Sentences with phrase «best story on screen»

It can get frustrating to watch them edit out some of your best moments (such as persuading teams to do what I wanted), but they certainly tell the best story on screen regardless.

Not exact matches

For all the great tools available to consumers to enjoy seeing an on - screen narrative, you'd expect that designers for theaters would have a better idea of the consumer's story along their online path to purchase.

Unless carefully screened by a controlling thesis, a good story heard on Friday will take the spotlight in the next Sunday's sermon whether or not it has a place.

A good story on the big (or small) screen can challenge our perceptions about current events in a way that no political pundit yelling on cable TV ever could.

«VR stories provide a better sense of being right in the midst of the story than text with pictures and even 360 - degree video on a computer screen,» said Sundar.

It must be the old fashioned gentleman in me, but I'm much more comfortable with good old fashioned connection than with sharing my story on a screen.

Framed by Hugo's tried - and - true story, given heart by Boublil and Schonberg's beautiful lyrics and melodies reinterpreted by Hooper's burgeoning directorial flourish, Les Misérables now has a welcoming new home on the big screen — and likely a new audience as well.

I mean, there are visual aspects to this story, particularly in the contrasts between Capitol and Districts, that work even better on the big screen.

«The Towering Inferno» laid the foundation for good disaster movies to come, both in being huge budget and cast wise, and with great special effects that accompany a story that makes you glad you're not one of the people you're watching on the screen.

With great performances by Millie Bobby Brown and David Harbour, who had surprisingly good story arcs and chemistry on screen, looking forward to more from David Harbour in his soon to be released Hellboy reboot.

Trust at times seems about as factually accurate as the «B.C.» comic strip, and Boyle's visual affectations and his over-reliance on split - screens do not always serve the story well.

I never get tired of seeing this story played out on screen and the characters are just so well managed.

What's most telling about this film is that a good two thirds of the most interesting, compelling parts of the story (the subsequent revelations after the trial) are told in brief text flashed up on screen just before the credits.

Based on the W. Somerset Maugham short story «Miss Thompson,» later changed to «Rain,» Columbia's production starring Rita Hayworth is the third time the story was adapted for the screen (Gloria Swanson was able to get a version (Sadie Thompson) produced in 1928, although the Hays Office had seriously crippled the story's original intent, and Joan Crawford appeared in a «pre-code» Rain in 1932, which holds up extremely well, although it was panned upon initial release.)

But it's unfair to judge on a book on its cover (or title) and after seeing Matthew Vaughn's film adaptation which releases this weekend, I can honestly say that Kick - Ass is much better than I first expected and Vaughn's big - screen version of the graphic novel features sharp writing, brilliant performances, and of course, indulgent action sequences and story - telling.

On the other hand their Best Screenplay category encompasses all scripts, unlike the division the Academy Awards make in order to recognize the writers for either creating an original story, or succeeding in translating a previously written source material for the screen.

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.

«Devil's Knot «Why It Could Be A Contender: The story of the West Memphis Three is one of the best - known miscarriages of justice in living memory, and no one would argue that it's been under - documented on screen: there have been three films by Joe Berlinger and Bruce Sinofsky (the last of which, «Paradise Lost III: Purgatory,» was an Oscar nominee two years back) as well as Amy Berg «s «West Memphis Three.»

Although blessed with good actors, there is still a certain stale quality to the story that makes for a less - than - completely scintillating premise, further compounded by the fact that Owen and Watts, while individually fine and appealing actors, somehow make for a bland on - screen pairing.

What science fiction films do best is warp our deepest concerns and immediate dangers, so that we can watch them bloom into larger than life stories on the big screen.

This actually looks pretty damn good, more than anything it's great to see this story about these wonderful women shown on the big screen with so much attention to detail.

Unsurprisingly, «Fantastic Beasts» amplifies both the strengths and weaknesses of Rowling's storytelling approach, which unfolds in the episodic style of vintage serials — a cliff - hanger - oriented tactic that works well in novels, where readers might otherwise be tempted to put the book down after each chapter, but feels less elegant on screen, since viewers invariably commit to taking in the entire story in one sitting.

The Legend of Tarzan, nurse the latest film to take on the story has been brought to the big screen by David Yates, look a director well - known for his work on the well - reviewed final four Harry Potter features.

There are a lot of things that are great about it — the soundtrack for one is arguably the best of the year, bringing each part of the story being shown on screen to life with vivid colour and emotion.

Winner of the TIFF 2013 YouTube Award for Best Canadian Short Film, «Noah» is a story of identity and romance in the digital age played out entirely on a computer screen.

Amelia got a lot of screen time and a lot more story, not to mention how beautiful I think she is, but Custer was great as well, as Bill Hader always is, every moment he had on screen.

