Sentences with phrase «because everything in the film»

Not exact matches

«Secondly, don't believe everything that you read about movie stars because some of the women who've had kids in their late 40s, such as film stars, have used donor eggs, but they don't tell you that in the article because it's their own private business,» warns Prof Ledger.

This film is very difficult to score - I do agree with one reviewer who found it very unlikely that Dennis Quaid's character would just dump Cathy and live with a man - because he definitely would lose his job and everything - in that era men did those things on the side while still being married.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

This film is very difficult to score - I do agree with one reviewer who found it very unlikely that Dennis Quaid's character would just dump Cathy and live with a man - because he definitely would lose his job and everything - in that era men did those things on the side while still

Some may disagree, but it's one of the better Bond films not just because of Craig, and a great female lead — but because it combines everything that is good about Bond in the first place without the need of just gadgets to progress what happens in the storyline.

This film is very difficult to score - I do agree with one reviewer who found it very unlikely that Dennis Quaid's character would just dump Cathy and live with a man - because he definitely would lose his job and everything - in that

The Way Way Back does generate a fair amount of laughs throughout the film, but misses on the emotional level because of the underplayed drama between mother and son — a shame because Collette's character had real potential to be more than just a naïve mother who is content with looking the other way for everything in life.

Like I was telling you, in most film criticism, certainly before the invention of VHS, everybody would get everything wrong all the time because they couldn't go back to check it before publication, and one of the real whoppers is Raymond Durgnat describing «Under Capricorn» in his writing, and then Francois Truffaut taking Raymond Durgnat's description in the «Hitchcock / Truffaut» book and getting everything all wrong.

As Feige says, the film, adapted from one of the most «popular» comic books in recent years (I put popular in quotes because I find that to be an egregious statement), is a «culmination of everything that's come before.»

That connection between Isaac and Portman's characters is a crucial plot point in the film, but in practice, it's half - compelling and half - restraining, simply because marital problems are so much more familiar and banal than everything else going on.

I didn't make this film, but I will say that the internet has changed everything in terms of distribution and because of iTunes and other outlets like that, length is no longer something you really think about, in my opinion.

A rating is everything in a horror film because it determines a lot of what we'll actually see on screen.

Some, like William Friedkin and Wim Wenders (who cast Fuller Sr in his film «The American Friend «-RRB- were friends, some, like Jennifer Beals, Mark Hamill and Bill Duke, were collaborators, and some, like Tim Roth and James Franco (because James Franco is in everything) are admirers.

I seems as if they wanted to film in black and white (it's likely that the money hungry producers wouldn't let them) because everything is composed in harsh blacks and whites.

Like everything in the film, these passages are rich and strange because they are presented in the light of everyday where we are all just trying to understand each other a little more if only to just understand ourselves a little more.

Chris has done this incredible thing where the sequel, the way he described it to me, elevates the movie from being a horror movie — and I wouldn't even say it's just a horror movie because it's a horror, comedy, rom - com drama — into a Back to the Future type of genre film where the sequel joins us right from where we left off, it explains a lot of things in the first one that didn't get explained, and it elevates everything.

In each respective case, it would be hard to imagine someone doing a better job with the same story, because it appears that they all dug down deep within themselves and gave the film everything they had.

In Ant - Man and the Wasp, they are trying everything in their power to safely enter the quantum realm and return back from it because they have evidence from the first film that Scott Lang was able to do thaIn Ant - Man and the Wasp, they are trying everything in their power to safely enter the quantum realm and return back from it because they have evidence from the first film that Scott Lang was able to do thain their power to safely enter the quantum realm and return back from it because they have evidence from the first film that Scott Lang was able to do that.

Everything about this film is Kubrickian in its devising, and I don't just make that comparison because the opening is a riff of sorts on the star gate scene from 2001.

Underworld is such a tedious watch, not only because it is inherently superficial in everything it does, but it also is one of the more repetitive films to cover this oft - explored territory.

There's not a moment in the film where we can relate to his plight, because everything he does is something only a complete ignoramus would do.

This movie is ridden with plot holes, it has an unacceptable amount of logic issues, Mystique's costume is distractingly fake and silly looking, Anna Paquin gets a title card yet is in five seconds of the movie, multiple story beats are repeated and the narrative puts into question everything that's happened in previous «X-Men» films, but, if you can get past the fact that the «Days of Future Past» narrative is downright ridiculous, you can still enjoy some of the mindless, summer fun — and Quicksilver's sequences, because that's high quality cinema right there.

We also reject the notion in the beginning section of the film, because the screenplay by director Nuri Bilge Ceylan and his wife Ebru Ceylan spends the entirety of the first act on a conflict that Aydin appears to do everything in his power to avoid.

Because I barely remember anything from any other movie in this series (I had to go back and reread my reviews, not just to refresh my memory, but to affirm that I'd even seen the previous films), everything that wraps up loose threads, the two (count»em) times characters are forced to give Biblical genealogies to the probable delight of ardent fans, the deadening nonsense involving love triangles, all that jazz, is exactly like watching paint dry.

«Starting with «Humpday,» Magnolia has proven to us over and over again that genre and marquee names don't mean everything in indie film, and that they will passionately get behind a wild movie like Sean Baker's «Tangerine» simply because it is unique, inspired, and flat out entertaining,» Jay and Mark Duplass said in a joint statement.

«Yeah, that was really, just like with Chris, just wanting make it more interesting for Mark to play that character,» director Taika Waititi explained in a new interview with CBR, «because in the films he just said one or two words and just destroyed everything, and that was the version of Hulk I think that everybody knows.»

I was lucky because the first films I made were so small and so D.I.Y. that everyone did everything, so if I wasn't acting in a scene, or writing the next scene we were shooting, I was holding a boom or a camera, and sitting and working on the editing at night.

Janney had what is, essentially, a temporary face - lift — with tape applied to her temples and neck — masked with a gunmetal - gray wig that is, like nearly everything else in the film, so terrible because it is drawn precisely from real life.

Of course, if he does, he'll realize that working climate scientists largely agree with most everything stated in the film or book, and that will be more proof for James that climate science is really climate fiction, because if James believes something is fiction, it * must * be fiction, right?