Sentences with phrase «biggest pieces of film»

In one of the week's biggest pieces of film news to filter down through the regular internet channels, The King's Speech «s Colin Firth joined The Kids Are All Right «s Mia Wasikowska and Rabbit Hole «s Nicole Kidman in the mysterious feature (with the ladies replacing the earlier cast of Wall Street: Money Never Sleeps «s Carey Mulligan and The Brave One «s Jodie Foster), which heralds from a script written by Prison Break star Wentworth Miller.

One of the particularly amazing parts of The Last of the Mohicans is how quietly director Mann lays out big pieces of the film.

Not exact matches

My biggest interests are music and film I like to believe everyone can be touched by music or a great piece of film.

Co-starring Survivor contestant turned thespian Colleen Haskell, Schneider's tale of a car accident victim imbued with superhuman powers after being pieced back together with animal organs kept the low - brow rolling while marking his territory among the ranks of the more successful transitions from SNL player to big screen star.Later, in the 2000s, Schneider frequently alternated between starring in his own films (The Hot Chick, Duece Bigalow: European Gigolo), and supporting his old pal Sandler (The Longest Yard, I Now Pronounce You Chuck and Larry), with few on either side truly managing to ignite the box office or his career momentum.

All that mixed with the ingredients of a blockbuster film, a great cast, good humorous timing and spectacular set pieces makes for a very entertaining ride that works as a standalone film as well as part of the bigger picture.

Stone's misguided efforts to turn Alexander into a drama of Shakespearean proportions undoubtedly plays a big role in the film's wildly uneven tone, which flits wildly between talky period piece and flamboyant melodrama (often within the space of a few scenes).

A slick, cynical, nasty piece of heist - film plotting that hides its more obvious logical gaps in techno - babble and distracting spectacles of wanton violence and big explosions.

Instead we are presented with an absolute turd of a film with shockingly bad «action» set pieces (despite not actually requiring major action set pieces for the plot), dreadful visuals that might as well be that «Gladiators» TV show complete with glitter and sparkles, a god awful thrash / heavy metal soundtrack just in case you forgot this film was suppose to be tough and your obligatory dire big name cast hot of the heels of other poor major blockbusters (yeah stick him / her in it, big name, can't go wrong, doesn't matter if they actually fit the role or not pfft!).

It feels as if there are at least a couple of scenes missing, including some big set pieces that might have opened up the film's world beyond Planet Zero, the Fantastic Four, their dad (or at least Johnny and Sue's dad) and Doom.

That's harder said than done, resulting in a relationship that not only feels more real than most of the films this year, but plays a big part in its success as a romantic dramedy and an enchanting piece of science fiction.

Some of these are only implicit; during the film's big softball - game set - piece, I was staring dumbly at the screen, trying to figure out if the guys in tight, bulging shorts and / or cut - off, midriff - baring T - shirts were being subtly coded as gay, or if those outfits were simply part of the tough - guy fashion repertoire of the time.

Because despite how they may be advertised, these films are generally about treading water for as long as possible until bringing out most of the big robot set pieces in the last act.

Sure, every film benefits, but it's not that much of a stretch to say vast pieces like Lawrence of Arabia get more out of a big screen presentation than, say, a James Brooks movie, is it?

The bus sequence seen in the trailer is one of the big action pieces in the film but comes before the biggest final action sequence.

In the end, it is by no means a truly awful piece of work, but the big problem is that it was originally conceived as a short film, and has clearly suffered from the expansion of the narrative that has led to it cropping up on the big screen.

Some of the other extras are more production - based, like the location featurette «James Bond in the Bahamas,» an in - depth featurette on filming the sinking palazzo sequence («Death in Venice»), and storyboards for two of the film's big set pieces.

The film is another piece of horror - tinged, genre filmmaking — this time the main inspirations are hyper violent»80s action films like Big Trouble in Little China and The Terminator (again)-- but like the duo's preceding film, it knows what it is, recognizes the flaws of its ancestors, and tries to improve upon them while holding onto that sense of reckless abandon that makes those movies so fun.

But in the scheme of things he's just another player in a big, messy, tangled ensemble piece with a weird and wonderful cast in a free - for - all chase for the letter, the film's Maguffin in every sense of the term.

The film doesn't reinvent the wheel, but it's a sturdy, tonally assured piece of work with a winning specificity to its voice and setting, giving Murray a real gift of a part in one of his best performances, one that the audience have clearly responded to in a big way.

But The Big Lebowski isn't about plot, it's about the individual pieces of the film, The Dude's bathrobe, John Turturro's wonderful performance as Jesus Quintana, and the way the White Russians gleam on screen.

It's not a very logical turn of events, but the glimpses of male rear nudity and exaggerated belly flop sounds present one of the film's biggest set pieces.

«The Making of The Goonies» (6:50) is not some big recent retrospective, but a press kit piece from the time of filming.

Like all good sequels it took the ideas and set pieces of the first film and made them bigger and properly raised the stakes.

«Big» is such a classic piece of film and it also was a real turning point for Tom Hanks as an actor.

That's harder said than done, resulting in a relationship that not only feels more real than most of the films last year, but plays a big part in its success as a romantic dramedy and an enchanting piece of science fiction.

No doubt one of the biggest draws of the film will be the action set pieces that feature robot - vs - robot action.

