Sentences with phrase «bad filmmaking»

Their problems have very little to do with the medium of their subject matter and everything to do with bad filmmaking.

This is bad filmmaking that tries to be bad, and revels in it.

Nonetheless, as with the other examples, there will be those who haven't read or disliked the source material who will detest the film as hard to follow, boring, bad filmmaking, etc..

The third act had so many problems that I had a tough time focusing on the story and basically become over-distracted by the bad filmmaking.

There are other movies seen in various stages of production on the Capitol lot, none completely convincing as period pastiche, some funny as send - ups of bad filmmaking: a musical starring an Esther Williams type named DeeAnna Moran (Scarlett Johansson), who refers to her mermaid costume as a «fish ass;» Merrily We Dance, directed by ascot - wearing priss Laurence Laurentz (Ralph Fiennes); bits of Doyle's singing cowboy movies and the latest from Gene Kelly-esque dancer - athlete Burt Gurney (Channing Tatum, showing off a surprisingly passable singing voice).

However, any hopes for Mallrats to be passably good are dashed with a messy, slapdash game show finale that drives the hit - and - miss film down into realm of embarrassingly bad filmmaking.

While the gritty subject matter and intense action do deliver the goods for those looking for that kind of material, Donner's film gets off to a good start, only to lose momentum as the implausibility factor begins escalating, followed by a final twenty minutes of just straight - up bad filmmaking.

Lake Placid 2 is worth a watch if and only if you can find humor in bad filmmaking.

In a 2 + hour movie, the shot of the theatre mask floating is the only 5 seconds of «bad filmmaking» — That is the only image in the film that is jarring from the experience, and I'm not ready to burn all the prints (and HDDs) of the film quite yet.

make the awful bearable but not much better than a Michael Bay jaunt into madness (I know I mention him a lot but he's awful and the prime example of bad filmmaking.)

While these things might seem cool when you're watching on a giant theater screen with your 3 - D glasses on, watching this as a regular 2 - D movie makes most of these shots and scenes seem awkward at best, or just downright bad filmmaking.

I can only assume that Steven Spielberg hoped the inherent silliness of Transformers lore and Michael Bay's notorious propensity toward bad filmmaking would cancel each other out when he enlisted Bay.

This is about as perfect an example as there is of bad, bad filmmaking.

This is bad filmmaking and not worth the viewing, any moment one of the actors is doing something, every crowd member watches in anticipation e.g. the first kiss.

Del Toro, a true cinéaste whose worst filmmaking crime may simply be caring too much, has good standing in the industry and is probably the one to beat.

Not exact matches

Especially when you compare it to other Christian movies of late — movies that include bad acting, storylines, and filmmaking.

The first two acts of Real Steel are an exceedingly frustrating exercise in tedium: It's stale, generic, follow - the - bouncing ball filmmaking at its worse.

Apparently, Malick wanted Travolta to play Bill in a love story he was working on called «Days of Heaven» and had to settle for Richard Gere instead, and his failure to win Travolta from some other studio depressed him so badly that he had to quit filmmaking for 20 years.

... [Director Michel] Franco's aloof filmmaking betrays a discombobulated mentality that has gotten worse with each of his successive movies.

«Schindler's List» is a must - see masterpiece, a great achievement in filmmaking as well as an overwhelming look at how good, bad or ugly human nature can get.

For everyone else, though, this is a laughably bad attempt at filmmaking.

Columbus» directorial style is an accountants» dream, and the worst nightmare of anyone who cares about proper fantasy filmmaking.

James Franco turns the production of one of the worst movies ever made into a filmmaking triumph.

In this lively, illuminating and unexpectedly moving documentary, directors Noah Baumbach and Jake Paltrow engage in a personal and candid discussion with De Palma, exploring not only his life and work but also his singular approach to the craft of filmmaking and his remarkable experiences navigating the film business, from his early days as the bad boy of New Hollywood to his more recent years as a respected veteran of the field.

For better or for worse, a certain type of filmmaking has come to dominate American film comedy.

Demonstrates that when independent filmmaking meets the generation that is constantly filming, both good and bad things can come from it.

Just the fact that the comment «Technical aspects take over filmmaking and I always prefer real flesh and blood actors and original locations over computergenerated stuff» might sound conservative shows that Hollywood cinema is in a bad way right now.

Which is too bad, because there are moments of genuinely good filmmaking and acting in the middle of it all.

