Sentences with phrase «best dialogue in the film»

Not only does he have some of the best dialogue in the film, but for anyone with a soft spot for a particular Lego minifigure, his transformation will be especially satisfying.

Not exact matches

In this obscure indie film, two little read - comic books come together in a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlIn this obscure indie film, two little read - comic books come together in a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlin a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlin the modern world.

The crammed spaces, tedious phone calls, and fast dialogue are believable flourishes in the best of these films, including All the President's Men and the more recent Spotlight.

Although at times it suffers from cheesy dialogue, The Cabin in the Woods is easily on the best horror films of our time, poking fun at the cliches of horror, while being pretty scary, as at least one of your greatest fears appears, in one of the best films of 2012.

I've never been a fan, as a rule of horror movies, however, the trailer drew me to this one and i'm glad it did, the awful acting we usually get in horror movies wasn't there this time round, in fact, the whole cast were excellent, the special effects were really very good and the humorous, intelligent dialogue (another thing you don't usually get in horrors) was brilliant, loved the film, Chris Hemsworth, although with less to do in this than he does in Thor, was great in it too.

His part's poorly written and the script gives him a lot of bad dialogue and strange behavior — the best being in the film's inert climax, accompanied by some real bad music by Howard Shore — but Armitage makes it work.

Hannah was given too little to do in the first film, and she does her very best to make Tarantino's samey, show - off, adolescent dialogue feel as though it could have come from her character's mouth.

A fast - paced, dialogue - driven, well - constructed little film about the immorality of our times, specifically playboy Roger (Campbell Scott) and how he decides to give his 16 - year old nephew (Jesse Eisenberg) in town a crash course in how to get laid after his nephew asks for his help.

However, where the film starts to falter is in dialogue that, without the exposition of the novella, is at best stilted, at worst almost a series of non sequiturs.

hile it's not perfect, Suicide Squad is very good and definitely worth catching... It's a film with confidence and swagger, a film in which the sharpness of its dialogue is matched only by the coolness of its (very loud) soundtrack.

Now this film does start off very slow, but the film does now how to mix the Action and dialogue in really well.

The dialogue between the characters however is actually quite good, the relationships built in the film feel real which says a lot in a film that is absent a coherent story.

Another highlight is the film's dialogue, which is poetic but fits well in these characters» mouths.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle way so multiple viewings is beneficial and a lot of fun.

Crowe is good with dialogue, and there are some very nice exchanges here, especially in the film's first half.

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

Aardman studios, best described as artists in film making, with no dialogue whatsoever in the film yet the storyline is told effortlessly.

Director Brian De Palma is a master at creating suspense through visual images without dialogue, and his craft is at it's best in this film.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle

Not in this film... She is a good actress, and in Immortals she was descent, given her plain dialogues, but nothing that could top Cavill / Rourke / Evans.

It's a good thing the dialogue and acting deliver, too, because the film is glacially paced and clocks in at a way - too - long 132 minutes that feels like a DVD director's cut that you'd watch once before always returning to the theatrical cut.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iIn Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes iin 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Generally the film's other elements - dialogue, street noises, pop music soundtrack - are equally well handled in terms of dynamicism and balance.

The film has a jerky pace to it, lurching and twisting from simple, well - considered stretches of dialogue in the beginning to the horrifically violent, agonizingly unrelenting final set piece.

Director Jonathan Liebesman background in horror films shines through in some genuinely tense moments, and one or two of the action sequences are well executed (a massive shoot - out on a freeway overpass is a particular highlight), but the potential of this movie is both wasted by a lack of general coherence, and then destroyed by dialogue that swings wildly from cheesy patriotic to unintentionally hilarious.

References to older films of the genre, witty dialogue (including a monologue delivered by Carradine near the end that is probably the best thing Tarantino has ever written), extreme violence, a soundtrack filled with all kinds of extraordinary pop songs; even an entire backstory sequence completely done in Anime.

This emphasis on behavioral naturalism — as well as his penchant for orchestrating overlapping dialogue — imbues his films with a down - to - earth, lived - in feeling.

The actors aren't all well cast (I counted only about three I'd consider to be above average for their respective roles — Acker as Beatrice, Fillion (Waitress, White Noise 2) in the supporting role of Dogberry - the only time the audience I viewed the film with laughed at anything in the film that came from actual dialogue, rather than the injected slapstick and actors occasionally comical facial expressions, came from Fillion's delivery - and British actor Paul Meston in the minuscule part of Friar Francis) The rest often appear as though they're reciting lines without any sense of meaning in the words they are saying, and when one of those happens to be the male romantic lead, that's one hell of a liability.

