Sentences with phrase «at least the way movies»

Perhaps the problem is with Lili Elbe, or at least the way the movie paints her.

Characters address each other while speaking directly to the lens, in tones too matter - of - fact for their circumstances, at least the way movies train us to listen.

Not exact matches

the blood of the martyrs fills the soil of our country from north to south and from east to west... many of the bodies are recovered and are broken between churches all over egypt and the rest of the world and by the way the movie was not made by Coptic Christians at least not orthodox anyway.

Essentially, Communist officials, at least in small ways, now get to decide the content of some of the movies you and I watch in the United States.

(Well, technically I saw it on the little screen on Delta Flight 1768 from Seattle to Atlanta, which is pretty much the only way I see any movies these days... but, hey, at least the cookies and pretzels are free.)

The #MeToo movement has gotten rid of some bad men, now let's get rid of bad movies — or at least make some that reflect a different way of being.

Watch movies your child likes — this way you will at least be aware of the issues important to him.

Commercials and media in general are probably the hardest part for me, there aren't very many Christmas movies about singles that are content and happy (at least that stay that way through the end of the movie)

So many movies now shout their message loud and clear, but this one is more subtle about it, and you can watch as just another action movie about becoming a soldier, but you'll come out wiser or at least more prone to looking at sexism and feminism in a new way.

But I'm honestly a little disappointed that this film played out the way it did, because it could've been, at the very least, a good movie, if not a great one, if more of an effort was put into putting together a stronger script with better character development.

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.

While it pains me to beat up on Pollack, who, in addition to being a consistently wonderful actor, is at least attempting to make movies the old - fashioned way, it pains me more to actually sit through his movies.

In that respect it shouldn't really be thought of as a movie at all, at least in the ways people with jobs like mine are accustomed to using the word.

In the woods, Francis Lawrence recovers his skills, at least for a while: some of the starts and frights — a bunch of snarling devil baboons, some enveloping poisonous smoke — work in a B - movie - ish way.

Turns out that the entire time Lila and Eve have been playing kickass Tina - Terminators, there has been a second agenda unfolding behind the scenes — one that at least partially excuses the way Lopez's turn comes across so much phonier than the work she did in movies like «Selena» and «Out of Sight» nearly two decades ago.

1987's other Allen film was the strenuously dramatic September, and the question of influence versus the merely derivative arose again: «Chekhovian» was how Richard Schickel described the «humourlessness,» echoed pejoratively by Vincent Canby at The New York Times («neo-Chekhovian») and all the way down to Premiere magazine journalist Marcelle Clements, who predicted this fixation on a single adjective before the movie was released — «You can bet your boots that the word «Chekhovian» will be uttered at least once by everyone at the table».

A bit more suspense would have gone a long way here, and while director David Gelb, whose prior experience had been in the crowd - pleasing documentary Jiro Dreams of Sushi, has turned in a slick - looking feature for one with such a small budget (reportedly, only $ 5 mil), it really can't compete with better films out there in terms of quality, while it's too straight - faced in execution to at least give us some choice b - movie thrills.

Every year, at least one movie comes out of Austin's South by Southwest film festival on its way to megahit status.

That's our convoluted way of saying that The A.V. Club looked both high and low for the best scenes of 2015, culling from a whole spectrum of films — some likely to appear on this week's best - movies - of - the - year list, others unlikely to appear on any such list, and at least one certain to get called out in our public shaming of the year's worst movies.

It was easily last year's most corrosive Hollywood movie about the American way of life, and it was especially good at showing the claustrophobic desperation of living in a small midwestern town and slowly going insane — a potent literary theme at least since Sherwood Anderson's Winesburg, Ohio.

Stars Eugene Levy and Catherine O'Hara, whom you might know from the movies of Christopher Guest — or «American Pie» or «Home Alone,» at least — first entered this country by way of «SCTV,» the Canadian «Saturday Night Live.»

There are at least two ways to look at Insurgent, the second installment in the planned four - movie Divergent series.

One suspects that since few viewers are likely to catch this movie, its release will be short lived, at least until it makes its way to DVD.

The cast easily could carry an Oscar - bait film, at least before Pacino decided to accept every awful movie that came his way, and the performances are uniformly affecting.

The year itself was awful in an almost incalculable number of ways, but at least we had a ton of fantastic movies to distract us from the constant barrage against truth and decency.

Ready Player One has moved out of the way of Star Wars Episode VIII, delaying its release to March 30, 2018, while The Flash — or at least an untitled DC movie that is rumored to be The Flash — has moved up a week to March 16th, 2018.

While I understand that is kind of the whole point to Movie 43 — I sensed a mocking, if not altogether disdainful view towards not just Hollywood (hence Dennis Quaid's role in this film) but the entire human race given the level of gruesomeness — there simply must have been at least a baker's dozen different and far better ways to shape this rebellious beast.

Ang Lee has the visual flair, but I question his love of the medium of comics, and I have strong suspicions that he probably considers them to be inferior ways of storytelling, at least compared to movies.

