Sentences with phrase «as kind of a film»

I Feel Pretty is presenting itself as the kind of film that reveals how ugly we are for laughing at body - related stereotypes, but then why make those your jokes?

Blade, to the fresh eye, free of the fandom surrounding the character, comes across as the kind of film that is probably closer to a B Movie in the action genre than a superhero flick, as it is branded to be.

Director Bennett Miller's upcoming release, Foxcatcher, certainly qualifies as the kind of film that could be positioned for awards contention, and now it looks like it's lining up for just that.

Thus, Hitchcock occasionally addresses us, the audience, directly, and the film features numerous sequences that present his creative processes as a kind of film within a film.

Many of the reviews paint her portrayal as some kind of film - consuming tour de force, but it's much more calibrated and surprising than that.

Not exact matches

A group of scientists from Max Planck Institute for Chemistry and Johannes Gutenberg University of Mainz in Germany recently found that they were able to identify what kind of films a group of subjects viewed — whether it was funny, sad or suspenseful — based on the different combinations of chemicals, or peaks of one in particular, such as carbon dioxide, that were found in the air in the theater.

«The commercial appeal of the films this [summer] certainly didn't have the same kind of dynamic as the commercial appeal of the films last year,» Logsdon says.

I felt like he was kind of whiny, and came off as uncharacteristically weak throughout the film.

There's a full - on atheist in the film; her atheism is treated as a local secret, the kind of thing the adults know but children must be kept from hearing.

As far as I'm concerned, the response of those four boys is the greatest kind of praise for this praiseworthy filAs far as I'm concerned, the response of those four boys is the greatest kind of praise for this praiseworthy filas I'm concerned, the response of those four boys is the greatest kind of praise for this praiseworthy film.

Stanley Kubrick, creator of such memorable films as «Dr. Stangelove,»» 2001: A Space Odyssey,» and «Barry Lyndon,» understands how this happens: «I think an audience watching a film or a play is in a state very similar to dreaming, and that the dramatic experience becomes a kind of controlled dream....

Apparently, the kind of «robot takeover» envisaged by films such as The Terminator is not just sci - fi fantasy.

As with a number (although not all) of the post-apocalyptic films of recent years, The Hunger Games is strikingly absent of any kind of theology.

Referring again to the production notes, the film is an exploration of «different kinds of love,» «love and its many phases and seasons,» calling to mind Anna Karenina again where she says, «there are as many kinds of love as there are hearts.»

Through the extraordinary actions of ordinary individuals, the film acknowledges self - sacrifice as a kind of supernatural event, one that points to the ultimate salvation in Christ.

The beautiful eighteenth - century costumes and setting seduce us into viewing these affairs with a kind of horrified detachment, as though we were watching a «Nature» film on PBS showing the praying mantis being devoured by his mate in the act of copulation.

The Eat - in - it concept, as it is called, features five containers, a heat sealing machine, lidding film and four different lids to cater for all kinds of meals.

This isn't the same as the rotating cameras seen in the likes of IndyCar and MotoGP (and occasionally trialled in F1), but the kind that films everything at once.

This message, which the documentary portrays as a manipulation of minds similar to the kind of societal shaping cigarette ads attempted, is demonstrated early on in the film by the August 2016 fight between Conor McGregor and Nate Diaz.

Certain kinds of sedimentary rocks, called Burgess Shale - type (BST) deposits, have the right characteristics to preserve soft - bodied organisms as thin carbon films.

Scott: First, now they have four PR firms working on promoting this film for the next couple of weeks, but the initial marketer is Motive Entertainment, which is the same marketing company that promoted Passion of the Christ and Chronicles of Narnia; and the kind of pioneering approach that they instituted with Passion of the Christ was this viral marketing as they were doing with Expelled.

This kind of «sensory conflict» may occur when our bodies detect motion that our eyes can not see (such as during plane, ocean or car travel), or when our eyes perceive motion that our bodies can not detect (such as during an IMAX film, when the camera swoops at high speed over the edge of steep cliffs and deep into gorges and valleys while our bodies remain sitting still).

I guess that's why i'm kind of indifferent about fashion books and fashion films, though i tend to watch films with notable fashionable outfits, i don't choose them just because they are termed as fashion films.

Adopting a straightforward, fly - on - the - wall perspective, Alvarez's film strikes me as the kind of thing that could easily become a breakout arthouse success.

Directed by Steve James, whose «Hoop Dreams» Ebert hailed as the best film of the 1990s, it's the kind of documentary the dying man wanted — honest, humane and inclusive.

Redmayne kind of does the same thing as well, so the film falls squarely on Vikander's shoulders.

That same kind of raw energy can also be felt in the film's visual look, as cinematographer Salvatore Totino brings an uneasy quality to the wide open spaces of the old west.

Featuring a strong ensemble cast and solid camera work, the film starts out as one kind of story before metamorphosing into a bittersweet tale of retribution that never fails to engage.

His film credit was «Executive Producer», meaning he had most likely had no real power, just a kind of acknowledgment that they had optioned his media to be made as a film.

Corbijn isn't making a stereotypical Hollywood thriller, with the stakes spelled out in neon and the loud fight scenes spaced every few minutes, but he doesn't seem to realize there is such a thing as being too vague, and in his efforts to make some kind of art - house / thriller hybrid, he goes too far the other direction and creates a nicely rendered film with no emotional hook.