His cinematography and camera orchestrations are as sumptuous as ever, almost worth watching without dialogue, and yet, he doesn't exactly offer anything new here — it occasionally seems like he is trying to remake his cult classic, Chungking Express, for a Western audience, with some of the more interesting bits of his other films tossed in for good measure.

The DTS - HD Master Audio Mono track included works well with the dialogue and music in the film.

Olga Kurylenko almost literally phones it in as his former CIA handler and the script dabbles with some truly dire dialogue — «It's no secret that you and Ben were... intimate,» recites one agent, who might as well be called Basil Exposition — but Stölzl's visuals actually benefit from the film's plodding pace.

The film is a motormouth - y throwback, the kind that in the age of images and spectacle grooves to what movies once grooved to: well - crafted dialogue.

This exercise in buck - passing could have lent a good deal of character tension to the film; but if your best idea for a hard - hitting piece of accusatory dialogue (Architect to Builder) is «What do they call it when you kill people?»

We knew the palette and the look couldn't overwhelm character and dialogue, but in terms of knowing when it was too much, we looked at films that bridged that divide well.

Whilst emotion is key to a good disaster film, the dialogue in San Andreas is so clunky that these scenes break up the action and drag.

Take away the love it or hate it score (it's jarring, but in its own way, it almost feels like it's a character itself) and the long stretches of dialogue - free footage (again, the praise for these scenes reeks of movie snobbery to me — five minutes is good, twenty minutes is puffed - up filler), and what you're left with is a film that showcases the downward descent of one man.

That's a good description of the final film — one in which you can see glimmers of the Shane Black script underneath (hardboiled characters, snappy dialogue, bursts of shocking violence, a Christmas setting) but surrounded by a lot of unnecessary bullshit to the point where you can almost feel the egos of the movie superheating the frame and melting away what was once originally there.

It's a classic of double - dealing show business people, all caught up in the roles they play onstage and off, with some of the best dialogue and ensemble performances ever put on film.

The 5.1 track is best option for sure and works best with the music in the film and well - balanced dialogue.

He doesn't» have a lot of dialogue for a good majority of the film (getting your tongue cut out and your femurs filed down into Walrus tusks will do that to you), but he conveys so much through his emotions and body movement that it is impossible to become invested in his arc.

Most will view it with a jaded eye because of his other works, but others will respect the daring (although over-the-top at times dialogue), the «purist» filming of the project in Ultra Panavision 70 (a format that hasn't been employed in some 50 years) and the respectful hiring of Ennio Morricone, the man whose most famous score for the iconic «The Good, the Bad and the Ugly» is now synonymous with the western.

But dialogue and setting in this movie are finally less important than certain facts about its production: according to the movie's press materials, both Chan and director Stanley Tong «finished the film on crutches,» and two stuntwomen as well as actress Francoise Yip broke their legs during the motorcycle tricks.

Needless to say, The Artist was a complete throwback to a time when dialogue wasn't a necessity in cinema and harkens back to the inaugural Best Picture winner, Wings, which was also a silent - film.

Prior to that, there's some good stuff going on, and Cody generally restrains herself from her tendency in prior films to show off with dialogue and references (I'm OK with her slipping in a little Ladies and Gentlemen, The Fabulous Stains just»cause I like it - but you couldn't resist, could you, Cody?).

The dialogue in this film captures the nuances of their unlikely bond so acutely that it could work equally well as a radio play.

There isn't anything too significant to these, although the dialogue - free version of the ending set to «Easy» does seem better than the one used in the film.

There are more blockbuster action scenes in «Penguins» than in all three «Madagascar» films combined, meaning it will appeal to a younger audience (kids 7 - 12), as well as those who appreciate the gags and clever dialogue.

Diaz spends most of the film with Applegate, and they have an unforced, cutesy girly - girl best friend rapport, but one wishes Kumble and Pimental gave them more to do than just goof off and make faces at each other and the audience, often while delivering lame dialogue such as (in reaction to seeing Jane's boyfriend nude) «Oh my cock!»

The film's incredibly effective sound design is also captured quite well in the immersive DTS - HD MA audio track with effects spread out through the field and the period - correct dialogue coming through clearly.