It's a dumb, bloated movie; Hooper's first foray into Hollywood filmmaking and certainly not his last, yet certainly not his worst.

It's not «so bad it's good» or «so bad it's fun» or «so bad you couldn't quite believe anyone who had any interest in the business or art of filmmaking would think it's a good movie.»

An ugly exercise in genre filmmaking and religion bashing, Priest marks a new low in the action / horror hybrid, and once again proves why Paul Bettany is the worst action star working today.

«The Disaster Artist» — I didn't have more fun at the movies this year than with the lovable filmmaking oddballs in this tale of the making of what is widely regarded as the worst movie ever — «The Room.»

«On Sabbath Hill,» meanwhile, features terrible acting and even worse framing choices — the latter seemingly made by a drunken teenager, a small child or perhaps some filmmaking collective comprised solely of both.

This visceral filmmaking is not in itself a bad thing, but Bay doesn't orchestrate it with carefully controlled ups and downs.

With an incomprehensible plot, bizarre direction and a strange lead performance by Wiseau, The Room has become one of pop culture's most «celebrated» examples of so - bad - its - good filmmaking.

Yet, doing so would also require that the industry (and critics) embrace the fact that most of such films would, at least initially, be rather underwhelming if not outright bad: after all, it is only through repeatedly practicing the craft of genre filmmaking that, over time, a film industry can elevate its game and make reliably solid films in any given genre — films that can hold their own when compared to those from other nations that excel at genre filmmaking, including Hollywood (the genre filmmaking tradition par excellence), France, South Korea, or Hong Kong.

On a political, social and historical level, Captain Phillips is irresponsible filmmaking at best — and cynical calculation at worst.

There's lots to love and admire in Craig Gillespie's look at the rise and fall of ice - skating «bad girl» Tonya Harding, from Margot Robbie's committed performance as the disgraced Olympian to the filmmaking chops on display (watch how the cameras keep circling Harding in her skating scenes, like it's a frenzied shark — everybody, even the movie itself, seems to be a predator out to get her).

If anything can happen, nothing is surprising — it is that struggle with the basic rules of narrative in narrative filmmaking that makes Howard a poor choice for fantasy (Willow, The Grinch) and an even worse choice for serious drama.

Roberts first feature as writer / director is no better or worse than Ryan Gosling's, just films on a different scale, but both have a talented eye (and ear) for filmmaking and I think their second features will be even stronger.

Director Richard Linklater revisits the school of «one for them, one formyself» filmmaking with Bad News Bears, another in this summer's legionof pointless and empty remakes.

Having already sampled some of John Carpenter's bad «90s work, his largely derided return to feature filmmaking only sent me further in retreat, back to the «70s and «80s work that suggested him as one of the great, personal auteurs in an increasingly bloated mainstream landscape.

This is not an inherently bad quality to his filmmaking.

It was the best of times, it was the worst of times, it was the age of transcendent filmmaking in the The Lost City of Z and A Ghost Story, it was the age of foolish Spider - Man remakes / reboots / regurgitations, it was the epoch of a magnificent enquiry into belief by the evergreen Martin Scorsese, it was the epoch of the incredulous return of Mel Gibson in a box office hit, it was the season of Michael Haneke shining a light on our uncaring societal malaise, it was the season of manifold more people watching Baywatch, it was the spring of Aki Kaurismäki's warm - hearted but politically pressing The Other Side of Hope, it was the winter of despair at the box office results of masterpieces like Certain Women, Aquarius and The Death of Louis XIV, we had Yorgos Lanthimos» Kubrickian masterpiece before us, we had a new Kingsman film before us, we were all going direct to cinematic Heaven, we were all going direct the other way.

At best, Zack Snyder achieves mediocrity in his filmmaking, and every film he's made has gotten worse.

At this time Welles invented his own unique method of low - budget independent filmmaking that set the template, for better and worse, for most of his career thereafter.

Though not as bad as Roland Emmerich's 1998 version, «Godzilla» is a bewildering piece of blockbuster filmmaking, stuck somewhere between an old - school monster extravaganza and a po - faced thriller that's afraid to have too much fun.

He returned to studio filmmaking with The Color of Money (1986), a remake of The Hustler (Robert Rossen, 1961) that is probably Scorsese's worst film.

So boring and the filmmaking is very bad.

A heartbreaking giant of a film, not a bad shot or a wasted frame in it; perfect filmmaking.