Sentences with phrase «best film of its kind»

You can't exactly call Alfonso Cuarón's Gravity the best film of its kind, because it has no kind: It stands alone as an extraordinary balance of 3 - D effects, heroes - in - jeopardy storytelling and emotional depth.

And so I was ecstatic to hear they were restoring the truly phenomenal «The Awful Truth,» one of the best films of its kind ever made.

Not exact matches

Some of the things that made T'Challa [the film's main character] a good leader were that he wasn't afraid to empower the people that worked with him, and he was somebody who kind of gathers information from everybody.

These mamas, born between October 23 and November 21, are well rounded in a misfit, horror film kind of way.

Well, let's compliment the filmmakers; Mark Mathis one of the producers was kind enough to bring the film to our offices and so we got a chance to watch it, and after we watched it, we had, at times rather...

Best known for his Superman films, Reeve had long advocated research into embryonic stem cells to repair the kind of spinal cord injury that left him paralyzed from the neck down after a horseback riding accident 10 years ago.

Love reading, the arts, good film, music of all kinds, gardening.

Well some times I love to go walk around beach having sex at home I like wwe wrestling and watching dirty tapes watching movies my best movie is horror films some times watching sports all kinds of stuff

The Good Food Awards celebrate the kind of food we all want to eat: tasty, authentic and responsibly Wigs Up North is a Manchester based business providing creative services and products for film, TV & theatre.

Directed by Steve James, whose «Hoop Dreams» Ebert hailed as the best film of the 1990s, it's the kind of documentary the dying man wanted — honest, humane and inclusive.

It's a throwback to that more innocent kind of film, where you know who's good and who's bad, where you boo the villain and cheer the hero... The movie makes fun of those clichés, but director George Lucas must love them too, because he makes them work.

, while director Mike Barker tries his best to imbue the film with a farcical sort of vibe (it kind of works).

Redmayne kind of does the same thing as well, so the film falls squarely on Vikander's shoulders.

This film is also the best monster movie of the year and the best picture of any kind to open so far this summer.

Sure, the film is generally entertaining, or at least not as dry as it could have been, but there are still those fair deal of slow spells that throw you off and give you time to think about how the film is, well, kind of aimless.

The Brooklyn - based Anna Boden and Ryan Fleck («Half Nelson» / «Sugar» / «It's Kind of A Funny Story») are co-writers and co-directors of this well - conceived, low - key, moody, bittersweet, buddy gambling film.

While it suffers from the obviously propagandist nature of World War 2 films, it's better than most when it comes to the human non-political nature of this kind of warfare.

Lullaby is the kind of film that's best described as a having been cobbled together from an indie scrapyard.

As much as I may believe all of these things — that this kind of speechlessness in the face of art is a near instant augur of greatness, that a film whose ideas ebb and flow so grandly and subtly fares poorly when bound by the fixity of the written word, that if Malick chooses to engage his spectators on the level of the visual, then well, fuck, shouldn't I be making him a collage or a photo diary?

That kind of sloppiness works well enough for a Spy Kids film, but in a movie aimed squarely at the grown - ups, it's a lot tougher to forgive.

Absorbing and hypnotic, Annihilation is the best kind of sci - fi film - the kind that challenges and subverts the genre, all the while introducing new ideas that you'll see in films to come.

Tom of Finland is a film about a man who was famous for very dirty drawings, but it is unfortunately restricted by a dehydrated kind of good taste from ever being very dirty or very sexy.

The jokes are good and its very entertaining, its a hugely underated film and my favorite made by Dreamworks joint with Spirit: Stallion of the Cimarron which the film reminded me of, due to its serious message and hatred for human kind.

While the film never reaches the kind of emotional peaks of James» best work like «Hoop Dreams» or «The Interrupters,» Abacus: Small Enough To Jail is no less compelling.

I am prepared to suspend belief and even a film with no redeeming value of any kind can still be a well made film with believable characters, except, when the disastrous outcome is true.

The downside to this approach is that the film occasionally feels repetitive or drags; we know that some kind of uplift is coming, because the story is well - worn, and there are times of wishing that it would just cut to the chase.

I'll admit I had eased myself into a kind of pliability in order to get through the film (talk about submission techniques), but at this point, it was too tacky to enjoy in any good conscience.

Truth or Dare is the kind of film that must have seemed like a good idea at the time, but its initially appealing premise — what if a demon possessed a drinking game?

This is a formula film, but it has the kind of good cheer and fine tuning that occasionally give slickness a good name.

Though the film has minor charms (the highly regarded actress can sing, and co-stars Tyne Daly and Scott Bakula are seasoned Broadway musical veterans) Basmati Blues is the kind of easily forgiven early career move that is best released on home video and forgotten.

The start of this film is basically a Bond sequence... seeing as this is what the film has now become, a kind of «Bond / Mission: Impossible / (recent) Die Hard» mix with the good humoured character teamwork of «Ocean's Eleven».

