Sentences with phrase «before getting into this film»

If you don't know who Giacometti is, it's better to get acquainted with him and his incredible sculpture work before getting into this film.

Not exact matches

Sure, I like my fair share of silly, weird, raunchy humor (I LOVED Bad Santa if that tells you anything), but I just cant get into most films that center on gross - outs before anything else.

While the first two - thirds of the film contain enough political intrigue that the audience will ignore any slight historical missteps, the final third, when Philip's armada is approaching the English shore, takes us into true Harlequin romance territory, and we are force - fed a cinematic version of Sir Walter Raleigh guiding an unmanned ship into the Spanish Armada before it gets anywhere near the English Channel.

What do you do when you put Titanic, Gladiator, all sort of disaster movies into a blender... Well, you'll get Pompeii, a film that is so utterly derivative of all films that have gone before it, but somehow made with such enthusiasm by Paul W.S. Anderson, the king of «schlock» cinema that you'll find it somewhat enjoyable.

What do you do when you put Titanic, Gladiator, all sort of disaster movies into a blender... Well, you'll get Pompeii, a film that is so utterly derivative of all films that have gone before it, but somehow made with such enthusiasm by Paul

The official review embargo lifts on Monday, May 14th, so we'll get a better idea of what the film has in store for us before it launches into theaters next week.

From the moment we're introduced to the war between the Assassins and Templars, the film never lets up, and scene bleeds into scene, much like a Christopher Nolan film, before the film just abruptly ends, and you realise you never got a chance to catch your breath.

The only real surprise is just how quickly the film is willing to jump to tears, hugs, and swells of music — this happens before the team even gets a winning streak going, let alone makes it into the finals.

You can pretty much guess that this side story gets twisted into the main one before the film wraps up.

Before we get into the monsters lets jump back to Director Gareth Edwards» film, Monsters.

Here's the synopsis: «The Netflix road movie centers on Matt Ryder (Sudeikis), who is talked into driving his estranged and dying father, Ben (Harris), across the country on a quest to get four old rolls of Kodachrome film to the one lab left in the world where it can be developed before that location closes down for good.

And now, before we get into the analysis, let us first acknowledge five good films, alphabetically, that narrowly missed the cut:

Before the film's release, The A.V. Club spoke with Rudd about getting into character, his off - screen relationships with his onscreen siblings, and the similarities between Our Idiot Brother and the one movie from his past people are always eager to discuss.

Dropped into the middle of the action, there's very little information given as to what's come before and I liked this... too many films waste precious moments spoon - feeding audiences everything they think we need to know when actually, if the script and performances are strong enough, we can usually figure out enough to get by.

In the film, we follow street puppeteer Craig (John Cusack, looking like a small, humming pile of hair) as he confronts the economic viability of his chosen occupation by getting an admin job on the 7 1/2 floor of a building that also happens to hide a tiny door which leads, if one crawls through cobwebs and puddles, to the inside of John Malkovich's head, wherein for 15 minutes the brain tourist can vicariously live through famous actor John Malkovich's eyes before getting spit up into a ditch off the New Jersey Turnpike.

It took some time for me to get used to the pacing before I was pulled into this film.

But before we get into the chronologically - challenged bent reality of Nicolas Roeg, Sophie and Lee take a moment to look at some of this month's films, including Marvel's new mystical entry into the MCU Doctor Strange, David Yates and JK Rowling's Harry Potter spinoff prequel Fantastic Beasts and Where To Find Them, and the surprisingly political plastic toy adaptation Trolls.

First, a brief remembrance before we get into the year's best movies: The film world said its heartbroken goodbyes to Mike Nichols in November, an occasion for returning to the director's seismic The Graduate, along with four decades of subsequent work, much of it brilliant.

Transfixing images accumulate as we get gently dragged deeper into Drift — and that's before the film's turning point, when the soundscape slowly slips from the diegetic into electronic abstraction and the sea wrests control of the helm and we really start to lose our sense of time and space.

Following his attention - getting appearances in 1981's Body Heat (in which he played a smoking - hot arsonist) and 1982's Diner (an ensemble film where he handily out - handsomed his co-stars), Mickey Rourke had about a decade as a conventional — and conventional - looking — leading man before his acting career took a backseat to his detour into professional boxing.

