Sentences with phrase «by anyone in the film»

Not exact matches

Does anyone else see the humor in the creationists debating their point of view over the Internet (invented by science), filmed on cameras (based on science) in a hall lit by electricity (harnessed by science).

Early in my challenge I had heard about the Summer Screen series at Somerset House, and keen to include one of the evenings in my 30 Dates by 30 Challenge, I posted on Facebook to ask if anyone had a friend who might like to go and watch an outdoor film with me.

Anyone who is interested in the history of film technology and cinema can certainly take something away from Side by Side, even if it is just learning the opinion of Robert Rodriguez or Danny Boyle.

The problem is the screenplay, written by first - timer Dorothy Blyskal, who can't overcome the daunting hurdle that would face anyone trying to adapt this incident into a film: there's no story to tell until the thing happens, and once it happens, it's over in a few minutes.

This film may seem like a movie that is only full understood by someone over the age of 50, but anyone who enjoys likeable chemistry, a relaxing story, or slice - of - life storytelling, the you may just find yourself enjoying A Walk in the Woods quite a bit.

The film's creators, or possibly author Suzanne Collins (I'm not sure which since I haven't cracked a spine in the series), rig the first game, «The Hunger Games,» by ensuring that Katniss Everdeen (Jennifer Lawrence) never loses favor with us by never actually killing anyone in cold blood in this kill - or - be-killed world.

You might recall the female chimp's appearance in the first film as portrayed by dancer Devyn Dalton, but this time around, Cornelia is due for a significant expansion and Greer's husband is likely more excited than anyone.

For anyone who has read aloud A.A. Milne's sing - song wordplay to sleepy tykes at bedtime, the film's title likely summons visions of a honey - craving bear, a sweet - natured piglet, a sullen donkey and an energetic tiger bouncing alongside their pint - size human pal — inspired by the author's own son — as they share adventures in the 100 Acre Wood.

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.

However, if this sounds as if the most important film festival in the self - proclaimed cultural capital of the world is basically just a bunch of leftovers, we challenge anyone not to be tempted by the delectable, if familiar, offerings.

Flawed though Meet John Doe may be by its ending, it is the key film in Capra's filmography, and a must - see for anyone interested in classic cinema.

In American Gigolo, written and directed by Schrader, Richard Gere plays the ultimate narcissist, who refuses to care about anyone beside himself until the film's ending.

I probably won't be spoiling the film for anyone by stating that Voldemort does make an appearance late in the film, portrayed eerily by Ralph Fiennes (Maid in Manhattan, Red Dragon).

Memento is highly recommended for anyone who likes to be thrown for a loop while watching a mystery and not have everything wrapped up in a tidy bow by the end of the film, a la Jacob's Lader and its brethren.

And yet, despite the casual swipes at characterization in a sprawling cast (the black girl who belts out gospel like Bessie Smith, the Asian boy desperately in search of cool), School of Rock isn't a terrible film, just one that could have been written and directed by anyone.

In the world of the Greek director Yorgos Lanthimos's fifth film (his English - language debut), anyone who isn't married by a certain age gets turned into an animal and released into the wild.

From its very conception, BULLETPROOF MONK is all wrong, only to be compounded by some very bad dialogue from screenwriters Ethan Reiff and Cyrus Voris, and it will come as no surprise to anyone who views this that TALES FROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to date.

The $ 1.5 million production budget is surprising, considering it includes salaries for three household faces (whose names are also well - known by anyone versed in modern film).

It is a harrowing, exhausting, painful film, and a very good one - a film that will not appeal to most filmgoers, but will be valued by anyone with a serious interest in schizophrenia or, for that matter, in film.

sticks out from today's oversaturated horror market simply because it harkens back to a group of films that haven't been touched by anyone else in the last several years.

While the extremely in - depth analysis of the film will be appreciated by those who really admire it, I challenge anyone to read this to completion without inflicting lasting pain on their eyes and head.

by Walter Chaw The question, and it's a question with currency, is why anyone in their right mind would subject themselves (and their long - suffering editors) to coverage of two concurrent film festivals.

To make room for these films they would mostly shut out other films that were actually doing well in the year, films that could be called best by anyone's standards, but they were considered not Oscar - y enough and thus, out they went to make room for films people had not yet seen.

