Sentences with phrase «best out of the genres»

To truly get the best out of the genres capabilities, a 2D platformer needs to be able to get extravagant with its design, exploring the full possibilities afforded by 2D level structure.

Not exact matches

To me it was all just same - old, same - old in the pop genre in general and the kind of one - upmanship you see in every video out here, where the more explicit you can be, the better.

Peter Abelard's seminal work, Sic et non, which quoted Church Fathers on both sides of a series of theological questions, set the tone for the Questions genre of the Middle Ages, The writer set out a Question, stated the best arguments on both sides (thesis and antitheses), made a determination (synthesis), and then rebutted each of the antitheses in detail.

Others have pointed out how horror, more than any other genre, deals explicitly with issues of good and evil.

In fact, if you go to the library or browse the shelves at Barnes & Noble or check out Amazon's best - sellers in the parenting genre, you will find a predominance of popular, punishment - based, obedience - focused parenting guides.

Out of all the award shows, The Oscars is one of the most anticipated award show as actors and actresses gather while dressed in their best threads in hopes of being chosen by the Academy as the best in their genre.

One of the best slow burn horror flicks of recent memory — though there's another on this list — The Witch is a stand out genre flick.

I find that I enjoy «coloring outside the lines» and have varied interests from Pow Wows and Rendezvous to hiking and tipis, to enjoying Nature, being a long - time Nature Photographer, to music of many genre's to entertaining, dining out, cooking «in», good coffee, living in the mountains with a...

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The end result is an uneven piece of work that's at its best in its opening hour, which is as thrilling and engrossing as anything the superhero genre has cranked out in recent years.

The mix of genres works out just right, as the tactical notions of a tower defense game blend in well with the action of a third - person mech shooter.

Families with canines are better off staying home and having an old - fashioned backyard frolic than trotting out to see Show Dogs, a panting, poorly trained entry in the live - action / talking animal genre that for once makes viewers long for the candy - colored, half - witted professionalism of third - tier Pixar - knockoff animation.

One of the central pleasures of genre cinema is running your fingers along well - worn grooves, but while Man Hunt trots out a lot of chestnuts, it's the film's tendency to burn through them with bemusing haste.

Best of all, the second Potter movie reunites its adult cast: Harris, Maggie Smith, Robbie Coltrane, John Cleese, Alan Rickman, Julie Walters and others — a veritable Who's Who of British actors that single - handedly elevates the proceedings out of the kid's movie genre into something special.

Occupying the director's chair is Nimrod Antal, a kindred spirit of Rodriguez's whose «Vacancy» and «Armored» were genre films that turned out better than a lot of their genre - mates do — which describes «Predators,» too.

The musical sequences are good enough that they make you wish Ross had been willing to leave the surface realism behind and break out into the high stylization and exuberance of the genre's classic days.

Yet if you forget, for just a moment, about genre pedigree, what is it, really, that makes «The Shape of Water» a «richer» film — or a better one — than «Get Out»?

Such features are present in every aspect of Mediatonic's upcoming Foul Play, a side - scrolling beat - em - up that takes a genre well - known to XBLA gamers and adds a polish and sense of humor that helps it stand out among the rest.

It lost out «Best Narrative» to another genre cohort in Giant Sparrow's What Remains of Edith Finch, and «Best Independent Game» to StudioMDHR's Cuphead.

For me, this turned out to be one of the best movies this year, certainly in the comedy genre.

Despite a silly third act, it's again one of the filmmaker's more successful genre forays, suggesting that teaming with Farrell brings out the best in him.

But, so long as you can follow the story well enough, and don't mind the rather lengthy takes that Soderbergh enjoys during scenes of running or driving, Haywire is worth seeking out for a smart, stylish, and off - speed action film that blends traditional thrills with Soderbergh's independent experimentation with the process of genre filmmaking.

At 93 minutes, the story doesn't stay longer than warranted, but still, the rest of the film clicks well enough that a bit more fleshing out would have turned a good action flick into a must - see for genre fans and even some non-fans alike.

Super Troopers was a straight out comedy rather than a spoof on a well known genre, and maybe this is part of the problem.

Writer - producer - editor - director Krik (his director's credit reads «Dave Herman,» apparently out of concern that weaving too much inconvenient truth in with the genre fiction might attract the wrath the shadow conspirators), might have done better to deliver less retro larkiness and more straight facts.

Joyful Noise Rated PG - 13 for some language including a sexual reference Available on DVD and Blu - ray Convinced that the competitive church choir competition genre was under - represented, the filmmakers here put together tale of a face - off between Dolly Parton and Queen Latifah as they both try to fight it out over the subject of how best to win a national competition.

BEST of all time!!!! Still blows the new FPS genre out of the water.

There's a lot to commend in Spooks: The Greater Good, but at the end of the day it offers nothing new to the genre and it's big - screen adaptation just needed to be more daring and step out of the confines of television.

