Sentences with phrase «best film on the whole»

While Ginger Snaps is too uneven to be described as a good film on the whole, those who enjoy teen horror of today (The Faculty, I Know What You Did Last Summer, and the aforementioned Buffy), will probably take readily to this lesser known flick in the mini-genre, mostly because it sports more quality in terms of acting, directing and writing.

Not exact matches

Hey ladies, I'm so excited about putting looks together once again on a daily basis... I guess the thought of how I'm going to control myself and not purchase the whole store is a bit frightening but it's also a good exercise for moi:) So today I decided to film a «get ready with me» style video on my makeup look, hair and outfit.

In the end, this is again a very good horror comedy which needs to focus less on the main characters (lets face it, they are cliches and the interest of this whole movie is to the idea behind it) and more on the variety of monsters that were created for this film.

The film has its fair share of cartoonish villains and there are practically no surprises, but on the whole, Real Steel is good family fun and is never caught on the back foot.

Special effects are in abundance, but none of them are very well - produced, much like the film on the whole.

Hitler: The Rise of Evil is imperfect, but as a whole, it's a good try at capturing Hitler's life on film.

As a result, it's impossible to connect with the storyline or the plight of the film's human characters (one would think that this premise worked a whole lot better on the page).

From there on the whole film constantly looks impressive with great sets that really give a good impression of a crumbling death trap with plenty of water, fire, rubble, metal debris and sparking electrics into the brew.

I quite recommend that you watch «Harry Potter and the Deathly Hallows» as a whole for the full effect but this film does stand very well on its own.

Ultimately, I found the film to be just OK, and as narcissistic and self - congratulatory as this is: the best part about the whole experience, was seeing myself on the big - screen as a panicked / witless civilian.

That's our convoluted way of saying that The A.V. Club looked both high and low for the best scenes of 2015, culling from a whole spectrum of films — some likely to appear on this week's best - movies - of - the - year list, others unlikely to appear on any such list, and at least one certain to get called out in our public shaming of the year's worst movies.

On a whole the film was well cast — there's really not a weak link among the background players portrayed by Alec Baldwin, Russell Brand, Paul Giamatti, Mary J. Blige, Malin Akerman and Catherine Zeta Jones.

Perhaps the best transgender film we've seen to date, on a whole other level of excellence above even the Academy Award - winning A Fantastic Woman.

Set in the past and focusing on the true life events of P.T. Barnum (played fine by Hugh Jackman) and the origins of his infamous Barnum and Bailey Circus, the film could have been a whole lot more better had it not been a cartoonish musical.

(Note: «Need» in a sense that, if good, the making of said film would have a meaningful impact on Hollywood as a whole, not «need» as in, «Deadpool was such a badass movie, I fucking need Deadpool 2 now!»).

While I wouldn't proclaim it a great film as a whole, it is a great debut as a film creator for its star, as there are so many ways this material could have been done wrong, potentially tarnishing the good - guy appeal of Gordon - Levitt, one of the rare child stars who has made the transition to movie star into adulthood without being pigeonholed or gone off on a path of self destruction.

It may be fair to say that some movies made with the plot revolving around Christmas are far better than others, but on the whole Four Christmases could be quite a fun movie for the most part, although, as already mentioned, the film perhaps takes a turn towards more serious issues as it progresses.

The whole film rests on these two woman and they are what makes the film work so well.

It's a reminder that black and white films offer a whole new dimension on good - quality Blu - ray releases, not just added sharpness and clarity but a greater depth of gray scale and shading.

Despite its whimsical story and its consistent — as well as consistently dry — humor, the whole film is centered on such moments of remorse — for what has passed and for how the future is being shaped.

That's a beautiful sentiment that is carried over to this wondrous and heartwarming movie, a rare feel - good live - action film for the whole family that is about who we are on the inside, a sweet story with a strong message about doing the right thing.

Every shot (mostly full shots, with a few mediums and only a few well - chosen close - ups for punctuation) seems to have been planned with the camera in mind, so that the whole dance only exists as assembled on film.

This will be a strong come - back - film for Jamie Foxx in any case after having failing to shine in his films on the whole, after getting his Best Actor Oscar for Ray quite a couple of years back.

On the whole, excellent - a really, really good film for a change.

Some might say that it's a good excuse to see the film on the big screen, but considering the way that Smith has been marketing «Red State» (taking the show on the road and charging big bucks to see it), the whole thing stinks of a last - ditch effort to bleed more money from his fans.

Alba had a whole lot more to say on the subject of working in film, including some choice bits about how first time directors are responsible for her worst movies and how great actors don't need to pay attention to scripts: «Good actors never use the script unless it's amazing writing.

This can be overlooked though as, on the whole, Alexander and the Terrible, Horrible, No Good, Very Bad Day is a not terrible, not horrible, good, not bad film that youngsters and adults (in spite of their better judgement) will enGood, Very Bad Day is a not terrible, not horrible, good, not bad film that youngsters and adults (in spite of their better judgement) will engood, not bad film that youngsters and adults (in spite of their better judgement) will enjoy.