Release: Friday, July 22, 2016 [Theater *] Written by: Eric Heisserer Directed by: David F. Sandberg In Swedish filmmaker David F. Sandberg's feature debut, an expanded realization of a short film he made in 2013, something sinister lurks in the absence of light and enjoys tormenting anyone unfortunate enough to be in the same room with iIn Swedish filmmaker David F. Sandberg's feature debut, an expanded realization of a short film he made in 2013, something sinister lurks in the absence of light and enjoys tormenting anyone unfortunate enough to be in the same room with iin 2013, something sinister lurks in the absence of light and enjoys tormenting anyone unfortunate enough to be in the same room with iin the absence of light and enjoys tormenting anyone unfortunate enough to be in the same room with iin the same room with it.

In accepting the award, director Dee Rees gave a powerful, impassioned speech that was a sharp rebuke to anyone skeptical of films distributed by the streaming giant.

By living in the here and now, devoid of flashbacks as a means of authenticating anyone's viewpoint, a vein of ambiguity runs throughout the entire film, hiding in the shadows.

In fact, all of the women in this film, including Kyra Sedgwick who is in this movie for no reason at all, are replaceable parts and could have been played by anyone walking on the street looking for an acting joIn fact, all of the women in this film, including Kyra Sedgwick who is in this movie for no reason at all, are replaceable parts and could have been played by anyone walking on the street looking for an acting join this film, including Kyra Sedgwick who is in this movie for no reason at all, are replaceable parts and could have been played by anyone walking on the street looking for an acting join this movie for no reason at all, are replaceable parts and could have been played by anyone walking on the street looking for an acting job.

In short order they are run off the highway by some cartoon banditos led by John Goodman, and Doug (poor Justin Bartha, who in the course of these films has spent more screentime with a bag on his head than anyone since John Hurt in The Elephant Man) is taken hostage until such time as the guys can locate the whereabouts of... wait for it... yes, Lesley Chow (Ken Jeong)-- who has made off with a goodly pile of Goodman's looIn short order they are run off the highway by some cartoon banditos led by John Goodman, and Doug (poor Justin Bartha, who in the course of these films has spent more screentime with a bag on his head than anyone since John Hurt in The Elephant Man) is taken hostage until such time as the guys can locate the whereabouts of... wait for it... yes, Lesley Chow (Ken Jeong)-- who has made off with a goodly pile of Goodman's looin the course of these films has spent more screentime with a bag on his head than anyone since John Hurt in The Elephant Man) is taken hostage until such time as the guys can locate the whereabouts of... wait for it... yes, Lesley Chow (Ken Jeong)-- who has made off with a goodly pile of Goodman's looin The Elephant Man) is taken hostage until such time as the guys can locate the whereabouts of... wait for it... yes, Lesley Chow (Ken Jeong)-- who has made off with a goodly pile of Goodman's loot.

Perhaps in 28 years, as the effects go from stunning in 2010 to dated, people will look back and wonder why anyone would be entertained by a such a film, but for today, it delivers on action, effects, solid choreography, art design, and should hold the interest of the genre fans for which it is intended.

For hardcore Baumbach - ites there are a few curious pleasures: the director's acting (no worse than anyone else's in the film, frankly); the underrated Carlos Jacott, a Baumbach regular, doing his thing, and of course the highlight, the hilariously bad / awesome «Everybody Felix» closing credits song performed by Wareham.

It's bad enough that Caldwell's program has a really stupid - sounding (but apparently real) acronym — «CRISPR» — but there is literally no need for anyone other than maybe a virologist to use the word «pathogen» as much as it is uttered by the characters in this film.

The film bravely prods in directions rarely explored by anyone, looking at the hollowness of the sex addict, while laudably refusing to give a simple explanation for his actions.

«Anyone who has ever worked as a director knows what it took to make this film,» we noted in our statement (delivered by juror and Oscar winning filmmaker Roger Ross Williams, director of God Loves Uganda and Music By Prudenceby juror and Oscar winning filmmaker Roger Ross Williams, director of God Loves Uganda and Music By PrudenceBy Prudence).

Now, it is a fair question to ask why anyone who hates Edward Snowden would ever go see a film about him in the first place (especially a film about Edward Snowden directed by Oliver Stone) and sadly, the box office returns seem to indicate that even the whistleblower's partisans sat this one out.

It's not a bad film by any means - in fact, parts of it are quite intense and suspenseful and surprising - but the parts never really add up to anything weighty or memorable, partially because it revolves around one of those convoluted multiple - dimension plots that will give anyone trying to sort out the details a serious headache.

And for anyone who has been a fan of the remarkable arthouse films that Amazon has supported in the past few years (Manchester By the Sea, The Salesman, Chi - Raq, The Lost City of Z, Love & Friendship, Last Flag Flying, and The Neon Demon), this is a huge bummer.

