Sentences with phrase «better than every other film»

Die Hard 2 is essentially little more than a repeat of the formula of the first film, but it is much better than other films of its era that tried to do the same.

What follows is another slapstick dose of hard - R ridiculosity with a soft - nougat center, but it also passes the Bechdel test maybe better than any other film this year, and its older generation of stars are too smart not to go to town on their stock roles.

Epitomizes the battle - of - the - sexes aspect of screwball comedy perhaps better than any other film.

In that lofty regard, The Royal Tenenbaums succeeds as well as or better than any other film from 2001.

Not exact matches

The movie, from Time Warner's (TWX) Warner Bros., won awards in categories such as costume and production design, as well as makeup and two sound categories on its way to scoring more total Oscars than any other film Sunday night.

I don't have much «good» to say about the film other than I liked it.

College football PLAYOFFS, more than a single game, and I acknowledged that's what sold me on him, meaning those few games against the nations best talent put him over the top for me when coupled WITH all his other college film.

The only thing I can hope for is that Perez will be our main striker this season just so I don't have to deal with an other season of Giroud and on his youtube highlight films he looks a much better finisher than Giroud.

There are a lot of animated movies out there that try to incorporate adult humor into a child's film and, while others may come close, no one does it better than Pixar.

His hobbies included watching films on TV, especially those on football, athletics, boxing, as well as Ghanaian and Nigerian films which were acted in Ewe and English, as he could not speak any other language than the two.

Black Panther's fight scenes are better than in other Marvel films, but they're still a disappointment from the maker of Creed.

I didn't expect much from this movie, in fact I expected to hate it, but Spiders is a much better movie than many other horror films that has been released this year.

Because the film is intended to be fun for computer - illiterates as well as techno - geeks, it's more successful than other recent efforts to bring some digital - age updating to the familiar thriller formula.

Poetic Justice is like that - so much worse than it should have been, and yet, for brief shining moments, so much better than any other 2 - star film in sight.

What makes X-Men better than other comic book adaptions (say, The Phantom or Punisher) is that the film style is very loyal to comic book styles.

Though not the definitive Holocaust film, yet it's a better look at the Holocaust than most other films and is certainly one of Spielberg's more serious and better films.

The best scene revolves around a conflict with a kinetic structure on an office desk which, like the film, is a lot of seemingly random motion with no apparent purpose other than distraction.

Other than a budget boost which means better CGI and more muscular action set - pieces, you'd be hard pressed to spot any major differences in the craft behind the two films, but if it ain't broke, don't fix it.

In other words, he's much better at effects - laden set - pieces than character drama, and this film is crying out for more of the latter.

Other than that, G.I Jane is a good film, though not excellent by any means, and definitely isn't Ridley Scott's best.

Take away The Wind Rises, which was briefly screened in 2013 only to qualify for awards (which it did, collecting an Oscar nomination for best animated film), and Disney's 2013 average drops to 53.4 (the studio's lowest average since 2010), though that was still higher than four other major distributors last year.

They were also better than those of any other major studio, leaving Disney the only one of the seven majors to receive a grade higher than a C. Interestingly, Disney's three Marvel - related films (including Big Hero 6, which is not part of the Marvel Cinematic Universe) were not just the studio's highest - grossing releases, but were also the highest - scoring Disney films with critics.

Well, other than the climactic moment of the film, which is Terrence Stamp's solo during the choir's performance.

The film is not saying that one is better than the other, but Kumail himself has a speech about how he needs to do things his own way.

Probably more than any other filmmaker, his name evokes instant expectations on the part of audiences: at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in every one of the director's movies.Originally trained at a technical school, Hitchcock gravitated to movies through art courses and advertising, and by the mid -»20s he was making his first films.

Despite releasing better films than any other major studio, Paramount languished in seventh place in global market share for the second consecutive year, trailing upstart Lionsgate.

This is what makes the film better than other low budget horror's because of Johnson's brilliant makeup wizardry and freaky imagination with his monsters.

Anna Kendrick and Chace Crawford make up the last couple, rival foodtruck chefs, albeit they are the least like the other four, and at times, appear to be starring in their own movie — something that could possibly work much better than this film here.