McCarthy plays that kind of scene with enough style, confidence and wit to pitch the jokes past the straight men, and the film is an example of her doing what she does best.

You could almost imagine the two films, or at least their heroes, figuring in the kind of good - natured, racial - stereotype humor that used to be a staple of stand - up comedy (and was memorably parodied on «The Simpsons»): «white guys abolish slavery like this» (pass constitutional amendment); «but black guys, they abolish slavery like this» (blow up plantation).

No surprise, perhaps, as Denis's film is the sort of thing usually discussed as a «minor,» the appellation usually applied to movies about love and intimacy, topics of almost universal relevance, as opposed to «major» works that indulge in the overblown oversimplification of barely understood historical periods, interminable «sculpting with time,» or the espousal of revolutionary creeds to well - heeled film festival audiences who know in their secret hearts that they will never in their lives participate in a violent uprising of any kind.

... Okay, so it's kind of lame to forcibly cite this film as nerdy to the point of getting a star with a surname that sounds kind of like «Edison», but the filmmakers had to have some corny joke somewhere in the casting, for it's not like Edison has been earning enough attention from, well, anyone to get a gig even this low in profile.

That kind of emotional centre is key to the success of Crowe's films, and it works beautifully here, aided immeasurably by a wonderful performance by then - newcomer Renee Zellweger, as well as a spot - on effort from Cruise and a deliciously over-the-top innings from Cuba Gooding Jr..

Shedding the broader PG - 13 comedy of his past two films (Starsky & Hutch and School for Scoundrels) director Todd Phillips returns to the kind of raunchy guys - get - together humor that he does best.

That doesn't mean the movie escapes the intersectional nature of this universe of movies: There's a cameo from one superhero (kind of a favor, since Thor appeared after the end credits of that hero's solo film), and the Hulk, as well as his scientist counterpart Bruce Banner (Mark Ruffalo), has a supporting role.

Michel Gondry's coming - of - age road movie Microbe and Gasoline is, surprisingly, his best film since Be Kind Rewind, or even Eternal Sunshine of the Spotless Mind.

The first scene in the film kind of gives the ending away and leaves you expecting it, but in a way that is a good thing considering what this film has in store.

At the end of the day, when we measure the worst films of the year, shouldn't we focus on things we thought were going to be good that were all kinds of memorably awful?

CP: Well, let me first say I am very happy about Maren Ade's Toni Erdmann, which represents a kind of film that I just can not manage — I like it a lot.

This winner of the audience award for best narrative film at the Palm Springs International Film Festival is the kind of whimsically smart - aleck British film that goes down well on this side of the Atlantic.

«Pirates Of The Caribbean: Dead Man's Chest» (2006) Box Office Take: $ 1,066 billion 21st Century Box Office Ranking: 12 Not as well - crafted as it predecessor, but not as bloated as the films that followed, the first «Pirates» sequel «Dead Man's Chest» was still kind of a mess, but still retained enough of the original's invention and charm to remain somewhat palatablOf The Caribbean: Dead Man's Chest» (2006) Box Office Take: $ 1,066 billion 21st Century Box Office Ranking: 12 Not as well - crafted as it predecessor, but not as bloated as the films that followed, the first «Pirates» sequel «Dead Man's Chest» was still kind of a mess, but still retained enough of the original's invention and charm to remain somewhat palatablof a mess, but still retained enough of the original's invention and charm to remain somewhat palatablof the original's invention and charm to remain somewhat palatable.

As with many of Joel Schumacher's (The Lost Boys, Batman Forever) films, the lighting is dark, with emphasis on steam and neon colors, giving the «real life» scenes a kind of haunting, nightmarish, even melancholy texture that works well when life and afterlife collide.

And while you can admire, in theory, a movie about that kind of stasis — about a real - life situation in which things are bad and can only, maybe, get ever - so - slightly better — in actual practice, this is a film as depressed as its characters.

Peck's film sets out to make use of the unfinished manuscript of Remember This House, Baldwin's late - career attempt to grapple with the deaths of Martin Luther King Jr., Malcolm X, and Medgar Evers, but it soon abandons this premise for the kind of emotional detours that give some of Baldwin's best work its freewheeling, capacious spirit.

The adaptation of the long - running and occasionally beloved video game series has been filming for a few months now, but details of any kind have been shaky at best.

From the moment it was announced Rian Johnson would be directing «Star Wars: Episode VIII,» fans have been excitedly wondering what kind of special sauce the director of genre - bending films like «Looper» and «Brick» (not to mention a few of the best episodes of «Breaking Bad») will bring to the universe George Lucas created.

I don't think film festival mega-stars like Lars von Trier or Abbas Kiarostami or Wong Kar - Wai are nearly well - known or influential enough to have this kind of impact, on movie fans in general or on other filmmakers.