With a hard - hitting opinion about the current state of public education, and many opportunities for the two stars of the piece, Maggie Gyllenhaal and Viola Davis, to go big acting-wise, this has all the hallmarks of the sort of prestige film that is looking ahead to awards season.

Those expecting something similar to the first movie will be mostly let down, as this film is very much a one - location thriller that relies more on character piece than big Statue Of Liberty lobbing monsters.

Instead, working with veteran screenwriters Alex Kurtzman & Roberto Orci («Star Trek,» «Transformers») and Jeff Pinkner (TV's «Alias,» «Lost»), Webb gives us a film that's densely plotted — sometimes confusingly so — with set pieces so big and glossy, they're depleted almost entirely of any connecting sensation.

It would be great to see Snowpiercer became as big an international hit as that earlier film, which also blended cutting social commentary, blockbuster set pieces and the sort of thrills you rarely get out of contemporary marketed - to - death multiplex fare.

In the largest of innumerable ironies, the duo is incensed that their underground credibility is being ruined by the production of a big - budget picture and seek to, if not stop the production of the film - within - a-film (to star James Van Der Beek and Jason Biggs), get a piece of the financial pie.

While — like (I guess) many Rohmer fans — I tend to find myself most at home in his beach houses and Parisian apartment blocks, I was drawn to this presentation of his lesser - known historical films for two reasons: one was the pure joy of being able to enjoy his greatest work, Perceval, on the big screen; the other was the opportunity to finally be introduced to his feature - length television play Catherine de Heilbronn, a production that, in its grey set design and even starker minimalism, in many ways felt like the former film's shadowy companion piece.

One of the big pieces of news out of this year's SXSW film festival was the announcement of a new aggregate movie review and ratings site, meant to answer many of the issues people have with Rotten Tomatoes.

Pieces of April is a pretty sharp film, one with a lot of emotional truth, some big time gravity, and a few much needed laughs.

Best - case scenario: You show up an hour late, missing the endless don't - these - ugly - Americans - suck portion of the evening, and arrive just in time for the first big kill — the film's one and only memorable set piece.

However, the biggest winner and my own top favorite film of the festival was Benh Zeitlin's Beasts of the Southern Wild, a tremendous piece of cinema (read my review) which is one of the best discoveries of this year's fest.

In this light, Marczak's film turns out to have a completely coincidental yet nevertheless fitting companion piece in theaters right now: Terrence Malick's Song to Song, which chronicles a similar phase in young - adulthood through a love triangle of its own, albeit set in the gritty indie - music scene of Austin, Texas, rather than in the big - city glamour of Warsaw, Poland.

He sets the stage for Mayhem by showing us how the oppressive world of big business runs, piece by piece, and sets about dismantling it using tropes from scary movies, video games, kung fu films and workplace sitcoms.

Wade's interview process is one of the big comedic set pieces of the film; it's where Rob Delaney's Peter first shows up.

«Anatomy of a Plane Crash» (7:46) takes us behind the scenes of the film's big action set piece, touching on the influential research, the maneuvers depicted, and the effects used on a gimbal stage with green screen.

In addition to getting behind - the - scenes looks at set pieces, we gather some of the film's big driving principles, like amazing attention to detail and Fincher's propensity for many takes.

Unfortunately, however, the biggest criticism leveled at the new Doctor Strange trailer is that some of the set - pieces shown off are reminiscent of two of the most culturally recognizable films of the past decades, Christopher Nolan's Inception and Lana and Lily Wachowski's The Matrix.

It is with immense reluctance and about a million caveats that we give «Batman v. Superman: Dawn of Justice» a spot on this list, but there's no denying it's an effective piece of marketing for one of the bigger post - «Star Wars» films of 2016.

Above and beyond, this is a film of big ideas, elevated from what could be a theatrical chamber piece by the rigorous manner in which it delves into the question of artificial intelligence and the singularity, leaving you picking over its issues well after the credits roll, while also never feeling like you're sitting through a TED talk.

While I feel that they in no way should shoulder any blame whatsoever for that piece of shit in Colorado doing what he did (he was looking to kill as many as he could, and it could have very well happened 4 months later in something like Breaking Dawn, the NEXT big film that will have a shit ton of people in it), do you think that what they're doing with «Gangster Squad» is an effort on their part to kind of keep the connection between their two films as loose as possible?

In its ambition it resembles Rose Troche's third film, The Safety of Objects — that picture also saddled with a large, veteran cast and a problem with focus, but most importantly with the responsibility of a young filmmaker given the opportunity, with a bigger budget and well - regarded performers, to produce a piece commensurate in scale to that perceived expectation.

As Charlie's Angels: Full Throttle, Bad Boys II, and Legally Blonde 2 touch down in theatres, Die Another Day, The Jungle Book 2, and the Brady Bunch movies land on DVD, and then there are the cross-promotions: It seems like everyone wants a piece of the fallout from Universal's big - screen Hulk, with Fox, Buena Vista, Anchor Bay, and Universal itself issuing «Hulk» - branded discs prior to the feature film's June 20th opening.

Though the cast delivers believably enough as one new piece of information after another alters their plans, it's pretty clear where things are going from the first big reveal and the film can't manage to feel fresh from that point forward.

And based on the production artwork we saw and the designs for the big action set pieces, the man has plenty of amazing ideas that we have never seen in any of his previous films.

«The Hun Charge» (4:50) dissects the technical demands of one the film's biggest, most CG - intensive set piece.