We may be in the minority on this, considering the warm reception that has greeted the film at festival screenings, but The Disaster Artist struck
us as less a movie than an over-extended Funny Or Die skit packed with celebrity cameos — which is to say, it makes little sense if you haven't already seen The Room.
Not exact matches
This is the perfect horror
movie for the Academy,
as it is one that relies
less on gore (though it is there) and more so on mounting dread.
Universal had heard all the stories of Hopper's erratic behavior over the years, first
as an up - and - coming actor who had small parts in the James Dean
movies «Rebel Without a Cause» and «Giant» (he admired Dean immensely), then
as a bit player on a slew of TV shows, where he got little respect and gave even
less back.
Even after I came out
as a teenager, it felt like I had to seek out portrayals of gay men by searching the internet or looking into more independently made,
less accessible shows and
movies.
But the
movie doesn't shy away from portraying Mr. Buffett, now 86,
as something of a remarkable human computer, gifted with numbers and
less so with interpersonal relationships.
That could be all - important for consumers, because without the deal, AT&T and Time Warner separately could be left weaker, compared to competitors such
as Comcast and Disney, and
less willing to deploy new services or green - light new
movies and TV series — an argument made by the companies and analysts covering the sector.
We could cut a few things — our bi-weekly date night (a
movie, or a dinner, never both), eating
less meat (though that doesn't appeal to me,
as -LSB-...]
In Mystery Men, a
movie from a few years back, William H. Macy, Ben Stiller and Hank Azaria starred
as a trio of
lesser superheroes with fairly unimpressive superpowers.
I see the
movie as more of a product inspired by the book and
less of a forced visual replication.
And if my experience resembles a
less - agonizing version of the experience of Bill Murray's Phil Connors character in Groundhog Day, that may be fitting inasmuch
as the two
movies invite comparison
as different treatments of a common theme.
I'm firmly ensconced in the middle class and will pay
less for a good round of golf than I will to take my family to a football game, and about the same
as to take them to a
movie anymore.
This is good news for supporters of the
movie as the film drew just $ 3.5 million
less than «Despicable Me 2» which is a sequel to the widely popular original released in 2010.
We intentionally gave
less gifts
as previous years, but the kids seemed to still accumulate large piles of more toys,
movies, books, games, and crafts.
As Harris freely admits, their intimate time is more about cuddling, watching
movies and playing games than sex but their marriage is no
less a real marriage than anyone else's.
One of Paul's favorite books is the classic The Cosmic Connection by Carl Sagan, and while
less cerebral but just
as inspirational, my favorite
movie ever is Alien.
So the next time a friend raves about the
movie he chose and is
less enthusiastic about the just -
as - good one that you chose, you might be able to chalk it up to his basic learning circuitry and a genetic difference that affects it.
You'll feel better if you spend time engaging in
less frightening or anxiety - producing activities, situations,
movies, or games, and more time doing relaxing things, such
as gentle walks, watching sunsets, and listening to calming music.
In mentally inactive sitting, individuals may be engaging in
less demanding, passive tasks such
as watching television or
movies.»
Movie - theater popcorn drenched in butter is the opposite of a health food, she says, and some microwave and pre-popped varieties contain artificial or
less - than - healthy ingredients — such
as partially hydrogenated oils — that shoppers should be mindful of.
This way, there was
less pressure because it wasn't a full date, such
as dinner and a
movie or whatever.
One Ethiopian writer described a couple, when dating,
as happy, at parties and
movies and recreation centers and swimming pools, while they appeared to dating a divorced mother
less so after being married; still the writer thought marriage was the
lesser of two evils when compared with the single life.
For most of his action -
movie career, he has come across
as a
less romantically nimble,
less self - amused version of Douglas Fairbanks, the swashbuckler who leaped through the silent era.
What did impress me about Who Framed Roger Rabbit even at a young age was the converging of cartoon stars from Disney, Warner Brothers, and elsewhere, all in one
movie, animated more or
less as they looked in the late»40s.
The promising atmosphere is perpetuated by an engrossing early sequence in which the central foursome debate the fates of three seemingly innocent bystanders, and yet it's equally clear that the
movie begins to peter out almost immediately following that electrifying interlude -
as writer / director Berg's
less - than - cinematic visual choices result in a lack of thrills that grows more and more problematic
as time progresses.
That reliance is
less engaging in the
movie's interpersonal relationships, which, despite charming performances from Jackman (who manages to overcome his character's numerous flaws) and Goyo (who avoids the trap of becoming a grating «precocious kid»), are
as rote
as their development is inevitable.
What's more, the choice to largely wipe from existence characters who are more or
less vital to the future of the Marvel Cinematic Universe
as a going concern (especially Star - Lord, Spider - Man, and freakin» Black Panther) so dramatically inflates the stakes that it becomes all but certain the next
movie will reverse most of these deaths.
The producers have located the two actors in the British Isles who haven't been in one of these things yet: Ciarán Hinds
as Dumbledore's brother and Kelly Macdonald
as the ghostly Helena Ravenclaw, her angry sorrow on loan from a smaller,
less forgiving
movie.