It honestly just felt like a group of guys got together and threw all their favorite action movies into a pot and created an amazing looking incoherent film before coming back around and adding a story to it to try and make everything have some sort of meaning.

But before I get into how gorgeous Shaun the Sheep Movie looks, I have to emphasize that the film's beauty doesn't lie solely in the hand - made figures and sets and their elegant animations, lovely though they are.

The accidental similarity, plain as day on paper, becomes even plainer on the screen: Minutes into the film, stage and cinema veteran Simon Axler (Al Pacino, himself a veteran of both Broadway and Hollywood) ambles out of his dressing room, the camera following close behind; gets locked out of the back entrance of the theater, and must come in through the front; and dramatically inflicts some violence upon himself before a shocked live audience.

There's a moment about three - quarters of the way through BPM — this crucial shot's placement in the narrative, neither too early nor too late, is another mark of this film's exacting delicacy — when we get a glimpse into the dream world of Sean, a passionate lover of both life in general and his new boyfriend in particular, who's unrelievedly furious at the prospect of dying this far before his time.

Yet, for all of that, «The Wall» — penned by first - time screenwriter Dwain Worrell, whose script was well - regarded in Hollywood before it got turned into a film — feels longer than its brief 81 minutes.

Boyle's latest film, 28 Days Later, follows a similar pattern, getting off to a terrifying start before devolving into gory bloodshed and ham - fisted allegory.

There Gadot gets to show off her superpowers for the first time, though only in one sequence — albeit an pretty awesome one, save the weak CG composites of course — before the film starts its downhill run into the third act.

He starts with a few notes about the Machete trailer before he gets into the script and its development, working within the «grindhouse» motif, cast, characters and performances, music and editing, sets and locations, changes made for the longer cut of the film, effects, and a few stories.

At least that's what this William Friedkin (The Exorcist) film feels like before it even gets far into what they call a plot.

Every time he had to watch the film two or three more times before he was able to get into it.

You get real insight into the man, his work and his views on life, but Marguiles and Ponsoldt have used the source material (the dialogue is overwhelmingly from Lipsky's transcripts) to make a great conversation movie, in the mold of Richard Linklater's «Before» films, that happens to feature the acclaimed novelist.

We know Godzilla and Kong are going to fight, but it's less clear whether Rodan, Mothra and King Ghidorah will get films of their own before they're thrown into the mix with their more famous counterparts.

Before I get into this, I want to preface it by saying that I'm a huge fan of Affleck's first film Gone Baby Gone, it's one of my personal all - time favorites, I loved it through and through.

Every woman in the film save one is a self - abnegating, self - loathing creature eager to call herself a whore, get brutalized by Scott for being an escort or madam, be shepherded around anonymously, or, in a pivotal moment, display strength as a secret service agent before bursting into Mildred Pierce histrionics.

Then he talk about some new trailers in the Trailer Park before getting into the new films to review: Jodorowsky's Dune, Only Lovers Left Alive, Million Dollar Arm and Godzilla.

A film that already starts out oddly enough — as a kind of subversive biopic about a low point in Miles Davis» life — gets even stranger as it morphs into an ode to «70s blaxploitation movies, before a third act in which it completely disables the brakes.

Before talking about the film though, tell me how you got into the acting business.

Kogonada previously made video essays and submitted work to film magazines before getting into filmmaking.

I really enjoyed this film, which has two fantastic extended chase / action sequences — one with Lloyd provoking all the street thugs he can find into chasing him right into the mission (where he wins their loyalty by nonchalantly passing the collection plate to rid them of stolen jewelry before a police search), the other with Lloyd trying to corral a group of five drunk friends and get back to the mission for his wedding.

Before it gets too Teorema on us, a mid-film reveal about military experiments will either tickle your fancy or slide you off into distraction, though it's presented with such poker faced seriousness that Lance Reddik's over-the-top performance feels every bit at home here as similar twists in blockbuster fanfare like something from the ongoing Bourne films (as well as a distant echo of The Manchurian Candidate).

Before meeting the Wizard, Dorothy and her companions broke out into a happy song while getting primped and pampered during the «Merry Old Land of Oz» number in the classic 1939 film, «The Wizard of Oz.»

Before I got into games journalism and indeed Plus XP, I was majorly into my films, heck I am still today.

Before getting into real estate, Nora was a film producer, working with A-list Hollywood directors such as Martin Scorsese and Oliver Stone.