Sentences with phrase «by anything in this film»

Not exact matches

But if the story told by the film - makers is even close to accurate, the world the workers live in is anything but sane, and they're struggling, after all, to feed their families without the help of the power - brokers who see them as mere pawns in a very high - stakes game.

But when you have a film crew following you as you frantically run around San Francisco in heels, trying to abide by Rachel's styling criteria AND worry if you have lipstick on your teeth — the challenge was anything but simple!

Not even Donkey, infused with serious panache by Eddie Murphy, so fabulously fast - talking yet obtuse in the first and second films, can muster anything, even while sparring with the previously entertaining Puss in Boots (Antonio Banderas).

Trying to underplay conventional plotting as much as it can, this film is seriously meditative upon the life of a man who we barely known anything about, and makes matters worse by portraying gradual exposition in too abstract of a fashion for you to receive the impact of the would - be remedies for characterization shortcomings that do indeed go a very long way in distancing you from a conceptually sympathetic and worthy lead.

Once the fear has passed, just in time for nap, visual and musical style are sometimes played in an immersive fashion by highlights in a directorial performance by Nicolas Winding Refn that bring some life to the film, though not as much as John Turturro's inspired lead performance, which does about as much as anything in bring the final product to the brink of decency, which is ultimately defied by the serious underdevelopment, overambition, monotonously unfocused dragging and near - punishingly dull atmospheric dryness that back a questionable drawn non-plot concept, and drive «Fear X» into mediocrity, in spite of highlights than can't quite obscure the many shortcomings.

Though he never wrote anything directly for the screen after 1965, Richard Rodgers was well represented in films by his previous body of work, including filmizations of On Your Toes (1936) Babes in Arms (1939) Pal Joey (1957) and all but three of the Rodgers and Hammerstein stage collaborations.

Released on the sudden and unexplainable popularity of star Ashton Kutcher, the film is ultimately a realization that Terence Stamp, regardless of the great performances he has given in the past, will never be fully respected by Hollywood and given anything unworthy of his participation.

I would have liked to have seen more in the way of extras however, the quality of the film is such that, I'm not really feeling as though I've missed anything by not having a wealth of extras to explore.

Even in Refn's and Hubert Selby Jr.'s script, this film is just so blasted limp, and from a directorial stance, Refn makes pacing problems all the worse with a meditative atmosphere which is rarely effective, primarily carrying dead air which is inspired by a quiet sobriety that distances and bores more than anything.

Issues regarding pacing and structural tightness are among the more considerable in this film, which promises to be rather extensive as a biopic, only to succumb to anything from repetitious filler, - at its worst with the forceful and recurrent insertion of a recital of Oscar Wilde's own short story «The Selfish Giant» - to meandering material whose being backed by steady directorial storytelling by Brian Gilbert leads to moderate bland spells.

The idea of young black girls seeing this film and being inspired by Letitia Wright's Q - like gadget - crazed scientist Shuri or Danai Gurira's none - more - badass and effortlessly movie - stealing General Okoye is more thrilling to me than anything that happens in the actual movie.

Nobody has ever seen anything like «Black Panther» — not just an entire civilization built from the metal stuff inside Captain America's shield, and not even just a massive superhero movie populated almost entirely by black people, but also a Marvel film that actually feels like it takes place in the real world.

I am frustrated by the lack of modern - or future - set films without strong female characters, but I'm aware that, historically speaking, women haven't been given much training in warfare or an equal share of about anything.

Black Panther's cast and creators trod carefully around the movie's connection to current politics in the press conference attended by Screen Rant, with Chadwick Boseman saying that anything that seems like a reference is just coincidence, and Marvel Studios President Kevin Feige saying that «things have happened in the world which make the film seem more relevant.»

And it's meticulously designed by Katarzyna Sobanska and Marcel Slawinski; the lounges and bars echo the mood of the underground spaces of Wajda's Fifties films (a friend also detected a flavor of early - Sixties Forman), but more than anything I was reminded of the melancholy retro of Aki Kaurismäki's Take Care of Your Scarf, Tatiana, while a wide shot of a car in a glum garage yard made me think of early Jarmusch.

His work also refuses to be pigeonholed; for example, defying his reputation as a period film director, 1957's The Eleventh Hour is an ensemble - cast, social realist melodrama about a rescue at a caved - in mine that equals anything made by Hollywood during the same era.

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutin the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutIn The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minute.