By the way, if you could only see half a dozen movies between now and the end of the year, you could hardly improve on the six narrative features that played both Venice and Telluride: Alexander Payne's big - idea satire «Downsizing,» which kicked off both festivals; Guillermo del Toro's terrific revisionist monster romance «The Shape of Water»; «Weekend» and «45 Years» director Andrew Haigh's spare nouveau western «Lean on Pete»; Lebanon's «The Insult» and Israel's «Foxtrot»; and «Taxi Driver» writer Paul Schrader's best movie in at least two decades, «First Reformed.»

I have definitely dropped that money on worse production before, but this one has so much star power and a fun premise (or at least it sounded that way) that I feel this was one of the least risky choices I've made as far as going into a movie I know very little (or nothing) about.

That, at least, would have pitted a female president against a strong female villain (an over-generous way of describing Poppy, who's like one of the perky Red Lobster zombies from Robin Comisar's twisted «Great Choice» short), whereas this is just bonkers and might actually serve best as a send - up of past spy movies.

There is no way that the movie wouldn't be improved by simply cutting out all of that secondary content; it would likely trim the movie to an unusual hour length and would require a different ending and probably at least one standard issue best friend as sounding board, but the movie would be a lot closer to tolerable then.

The Help feels like a strange combination of at least five or six different movies and even dear, sweet Emma can't find her way through it.

That way, whenever some movie is released that credits the infamous pseudonym as its director, Harlin could at least say, «Nope, that wasn't me,» and it would be plausible that he's telling the truth.

At just 90 minutes, A Quiet Place is brisk, but it's also patient; this is one of those monster movies that builds tension from the absence of the monster, at least until the full - bore, unbroken set - piece of the second half, when all the stillness and pregnant pauses give way to an extended riff on the best scenes in Jurassic ParAt just 90 minutes, A Quiet Place is brisk, but it's also patient; this is one of those monster movies that builds tension from the absence of the monster, at least until the full - bore, unbroken set - piece of the second half, when all the stillness and pregnant pauses give way to an extended riff on the best scenes in Jurassic Parat least until the full - bore, unbroken set - piece of the second half, when all the stillness and pregnant pauses give way to an extended riff on the best scenes in Jurassic Park.

Reading The Day After Tomorrow as a 9/11 film, in fact, adds another level of polemical discussion in that the film's Vice President Becker (Dick Cheney ringer Kenneth Welsh) emerges as the «I don't believe you» villain endemic to disaster movies and, in this way, at least partly responsible for the number of casualties suffered on behalf of his myopia.

A single, lingering, low - angle close - up of Pete Postlethwaite's face goes a long way toward making any movie at least a little compelling.

But there's probably less action in this superhero movie than any other of recent vintage, or at least it seems that way.

At the very least, other filmmakers should be paying very close attention to the way Abrams and friends have heightened anticipation for what looks to be a fairly standard monster movie.

With an exhaustive season at the BFI Southbank in full swing, two major Hollywood movies on cinematic release in the form of IT and The Dark Tower, a TV version of «The Mist» and detective novel «Mr Mercedes» still both airing and at least two new films on the way, it is safe to say that Stephen King fever is in the air.

by Walter Chaw In an ineffable way, Boris von Sychowski's The Pool reminds of those old Eighties television teensploitation summer camp movies starring the butch from «Facts of Life» and the fascist from «Family Ties»: poor production values enslaved to the straitjacket of rigid formula filmmaking, wrapped around G - rated titillation that at least in The Pool recognizes is the result in some part of submerged menace.

Also, being a princess story, Diana does nuzzle its way into fairytale indulgence, now and then exuding less fealty to the woman herself than to old Audrey Hepburn movies — which wouldn't be a bad way to go if Jeffreys and Hirschbiegel had better tempered it with self - awareness, or at least something new and vital to say.

But with Disney holding the keys, at least one or two massive movies will, presumably, find some way to get the X-Men and the troubled Fantastic Four into the MCU.

While explicitly acknowledging that most Arab Americans are loyal and law - abiding citizens, the movie still uses fundamentalist Muslim characters as villains, in a way that was bound to offend at least some people of Arab heritage - and has.

He shares with character - based theater a taste for sudden revelations, yet he doesn't allow for the fact that these coups de theatre don't always function on - screen as they do onstage: a plot turn that we find convincing or at least acceptable in a play may not work that way in a movie.

To show how this works, I asked SurveyMonkey Audience to run a survey of moviegoers — people who have seen at least one movie in the past six months — to rank the best picture nominees the same way the Academy voters do.

If only the movie were at least terrible in a funny way (a la DOLEMITE) one could reasonable have a good time poking fun at it, but unfortunately it is so tedious the only solace to be gained is by turning it off completely.

In a way, I envy people who fall for this sort of thing, because at least they'll get something out of the movie, which is more than I can say for myself.

This sequel loses its way and wanders into unfunny sitcom territory in its second half, but it still has enough humor to at least sporadically divert those who enjoyed the first movie and the large, charismatic cast reunited.

Every Holiday movie list needs at least one Christmas movie; enter Jingle All The Way 2, starring everyone's favorite, Larry The Cable Guy.