Sentences with phrase «belongs in different movie»

Lee Pace's roaring, boisterous performance looking like an Egyptian God belongs in a different movie entirely.

Jason Biggs appears as Bell's catering assistant, and while his slapstick is funny, it feels as if it belongs in a different movie.

That scene - as well as a few others - belongs in different movie.

They feel like they belong in a different movie — they might be more at home in a silly fantasy alongside the eagles from The Hobbit.

As much as these scenes are a welcome break from tense, impending doom of the rest of «Detroit», you can't help but feel they belong in a different movie.

Mulholland Dr. is never more disconnected than its opening 20 minutes, which introduce characters who seem to belong in different movies (some of whom never appear again) and include one of the most purely scary sequences in contemporary film — the self - contained «man behind Winkie's» scene.

Not exact matches

In the conversations I've had with others who have seen the movie, I was amazed to find that, in discussing who this film actually belongs to — whose story it is — everyone seemed to identify with a different characteIn the conversations I've had with others who have seen the movie, I was amazed to find that, in discussing who this film actually belongs to — whose story it is — everyone seemed to identify with a different charactein discussing who this film actually belongs to — whose story it is — everyone seemed to identify with a different character.

Before getting into how spectacular the action sequences truly are (and trust me, they save the blockbuster from plundering to the bottom of the ocean), it must be said that Oscar - nominated Kon - Tiki directors Joachim Ronning and Espen Sandberg have no idea whose story the movie should actually belong to, starting out as Henry Turner's (Brenton Thwaites) quest to free his cursed father at sea Will Turner (Orlando Bloom in a glorified cameo along with Keira Knightley as his partner Elizabeth Swann) to locate the Trident of Poseidon subsequently lifting that curse, and while the ultimate goal of the movie for all characters is finding said artifact for different reasons, by the end it's hard to fault the audience if they have forgotten all about that plot element and are just living in the moment of Jack Sparrow and company battling an army of decomposing, undead ghost pirates led by Captain Salazar.

Their boardroom scenes, interspersed throughout the first two - thirds of «Race», are so detached from the main storyline that it feels as if they belong in a completely different movie.

The sequence seems to belong to a different movie, and Nichol never provides any context for Williams, best known for the 1968 instrumental hit «Classical Gas,» or for Ruscha, a pivotal figure in pop art.

I won't go so far as to say it's without merit, as it does pose interesting questions, but it seemed like it belonged in a much different movie than the one that had been developing for the first hour and 20 minutes.

Finally, the ending eruption of violence is shown in such an out - of - the - blue graphic close - up that it feels like it belongs to a different movie, as if McDonagh is channeling his inner Tarantino.

A banal, if obsessive, collection at a glance — «Scarface» movie posters, «Scarface» action figures, «Scarface» key chains, «Scarface» tennis shoes — the array takes on a different meaning when you learn, as is noted in the press release, that it belongs to a childhood friend of Ybarra's who was himself imprisoned for dealing drugs and who looked to the Al Pacino's character as a hero.