While the
movie includes narration (by Charles Osgood) drawn from the book, it also allows the stars opportunity for topical pop - cultural references
as well
as narrative detours,
as when the mayor goes in for a Who - Root Canal «Sticking» «Who» in front of everything,» he gripes, «doesn't make it hurt
less») or Horton's clover lands in a field of clovers, whereupon he sets out to locate his speck - adorned lower out of the thousands stretching before him.
In a far
less villainous vein, Charles Middleton was cast
as Tom Lincoln, father of the 16th president, in Abe Lincoln in Illinois (1940); he also portrayed the Great Emancipator himself on several occasions — while in 1937's Stand - In, Middleton was hilariously cast
as an unsuccessful actor who dresses like Lincoln in hopes of landing a
movie role.
I've never been a fan,
as a rule of horror
movies, however, the trailer drew me to this one and i'm glad it did, the awful acting we usually get in horror
movies wasn't there this time round, in fact, the whole cast were excellent, the special effects were really very good and the humorous, intelligent dialogue (another thing you don't usually get in horrors) was brilliant, loved the film, Chris Hemsworth, although with
less to do in this than he does in Thor, was great in it too.
The eye - rolling predictability of Nancy Sackett's screenplay exacerbates the
movie's
less - than - watchable atmosphere,
as there's virtually nothing that occurs within Ron Howard's Skyward that one doesn't see coming from miles away (eg Julie's parents forbid her from flying, Julie fights with Scott, etc, etc)- which ultimately prevents the finale from packing the uplifting, emotional punch that Howard is obviously striving for.
«Tummy Trouble», «Rollercoaster Rabbit», and «Trail Mix - Up» are all included here, but while the opening of Who Framed Roger Rabbit functions
as both wild cartoon slapstick and hyperbolic parody of same (
as well
as something of a precursor to the even more satiric Itchy and Scratchy of The Simpsons), the subsequent shorts, beyond lacking the deft, fluid touch of the
movie's animation director Richard Williams, are
less clever: orchestrations of mayhem that occasionally pause to wink at themselves.
Unfortunately, the
movie gets
less funny
as more subplots are piled upon the trio, especially when the angry Mr. Chow blackmails them, taking the story into darker territory.
Less interesting
as a boxing
movie and more so
as a dysfunctional family drama.
As it happens, a
less boring
movie would be hard to imagine.
Had he had a slightly
less obvious, more subtle, and smarter script to work with; who knows what we'd be saying about Hopkins
as it pertains to this
movie.
Such a vulnerable
movie that if it were a little
less sappy, one might feel compelled to protect it,
as if it were someone under 7 or over 65 — that portion of the public for which it is intended.
A dweeby and unenchanting concoction
as romantic comedies go, Mark Decena's debut feature also juggles enough storylines to fill five or six
movies in barely 80 minutes of screen time, ending up with a whole distinctly
less than the sum of its parts.
(Right then and there, Annihilation announces itself
as less of an explosion
movie and more of an unexplainably unsettling oily aura
movie.)
Die - hard fans will be thrilled with the extensive interviews and concert footage;
as a more casual fan, after an hour I had learned almost everything I ever wanted to know about the man and was ready for the filmmakers to wrap it up — I was shocked to realize I was
less than halfway through the
movie.
Increasingly, it becomes
less and
less likely to buy any of the
movie as reality.
Director Stanley Kubrick, working from a script cowritten with Calder Willingham and Jim Thompson, kicks Paths of Glory off with an admittedly
less - than - engrossing stretch,
as the
movie boasts (or suffers from) a somewhat talky first act that doesn't contain much in the way of compelling elements - although, by that same token, it's clear that the film benefits substantially from Kubrick's stellar directorial choices and a host of above - average performances.
Fuglsig's feature debut is ultimately
less an action
movie and more a procedural, one in which incremental gains and minimal casualties are
as much
as can be hoped for.
As the story builds, these characters become richer and more complicated — and the stakes become more deadly — resulting in a
movie with a delayed but no
less potent dramatic punch.
Driftwood is presented and promoted
as a horror
movie with psychological elements, and while this is true, it undersells what is an effective psycho thriller,
less about gore and horror, more about story and character.
It's ultimately clear, however, that Fear and Desire simply isn't able to justify its feature - length running time (ie the whole thing feels padded - out even at 61 minutes), with the
movie's
less - than - consistent vibe paving the way for a second half that could hardly be
less interesting or anti-climactic - which does, in the end, confirm the film's place
as a fairly ineffective first effort that does, at least, highlight the eye - catching visual sensibilities of its preternaturally - talented director.
If the
movie is finally something of a failure
as a romance, it's rarely
less than a triumph of soulful imagination.
And if, in the hands of a
lesser filmmaker, such a decision might foster a mood of lurid home -
movie voyeurism, both Ceylans are such commanding and subtly expressive performers that any charges of nepotism here are
as erroneous
as in the storied collaborations of John Cassavetes and Gena Rowlands.
While it's always going to be
less frustrating when characters in horror
movies behave like intelligent, attack mode - ready superhumans and can turn the tables on their terrorizers, Kinsey and her family all react
as realistically
as one would and with believable fallibility when thrown into a horrific situation they weren't ready for, and it's worthy of applause when some of them find it in themselves to fight back.
The
movie is not terrifying but blandly edifying; its scares, foreshadowed
as if by telegram, are delivered
less effectively than its life lessons.