But the introspection offered by this many - layered approach would fall flat without the strength of its central performances, and while a number of Anderson's staple actors make appearances — Bill Murray, Owen Wilson, Jason Schwartzman, Adrien Brody, among others — Ralph Fiennes steals the film as M. Gustave H. Achieving the subtle distinction between delivering a huge performance without being over-the-top, Fiennes balances his theatrical gravitas with his rarely - executed gift for comedy, making it impossible to imagine anyone else in the role.

Trouble with the Curve Directed by: Robert Lorenz Starring: Clint Eastwood, Amy Adams, Justin Timberlake Rating: PG - 13 Release Date: September 21, 2012 TRAILER SCORE: 8/10 Thoughts by TSR: Clint Eastwood hasn't acted in a film directed by anyone other than Clint Eastwood since 1993's In the Line of Fire — unless we count his legendary cameo in Casper — so -LSB-..in a film directed by anyone other than Clint Eastwood since 1993's In the Line of Fire — unless we count his legendary cameo in Casper — so -LSB-..In the Line of Fire — unless we count his legendary cameo in Casper — so -LSB-..in Casper — so -LSB-...]

Because her thinking man's Ilsa act in The Reader is at least conceptually riskier than her put - upon dishrag Debbie Downer in Revolutionary Road, we were that close to throwing her by the wayside in this category, especially because there's a clearly superior crypto - leading role in the mix (Rosemarie DeWitt, whose titular character in Rachel Getting Married has been shut out of a lot of races thus far, but we feel anyone who actually watches enough of the film to justify throwing their vote toward frontrunner Anne Hathaway should have no other choice but to recognize DeWitt's equally tricky, equally attention - stealing performance).

* It must be noted that, at no point during the actual film does anyone call Devereaux «The November Man»; it's only name - dropped at the very end by the film's villain, a sad - looking Bill Smitrovich, visibly thankful to have such a big part in a studio film despite half his dialogue being clumsily misogynistic cracks like «Show me your tits»).

But anyone put off by the first film's patrician politics will find even less to like in this lurching sequel.

The orange - eyed beast is voiced by Benedict Cumberbatch, who, through a sludge of voice - altering electronics, seethes and preens between fiery exhalations; this scene is one of the few occasions in the film where anyone actually takes time to talk.

Anyone who loves Michael Gondry «s magnificent Eternal Sunshine of the Spotless Mind knows how important that single piece of dialogue is when it's whispered into Jim Carrey «s ear by Kate Winslet, and next month fans will have the opportunity to meet in Montauk themselves for an unbelievable, special screening of the film in honor of Focus Features» 15th anniversary.

Meanwhile, Todd McCarthy of the Hollywood Reporter wrote of the film, «Intense emotional currents and the jagged feelings of volatile actors are turned loose to raucous dramatic and darkly comedic effect in one of the most sustained examples of visually fluid tour de force cinema anyone's ever seen... An exemplary cast, led by Michael Keaton... fully meets the considerable demands placed upon it by director Alejandro G. Inarritu... The film's exhilarating originality, black comedy and tone that is at once empathetic and acidic will surely strike a strong chord with audiences looking for something fresh.»

Strained relationships between parents and children mark the films of Hirokazu Kore - eda, a point reinforced early on in I Wish by a line as funny as it is depressing: «Anyone...

We didn't make his sophisticated, subtle Shop Girl a hit, so he dishes out what he knows, alas, today's American audiences will gobble up greedily: a painful assemblage of distasteful slapstick (not one but two elderly and infirm folks are abused — by the putative hero, no less — in the opening moments of the film alone), cultural stereotyping, and celebrations of idiocy that will try the patience of anyone with a double - digit IQ or age.

In this remake, though she's no less unpleasant, she's as much a victim as anyone, and a fitting narrator for our film, a tale told by a lunatic.

By the time the film starts whipping them around again (with Hughes moving his business to new countries, then pulling up the stakes before anyone can drive them in), they're in too deep, unable to adjust to his inexplicable rhythms but not willing to fully cut ties.

It has the advantage of being the one movie that is truly like no other nominee in any category — seriously, a black and white silent film in 2011, that takes balls of steel to make — and most importantly, it's being distributed by the Weinstein Company, and if anyone can turn a film like this into an Oscar winner, it's Harvey Scissorhands.

Plus, this is definitely the most subdued you'll probably ever see Vaughn in a film, and he's fine in his role but somewhat wasted because his character that it could have easily been played by almost anyone and still been successful.