Characters pop in and out of the story with little explanation; others yell and fight with each other for no reason; and Anna Paquin (who plays one of the most annoying film characters in recent memory) simply isn't a good enough actor to carry the whole thing on her shoulders.

A whole two years before the film is set for release, the Twittersphere has wasted no time on making it a trending topic, and the result is an anticipated mix of hilarity, honesty, and some good old - fashioned black pride.

And while these extras are well done, they are also not too missed on the Blu - ray, for the high definition transfer and the film itself as a whole are strong enough to merit a purchase without any added bells and whistles.

The great Ben Hecht (The Front Page, Twentieth Century, Gunga Din, Notorious, Kiss Of Death, and a whole lot of uncredited work on some of the best films of the 40s and 50s) wrote the screenplay.

Collet - Sera perhaps indulges in a few too many stylistic flourishes but on the whole it's a good looking film with some solid set pieces (without anything greatly memorable).

A mix of extensions to material in the film and blank - filling moments we never saw, they're quite good on the whole and well worth checking out.

question is a rich cinematic tradition and the backbone of so much good psychological horror, so I'm excited to see what a filmmaker like Soderbergh can do with the concept — especially when he's mixing it up even further by filming the whole damn thing on a smartphone.

The story is based on the notion that it's «impossible» to be a good mom in this day and age, but there isn't a whole lot in the film to support that claim.

21 Jump Street also made fun of the actors looking nothing like high schoolers, but its best jokes concerned exposing how socially out - of - date they were; a scene where Schmidt calls Molly (Brie Larson) and she is mildly nonplussed to be actually called on a phone instead of texted is one of the smartest and subtlest jokes in the whole film.

Speaking at Variety's Entertainment and Technology Summit in Los Angeles earlier this week, Nintendo of America President Reggie Fils - Aimé spoke at length about the console's current success and momentum moving forward, as well as reiterating Nintendo's stance on theme parks, films, VR and a whole lot more.

It's a meaningful calm moment in a film filled with meaningful calm moments and may very well be the intended thoroughline of this whole meditation on bringing up children in a welfare state: financial hope, and hopelessness, is hereditary.

Although smaller in scale and ambition, and lesser in terms of emotional content, this sequel is lighthearted, comical, occasionally charming, and while, on the whole, it's really all a superfluous money grab, it is well made and amiable enough to garner a recommendation for anyone who enjoyed the first film and is anxious for more.

Parents at the multiplex who are looking for a movie the whole family will like probably can't do better than The Good Dinosaur — especially given the other films opening on Thanksgiving weekend (The Danish Girl; Creed; Janis: Little Girl Blue; Victor Frankenstein) and those already playing in theaters (The Hunger Games, The Night Before, Love the Coopers, Goosebumps).

While its pessimistic views on law, business, and the state of the world as a whole make for some interesting monologues and ethical dilemmas during some of the better scenes, it's the contrived core plot that lets the film languish lackadaisically for 75 % of the film.

What makes Three Billboards... McDonagh's most well - rounded, likeable piece of work, is that the framework holding all those solid, well - written characters together feels delicately honed and precise; there is no fat on the bones of this film, and editor Jon Gregory deserves plaudits for keeping the whole thing moving while still allowing time for the script to indulge, in a good way, in its characters.

I will say that this separation period probably served me well as I could really take in this film on its own merit and not sit in comparison mode the whole time.

Well before this past weekend, plenty of analysis called time of death on summer movie quality, summer movie economics, the practice of making sequels, and even the film industry as a whole.

The whole crew is back, and acquit themselves well for the most part — Karl Urban is as crotchety as ever as Bones, Simon Pegg gets more to do in Scotty's expanded role, Zoe Saldana manages to kick ass as Uhura (despite the unfortunate need to make much of her role in the film about her lover's quarrel with Spock), and so on.

Bryan Cranston, Ed Norton, Bob Balaban, and Bill Murray co-star as members of a pack of dogs who help young Atari on his quest, presumably encountering — this being a Wes Anderson film and all — a lot of entertainingly rambling dialogue, some well - centered cinematic shots, and, of course, a whole lot of violence against dogs.

On the other hand, there are some comedies made that, while not being good films as a whole, made you laugh until you fell out of your seat, despite it all.

We already knew that Kevin Smith's Red State would be on the list, but there's also Tom McCarthy's new film Win Win, Morgan Spurlock's documentary The Greatest Movie Ever Sold, the highly buzzed - about Submarine, Fantastic Fest darling I Saw the Devil as well as Hobo With a Shotgun and a whole bunch more including films with Al Pacino, Tobey Maguire, Jeremy Piven, Kevin Spacey, Demi Moore, Paul Rudd and others.

Personally I saw 36 films over 11 days so I feel like I have a good perspective on the festival as a whole.

In a mere 90 minutes this horror film (pun intended) casts serious aspersions on the integrity and social responsibility of its Pittsburgh - based makers, the film industry as a whole and [exhibitors] who book [the picture], as well as raising doubts about the future of the regional cinema movement and about the moral health of filmgoers who cheerfully opt for this unrelieved orgy of sadism.»