadicea), the film revels in its own shambolic style, turning the England of 1977 into a sort of queer - friendly fringe musical fantasia where anything goes.

He makes a movie that's unlike anything else in the MCU, and while certain beats and story points follow a traditional pattern, the world Coogler has crafted as well as the people he has constructed to live within it are so uniquely three - dimensional I sat in mesmerized awe for every single second of the film's briskly paced 134 - minute running time.

Instead of granting Steenburgen's wish, Stanton shows her what life would be like without Christmas — and that vision is as grim as anything you're ever likely to see in any Holiday film.

The only praise that I can give the film is that setting most of the story in Gnarnia was a good idea, as being in a fantasy land means that most anything can happen.

This is never so clear as the handful of times Super Troopers 2 returns to old bits, which more than anything else remind us nothing in this new film is remotely as funny as the first one.

I lost my own father shortly before seeing this film, and I'm sure that my copious tears had as much to do with that as anything happening in the film.

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.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

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.

I've never heard anything quite so disjointed, and mixing the source music in as well produces one of the most strange film score albums I've ever heard.