The trailer indicates that Ridley's film is as much a work of Impressionism about Hendrix's experience performing as part of the 1960s London music scene as anything else - a sentiment backed up by the early reviews, with the Seattle Times» Moira Macdonald calling the movie «a mood piece, not a biopic» in her overall positive critique.

Spielberg's frantically uneven film, adapted by Cline and Zak Penn and set in a grim 2045, posits an immersive virtual world called the OASIS where humans can become their own avatars and do anything imaginable.

It ends with a title card that states «A Paul Schrader Film,» but it is such in name only — a version of the movie that neither Schrader nor Refn (who retains an executive producer credit) nor Cage endorse or have done anything to promote, assembled by a team of producers without the input of Schrader or the film's credited editor, Tim Silano.

That shouldn't be much of a shock when it comes to anything by filmmaker Darren Aronofsky, a director who never fails to challenge the audiences who dare to take his films in.

Such is the cornucopia of characters and scenarios in The Book of Henry, a film written by novelist Gregg Hurwitz and directed by Jurassic World's Colin Trevorrow, seemingly in a vacuum far, far away from anything vaguely resembling actual things that happen and people who exist.

Relying on assumptions and prejudices brought into the film by the audience as much as anything shown on screen, The Loneliest Planet is something of a distant cousin to Roman Polanski's 1962 drama Knife in the Water, where a relationship is threatened and the presence of a mysterious other man is used to unsettle.

Sadly, the film, which was adapted by The Artist's Michel Hazanavicius from Wiazemsky's autobiographical novel Un An Après, seems more interested in pastiching Godard's own movies than saying anything interesting about the couple.

Armie Hammer's latest film, Call Me By Your Name, is unlike anything the actor has done in the past, which he admits in OUT Magazine's November issue scared him at first.

Trailers can be deceiving (the trailers for Lincoln looked dull and by the numbers as well while the actual film was anything but), so here's hoping that one of the greatest living directors has something amazing in store.

Logan, the final film in the Wolverine saga, broke the comic - book curse this year by earning a screenplay nod in this category, so anything's possible.

What You Need To Know: On the slim off - chance that you've heard none of the deafening buzz surrounding Steve McQueen «s «Hunger» and «Shame» follow - up (which also stars Michael Fassbender), let's get to it: by all accounts (our own included), lead Chiwetel Ejiofor is anything from a good bet to a surefire winner for this year's Best Actor Oscar, with the film itself a likely player in the Best Picture race and any number of the other actors (Fassbender foremost among them) potentially primed for Supporting Actor nod.

The latest to follow in their footsteps is Alexandros Avranas ««Miss Violence,» and if our reaction when the film screened on the Lido yesterday is anything to go by, it's going to he just as acclaimed and successful as those pictures.

His swan song, Parade, sorely underrated by the small number of critics who've actually seen it, was a clean break from Hulot, and as such, feels more free than anything else Tati ever made — it's a difficult film for people who may be expecting another lighthearted, whimsical comedy, instead of an experimental film that uses a circus performance as its foundation, but in its own way, it's the ultimate Tati, an undiluted expression of what he loved to do and to see, and what hats to put on.

In the end, I was defeated by the prospect of dealing with Frankenheimer's later films — not because they were all as bad as Prophecy (or that any of the others are near as bad as Prophecy, or that anything could be), but because many of them are really, really good in really, really difficult ways to quantifIn the end, I was defeated by the prospect of dealing with Frankenheimer's later films — not because they were all as bad as Prophecy (or that any of the others are near as bad as Prophecy, or that anything could be), but because many of them are really, really good in really, really difficult ways to quantifin really, really difficult ways to quantify.

This is borne out by the film's relative lack of interest in anything that happens after Grant dies — the compelling story of the cell phone footage, the trial, the controversial verdict, and the unrest and memorialization that followed is told mostly through curt, pre-credit-roll titles.Yet the film also tries hard for a verite style, as opposed to something more allegorical, and so we have to conclude that we're supposed to accept its less believable moments at face value.

It's shot in black and white which adds some style, and it has a haunting score by Abel Korzeniowski (of A Single Man, W.E.), but this is a film that is destined to be loved by a small audience, and be much more of a cult classic than anything.

The arrival of the film noir coincided with a new penchant, inspired by Italian neorealism, for moving out of the studio on occasion and onto the great rich set of the American city and its suburbs, a readily available set which became, sometimes with only minimal adjustment of light and shadow, fully as «Germanic» as anything constructed at Ufa in the Twenties.