The two documentaries included as special features are nice enough in an HBO Special Presentation kind of way (and are worth watching for the skinny Hirsch footage alone), but they're relatively lightweight and not nearly enough to satiate those for whom this film has become an obsession.

In its own morbid little way, this is very much a stand - up - and - cheer — or shriek, as the case may be — kind of film.

Sure, the film is generally entertaining, or at least not as dry as it could have been, but there are still those fair deal of slow spells that throw you off and give you time to think about how the film is, well, kind of aimless.

I'd wager that ARGO is yet another TIFF film that's bound to be a major player at the Oscars, and also one that could be a real blockbuster, as it's the kind of film literally any audience can enjoy.

You can't exactly call Alfonso Cuarón's Gravity the best film of its kind, because it has no kind: It stands alone as an extraordinary balance of 3 - D effects, heroes - in - jeopardy storytelling and emotional depth.

Lullaby is the kind of film that's best described as a having been cobbled together from an indie scrapyard.

The character has no franchise potential, as the film opens with an epilogue - as - prologue about Poe's death, but maybe Cusack and his director, V for Vendetta's James McTeigue, were still hoping for that same kind of pithy, indelible hero.

As much as I may believe all of these things — that this kind of speechlessness in the face of art is a near instant augur of greatness, that a film whose ideas ebb and flow so grandly and subtly fares poorly when bound by the fixity of the written word, that if Malick chooses to engage his spectators on the level of the visual, then well, fuck, shouldn't I be making him a collage or a photo diarAs much as I may believe all of these things — that this kind of speechlessness in the face of art is a near instant augur of greatness, that a film whose ideas ebb and flow so grandly and subtly fares poorly when bound by the fixity of the written word, that if Malick chooses to engage his spectators on the level of the visual, then well, fuck, shouldn't I be making him a collage or a photo diaras I may believe all of these things — that this kind of speechlessness in the face of art is a near instant augur of greatness, that a film whose ideas ebb and flow so grandly and subtly fares poorly when bound by the fixity of the written word, that if Malick chooses to engage his spectators on the level of the visual, then well, fuck, shouldn't I be making him a collage or a photo diary?

Directed by Sylvester Stallone as a kind of Rocky retread, the film was released in 1983 to embarrassing returns and horrendous reviews.

Decidedly negative on the film is The Playlist's Jessica Kiang, who describes the structure as a «kind of Human Centipede ass - to - mouth concertina of gruesome misogyny and utter tedium.»

As a portrait of modern journalism, though, it leaves quite a lot to be desired; this is the kind of film that has characters trade grandiose talking points about the ethics of reporting, but can't be bothered to show its reporter hero — still recovering from the damage factual inaccuracies did to his career — using a recording device during interviews.

It feels like a dream that a movie could have this kind of poetic grace and epic sweep, or could be so faithful to its source and still work so perfectly as a film.

Taken purely as entertainment, Jeff Nichols» film Midnight Special is a smart, tersely constructed sci - fi adventure in the vein of classics such as E.T. and Close Encounters of the Third Kind.

Although the director's multipronged approach may dilute the impact of Intent to Destroy, there's no denying the film's value as an introduction to a major piece of history that continues to inspire debate of the most intense kind.

The film's narrator (Norton) attends support groups of all kinds as a way to «experience» something within his unfeeling, commercial existence.

Through it all, Charlton Heston supplies the kind of ammunition to this film that is as loaded as any carbine slung across his broad shoulders.

What's not so expected, what comes as something bordering on shock, of a gratifying kind, is how much else the film takes on in this buoyant and mercilessly frank look at Bradlee's life and career.

Once the covetous pair realize the true explanation, they turn on Mary and insist that she reveal where she found the Witch's Flower, sparking a big finale in which they kidnap Peter and attempt to transform him into the kind of malevolent shape - shifter so often encountered in the third act of anime films (such as «Akira's» all - consuming atomic mass).

The start of this film is basically a Bond sequence... seeing as this is what the film has now become, a kind of «Bond / Mission: Impossible / (recent) Die Hard» mix with the good humoured character teamwork of «Ocean's Eleven».

As if it's not enough that the characters are kind of unlikable in certain areas, this narrative that does little outside of simply meditate upon the questionable leads is pretty thin, and that really undercuts much momentum, to where natural shortcomings play an instrumental role in bringing the final product to mediocrity, and yet, I won't go so far as to say that this film's story concept is completely juiceless, as its portrayal of a nerdy manchild's lifestyle is pretty realistic, if not genuine, and therefore kind of intriguinAs if it's not enough that the characters are kind of unlikable in certain areas, this narrative that does little outside of simply meditate upon the questionable leads is pretty thin, and that really undercuts much momentum, to where natural shortcomings play an instrumental role in bringing the final product to mediocrity, and yet, I won't go so far as to say that this film's story concept is completely juiceless, as its portrayal of a nerdy manchild's lifestyle is pretty realistic, if not genuine, and therefore kind of intriguinas to say that this film's story concept is completely juiceless, as its portrayal of a nerdy manchild's lifestyle is pretty realistic, if not genuine, and therefore kind of intriguinas its portrayal of a nerdy manchild's lifestyle is pretty realistic, if not genuine, and therefore kind of intriguing.