Throughout the Lab, Fellows engage in one - on - one meetings with advisors as well as view advisors» films to spark discussions about the journeys of their stories from script to audience screenings.

The directing duo of the Russo brothers have shown themselves so adept at crafting an amazing film before this with Winter Soldier, and they've even bested our Lord and Savior Joss Whedon, in terms of pulling together so many characters on screen at the same time, without sacrificing pacing or story to do so.

Seeing their story portrayed on the big screen in this powerful film gives their perspective a place in history as well.

In the epilogue centering on the fallout for her station coworkers and mother (J. Smith Cameron) that might work better on the page than screen, there's a lack of confidence in how to conclude her story.

Fact - based story takes us on a harrowing journey through the rough streets of south Boston of the»70s and»80s and while some parts could have benefitted from expansion, on the whole this is a story well worth paying to see on the big screen.

Now the story is coming to the screen, thanks to art director / filmmaker Alexandre Moors, best known for his work with Kanye West on «Cruel Summer,» alongside videos for the likes of Jennifer Lopez and Talib Kweli.

Though it boasts a competent leading man in Aaron Eckhart, the story — based on the graphic novel by co-writer Kevin Grevioux — is so dumb that you have to question why anyone thought it was a good idea to adapt it for the big screen.

The film does work a bit hard by the end to play up the tale's inspirational qualities (best exemplified by its use of one of my chief cinematic pet peeves: closing on - screen text that goes beyond mere reportage of fact to make a labored statement), but it really did not have to, as the film's virtues and messages, much like man whose story it tells, speak plainly for themselves.

Screen Media's previous most pre-ordered film on iTunes was thriller A Good Marriage from a short story by Stephen King.

Chastain has much better chemistry with co-stars Viola Davis and Isabelle Huppert than with her on - screen husband (played by McAvoy), while the thrown - together love story veers between life - affirming artificiality and self - serious melodrama

No, this isn't an early Easter - themed post celebrating the most egg - cellent moments on screen, but a look at how more than half of this year's Best Picture Oscar nominees utilise eggs to further the story, define character motivation or expand relationship dynamics.

And she crafted the central story — the Guardians are ne'er - do - well outlaws thrown together into a partnership of convenience — based less on the comics than what would make the most sense on screen.

Just over a year later, it's coming to the big screen and generating Oscar buzz, as well as conversations about how its story — which centers on the decision by Washington Post publisher Katharine Graham and editor - in - chief Ben Bradlee to publish the Pentagon Papers in 1971 — relates to First Amendment struggles in 2017.

These types of stories are best reduced to their simplest, purest level, but the screenplay by director Andrew Stanton, Mark Andrews, and Michael Chabon is dedicated to maintaining the lexicon of Barsoomian terms that Burroughs (played by Daryl Sabara as a young man reading of his uncle's adventures) created to the point of distancing us from what's actually happening on screen.

It's a remarkably simple, true story that deserved to be told (and deserves to be seen) on the big screen and Naomi Watts» performance is one of the best of the year.

Coming in with the opposite perspective: I can totally see how this kind of story with the emphasis on character rather than plot, per se, might not seem like it would be dealt with well on the big screen.

The scenes involving Affleck with his on - screen father Brendan Gleeson, and well as the pivotal meeting with Glenister's Albert White are well - written and show promise of a superb period mob story, but it's all downhill from there on in as the action shifts from the streets of Boston to the sun - drenched vistas of mid-western Florida.

The story really came alive on the screen better than I thought it would and Matt Damon embodied every bit of Mark Watney as written by Andy Weir.

It tells a courageous story, worthy of being told on the big screen, but worthy of a better telling.

Based on the best - selling tell - all book about the making of the cult - classic disasterpiece The Room, «The Disaster Artist: My Life Inside The Room, the Greatest Bad Movie Ever Made», by Greg Sestero and Tom Bissell, and written for the screen by Scott Neustadter & Michael H. Weber, The Disaster Artist tells the hilarious true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau — an artist whose passion was as sincere as his methods were questionable — into a celebration of friendship, artistic expression, and dreams pursued against insurmountable odds.

-- «Mutiny on the Bounty» (1935): Clark Gable was at his most virile and Charles Laughton at almost his most vicious and sneering in director Frank Lloyd's vigorous adapta tion, the first and best screen version of the Bounty story.

As for the portrayals, Teller (who, incidentally, looks nothing like a real boxer), Eckhart and Hinds are fine and mostly believable in their roles (especially the first two), but this author can not help but speculate that this real - life struggle and redemption story could have been told much better with some genuine emotion instead of the mediocre tale we see on the screen.

On the small screen side of things, FX's «People v. O.J.: American Crime Story» nabbed five nominations for actors Sarah Paulson, Courtney B. Vance, Sterling K. Brown, John Travolta, and for best TV limited series or movie.

It's a little - told story that could work well on the big screen.