This movie is a mixed bag on one side is Kevin Hart mostly improvising which give most of, if not all of the film's funny dialogue, he also shares good chemistry with Ice Cube, on the other side the scripted jokes, are most of the time well lame, this fun to watch now than most of the movies are ****

Not perfect - the film is made on a tight budget and sometimes it shows - but this is so much better written than every other American comedy this year (apart from Burn After Reading) that it is embarrassing.

Written and directed by Karen Leigh Hopkins, the film's tone looks to be all over the place, but it's good to see James Badge Dale as something other than a supporting character in an action blockbuster.

Here's what clout can get you: If anyone other than Robert Zemeckis and Tom Hanks were involved in making a film version of «The Polar Express,» no one would suspect for a minute that it would be any good.

Undoubtedly the best of the character's three films, it's more confident than the others, more kaleidoscopically colourful, and more eye - catching in its design.

I found this film to be one of the better reconstructions of the trials, one that felt more subtle than other films, which for me anyway, felt less over dramatic, which is necessary in order to make a great film.

To be honest I don't think Under The Skin is much better or worse than any of those other films, despite moments of psychedelic excitement that made me hopeful director Jonathan Glazer would do something visionary with this film.

Bay is at his best, paradoxically, when he's at his worst, if for no other reason than the fact that the most enjoyable and the most offensive parts of his films (which are often the same scenes and sequences) extend from the mind of a man with a very particular visual sense.

Though the metaphysical overtones of the screenplay are sometimes awkwardly handled and Eastwood's direction of actors (other than himself) is occasionally uncertain, this was one of the better American films of 1985.

The only other films they're even campaigning for are Charlie Kaufman's R - rated stop - motion dramedy Anomalisa and Mission: Impossible - Rogue Nation, which though well - received is unlikely to compete for anything other than tech honors.

In fact, one aspect that Harry Potter and the Deathly Hallows Part 2 conveys better than any other seven films in the series is the hero - villain relationship.

Just like most films based on improvisational performances, the laughs are scattershot, with some bits working better than the others.

Many of the choices seem all but arbitrary, but others are totemic: what better film to stand in for Vertigo, as a Frisco epic of traumatic verticality, than The Towering Inferno?

(1) The Intouchables, an $ 11.5 million dramedy, based on a true story, that was co-written and co-directed by Olivier Nakache and Eric Toledano and has become the second highest - grossing French film of all - time in France and grossed more than $ 355 million internationally (more than any other French film and, for that matter, any non-English-language film, save for The Passion of the Christ); and (2) Rust and Bone, a fictional drama that was co-written and directed by Jacques Audiard, a best foreign language film Oscar nominee three years ago for France's Un Prophet, and features tour - de-force performances from Marion Cotillard, the best actress Oscar winner five years ago, and Matthias Schonaerts, the star of last year's Belgian nominee Bullhead.

This does sound more overtly plotty in a trivial comic book way than other recent Marvel films, and a more epic sweep is promised, but we hope that Taylor retains the better parts of the first film too; the humor, and the romance, which worked a little better than in most other Marvel pictures.

Two other films I have to mention as runner - ups: David Mackenzie's Hell or High Water, which is much better than anyone expected.

The film's reputation has held up better than many other»80s Best Picture winners.

The same would hold true of a Lead Actor bid for Boseman — though James Brown is an enormously compelling real - life figure whose life is replete with the material that wins actors awards, the Best Actor race more than any other acting category is closely tied to the Best Picture race, and Boseman will likely struggle against competitors in stronger films overall.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

While other films have played with her image, Life Of The Party (directed by her husband Ben Falcone and written by the two of them together) is the first film that leans so fully on the sweet side of her, with results that are more conventional than her best work but funny and sweet nonetheless.

There can be an argument for overkill — as if we're stuck in a pinball machine rather than watching a film — and some of the parallel world scenarios work better than others, but the whole ride is such an audacious roller coaster it's fun just to strap in.

The film shifts between thriller and drama, and it might have been better if it had gone for one or the other, rather than straddling both with only a modicum of success.