Pastor Paul (2015 — Nigeria) When a white tourist travels to West Africa, gets cast in a micro-budget version of «Hamlet», and is possessed by a ghost, anything can and does happen in this film that multi-hyphenate director - writer - actor Jules David Bartkowski calls «the world's first American Nollywood film.»

«Star Wars: Episode VIII - The Last Jedi» will debut in theaters Dec. 14, but until then, we're stuck trying to discern its plot twists by analyzing the minute details of the trailers, film stills, and anything director Rian Johnson says.

The film was introduced by its producer, the director Barbet Schroeder, who said Rohmer has his ideas long in advance of filming, but doesn't write a word of the script until he has spent weeks talking with the actors, «so that they will never have to say anything they wouldn't really say.»

The Christmas day slot is a coveted one and if Juno, Thank You for Smoking and Up in the Air have proved anything it's that any film by Reitman is an anticipated one.

Give me films like THE KING»S SPEECH, THE LION IN WINTER, ALL ABOUT EVE, and just about anything by Billy Wilder.

This sounds great, anything with Will Ferrell in it directed by Adam McKay is a must see event film for me.

If the real William Moulton Marston, the psychologist - turned - comic - book - writer, was anything like his film counterpart, he probably would be grateful that his presence in Professor Marston and the Wonder Women is almost completely overshadowed by the two most significant women in his life.

With highly anticipated 2007 films by Hou Hsiao - hsein, Wong Kar - wai, Jia Zhang - ke, Apichatpong Weerasethakul, Bela Tarr and other End Of Cinema favorites yet to be released in this country, as well as such well - regarded films as 4 Months, 3 Weeks, 2 Days, Silent Light and Persepolis by filmmakers I'm unfamiliar with, there's no reason to expect this list to be anything close to final.

The film rates this high for me not just because of its technical skill (the ensemble acting is terrific, with Kelly Macdonald in particular doing great work in just a few scenes, and Roger Deakins's cinematography is as good as anything he's done with the Coens, and that's saying a lot) but because of its ambiguity: because the questions it raises about narrative and about society are as interesting as those raised by any other film (but one) of 2007.

The dynamic between the more proper intelligence agents and their booze - namesaked counterparts play for some good laughs, but more than anything it's a plot device for the film to raise the stakes for Eggsy and the Kingsman while still being able to provide the team with countless weapons and gadgets, all of which are by far the most creative things in the movie.

Few filmmakers could do anything original or vibrant by making yet another film about a creative yet difficult man (who's also in a relationship with a younger woman), but that's what Paul Thomas Anderson does in Phantom Thread.

The Breakfast Club made $ 45 million (adjusted for inflation, that's $ 115 million today) and inspired a wave of more angsty films about growing up, including Pretty in Pink and Some Kind of Wonderful (also written by Hughes), Stand by Me, For Keeps, Dead Poets Society, Say Anything, and School Ties.

Teenage angst and sexual frustration are equally important to the doubtlessly endeavored antagonist in It Follows making a horror film that's largely inspired by the genre's past and yet not quite like anything else before it.»

**** Zachary F November 29, 2012 this movie is sooo funny Jon C November 29, 2012 a fun, crude, and hilarious comedy two girl roomates formulate a plan to make their own sex hotline in order to make ends meet hijinks and raw laughs ensue between two very different people who embrace their sexuality via telephone the performances from both Graynor and Miller are pretty damn fun to watch the dialogue is insanely funny and gratuitous there's a very strange cameo in here too by Nia Vardalos Justin Long adds a nice touch being the supporting gay best friend mentoring these two girls it's just very awkwardly humorous listening to these people talk in this kind of film, there's interestingly no actual sex happening on screen, no boobs, no ass, no exposed body parts the plot mainly focuses on the bonding relationship bewteen the two leads which is a good break from the usual norm we're used to I can't help but feel though that the filmmakers didn't have anything left at the end, some of it felt unfinished and unresolved for all those problems, «For A Good Time, Call..»

«Crash» was a political film too, but in the lily - livered, hand - wringing, don't - say - anything - unless - you - say - something - offensive - by - mistake vein — so of course it snatched the big prize.

The film has a script by LEGALLY BLONDE scribes Karen McCullah Lutz and Kirsten Smith but could this all be bravado on the part of the producer (and would Steep in particular even touch anything like this)?