To boot, Left Behind wielded some genre thrills, a familiar brand (the Kirk Cameron version camped out on Amazon's best - selling DVD list for months) and an uncommonly seasoned cast and crew, including longtime stunt coordinator Vic Armstrong (Harrison Ford's stunt double in Blade Runner, Return of the Jedi, and the first three Indiana Jones films) at the helm.

Once the trailers started coming out, it was fairly clear this wasn't going to be a good movie in the sense of a The Departed or a Godfather, but an over-the-top fun genre flick, and that fits the post-Oscar-hopeful January moviegoing season perfectly.

Redout is the clear second best game on the list and the biggest surprise of the genre this year, coming out of nowhere.

Which is all right with us, as we're big fans of the man who was not only, famously, the highest - paid screenwriter in Hollywood at one time, he has also turned out to be a genuinely terrific genre director, with a particularly bright eye for the wit and wisecrackery he writes so well.

Breaking the fourth wall can completely take you out of a movie, especially when you are attempting to cleverly reference one of the most well - known characters in the genre.

: I realize I'm going to take some heat for putting this widely loathed film on my best list, especially since I was less than enthused by the overrated critic faves «Three Billboards Outside Ebbing, Missouri» and «Call Me by Your Name,» but Darren Aronofsky's fantasia about a self - infatuated poet (Javier Bardem) and his suffering muse of a wife (Jennifer Lawrence) is, like «Get Out,» both horrific and satiric in ways that move beyond the easy confines of genre.

Sanada appeared in many action films in the 70s and early 80s, but as it became clear he was actually a talented and well - rounded actor, he was able to branch out into all different types of roles in every genre.

An honest account of Kenney (Will Forte) building the National Lampoon brand and splitting from Beard (Domhnall Gleeson) must necessarily follow the well - worn «rapid rise, drug - fueled fall» template of the troubled - genius narrative, so Wain and his well - stocked cast do what they can to puncture the genre and let out some of its hot air.

This year has all around been an INCREDIBLE year for the horror genre, with films such as Split, Get Out and IT making it one of the best (and most profitable) years in the genre's entire history.

If all you honestly want out of it is to watch «stuff blow up good,» you could still do a lot better than San Andreas, a middling and uneven entry in the already overstuffed disaster porn genre.

The picture might be the most overt iteration of film noir as a genre about emasculation ever put to celluloid, and trying to puzzle out whether Waldo's for real and chief gumshoe McPherson (Andrews) buys any of his honeyed hooey constitutes a good portion of what's fun and maddening in equal measure about it.

While the movie doesn't come close to touching the very best of the genre (Babe), it was charming and clever at times, and it elicited genuine laughs as it followed the covert operations of evil cats and human - loving dogs carried out behind the backs, and underneath the noses, of the unsuspecting human characters.

Ex Machina is as stripped and basic as most Sci - Fi outings go, but it is one of the best examples of filmmaking the genre has ever seen.

Though Creep doesn't exactly reinvent the found - footage form, Brice knows the genre well enough to do a little tweaking: Rather than supplying the requisite jump scares, Brice's solution is to turn Josef into a human jump scare, given to popping up out of nowhere because he has a sick sense of humor.

The resultant aesthetic decisions — simulated camera movements and lighting, the score — bear out that dedication to actual filmcraft that make examples of the genre routinely superior to the best live - action pictures the United States can offer.

Generally favoring low - budget and independently - produced pictures, but not averse to working within the studio system (he had a good relationship with Daryl Zanuck), he knocked out a string of genre classics — from «Pickup On South Street» and «Forty Guns» to «Shock Corridor» and his epic autobiographical masterpiece «The Big Red One» — that quietly influenced many of your favourite directors.

Audiard, who is best known in America for his electrifying, Oscar - nominated 2009 prison drama A Prophet, is the sort of director who never puts himself out in front of his material, and as such may be taken for granted by some critics as «just» an accomplished craftsman capable of working in a wide range of styles and genres.

The genre flick about a family of cannibals apparently played to some good word, has potential to be a crossover hit, but now word yet when it will roll out.

It wasn't a hit when it came out — director John Flynn was better with character than action and never really gets the blood pumping through it — but it is still a smart, lean thriller and a minor gem of the modern crime genre.

Although the film's nomination in the «Best Comedy» category at the forthcoming Golden Globes left some scratching their head — due to the strong dramatic / horror elements at play — there's no denying that Jordan Peele's Get Out was one of the best of the year regardless of the geBest Comedy» category at the forthcoming Golden Globes left some scratching their head — due to the strong dramatic / horror elements at play — there's no denying that Jordan Peele's Get Out was one of the best of the year regardless of the gebest of the year regardless of the genre.

What works best about Insidious, which is about as adoring a love letter to Tobe Hooper's Poltergeist as a good film can get, is how it takes horror flick concepts both old and relatively new and mixes them up, blender - style, and the result is a 95 - minute fun - time ass - kicker that has as much love for the genre as it does in making you pounce out of your seat.

Ev en if Journey's End will perhaps not be remembered as a classic of the genre, it is nevertheless a well made war film that with good performances that is worth checking out.