Sentences with phrase «by everything in the film»

Not exact matches

In Uptown Kingston, where Departures has been shooting for the past several weeks, filming has been accompanied by some low - level grumbling about everything from parking to pushy production assistants.

Started by esteemed editor and reporter Heidi MacDonald, The Beat keeps you in the loop on everything comics related from books to television and film.

Although it could use tighter editing — like most everything in this regrettably paced film — the third act reappearance of Gollum is terrific, and amplified by a go - for - broke motion - capture performance by Andy Serkis.

The film's padded - out vibe is compounded by an assortment of oddly incongruous subplots, with the best and most apt example of this everything revolving around Dylan's Alzheimer's - afflicted father (Richard Jenkins, in an admittedly stirring performance).

Two years later, he could be seen in another high - profile, politically tinged thriller, this time opposite Denzel Washington in director Jonathan Demme's remake of The Manchurian Candidate.In 2005 he made his directorial and screenwriting debut with Everything Is Illuminated, and appeared in the critically acclaimed, Golden Globe - winning HBO movie Lackawanna Blues, a life - affirming film about a selfless black woman (played by S. Epatha Merkerson) in 1950s segregated New York who provides a home and a guiding hand to the youths who come to live at her boarding house.

As she proved in The Theory of Everything, Jones can spin a lot from thin characterization, but in this film, Jill is nothing more than a disapproving shadow, clearly disturbed by Finkel's fascination with Longo without ever giving voice to it.

«Calvary» stars Brendan Gleeson and Chris O'Dowd in this strange film both written and directed by John Michael McDonagh, At the outset let me say that I am a huge Brendan Gleeson fan and appreciate and respect almost everything in which I've ever seen him perform.

By far the most intriguing element of Holmer's vision, the music stands apart from literally everything else in the film.

Directed by Joe Wright («Atonement») and written by Anthony McCarten («The Theory of Everything»), the film covers four weeks in 1940.

Based off of the novel written by David Ebershoff, director Tom Hooper (Les Miserables) and actors Eddie Redmayne (The Theory of Everything) and Alicia Vikander (Ex-Machina) beautifully illustrate the powerful true story of Lili Elbe in their new film The Danish Girl.

And while the last 15 minutes are made up of some of the weirdest, most insane shit I've seen in a movie this year, it's all undone by everything that came before it — there's no meaningful build up and it lessens the impact of the film's final moments.

Everything about this film oozes class; the 60's setting is beautifully captured with it's attention to detail and strikingly rich photography by Eduard Grau; the slow motion scenes with overbearing sound effects; the subtle changes of colour saturation providing an excellent technique in developing the mood and feeling of Firth's character and a fitting soundtrack to accompany the lush imagery.

Blade: Trinity is still hampered by the same elements that made the first two films substandard fare, namely, the heavy emphasis on doing everything the cool way, in a heavily over-the-top display of style over substance.

There's little doubt, as well, that Shyamalan's expected emphasis on stylish visuals plays an integral role in confirming the film's mild success, while the story's coda is nothing short of jaw - dropping in its unexpectedness and audacity (ie it forces the viewer to rethink and recontextualize everything they've just seen)- which ultimately ensures that Split continues the momentum established by Shyamalan's comeback endeavor, 2015's The Visit.

This entertaining film, from a delicious early novel by Henry James, takes place in a New England Arcadia that stands for everything beautiful, pure, and good.

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.

Famke Janssen made both her film and television debuts in 1992, but it wasn't until a few years later, when she became a Bond girl by the unforgettable name of Xenia Onatopp in «GoldenEye,» that everything started to come up roses for her.

Focused only slightly differently is «San Andreas: The Real Fault Line» (6 mins., HD), which spends its opening moments very superficially discussing the real threat of earthquakes in California before delving into the production tricks behind the film's earth - shaking scenes, like a restaurant set designed so that everything visible in the frame is shaking except the floor itself, since it was being prowled by a Steadicam operator.

Perhaps that's why large portions of this film feel like scenes Toback just wanted to use up somehow — particularly the Grodin sequence, in which his character rails against his fading faculties by turns sweetly and violently, and which might have been moving if it didn't feel so detached from everything around it.

Working from a script by Anthony McCarten (The Theory of Everything), he films this politics - as - war movie in a slam - bang yet also rhythmic and expansive style that reflects Churchill's own temperament.

Trailers and TV spots released for the film so far have focused largely on selling it as having more of everything that moviegoers (by and large) enjoyed in the first Sherlock Holmes - including, many a scene with Holmes (Robert Downey Jr.) being clever and kicking ass, often with the assistance of Dr. John Watson (Jude Law).

Furthermore, nearly everything in the film has already taken place and has been widely reported by news outlets.

brightcove.createExperiences -LRB--RRB-; Based on Jonathan Safran Foer's sophomore novel (following Everything Is Illuminated, which was filmed by Liev Schriber in 2005), Extremely Loud and Incredibly Close is the story of Oskar, whose father is killed in the Twin Tower attacks.

«Furnace» director Scott Cooper describes Bale's character in that film as «a very good man who is beset on all sides by relentless fate,» a dark and quiet soul who stands to lose everything he loves.

For his part, Martini is clearly trying to go for a stylized, hyper - real effect in which everything looks normal but is a bit off but his results are off in all the wrong ways — the film feels as if it was made by someone who has been charged with making something in the tradition of «Blue Velvet» and «Donnie Darko» but who never actually got around to seeing them and is basing his work on what he thinks was in them.

But for a film set in such a heavily stylised world, especially one created by sci - fi author J.G. Ballard, homogeny is everything.

A mystery puzzle box thriller doused in mood and dread, the film tells the story of a village paralyzed by fear as a series of brutal murders grip the sleepy hamlet, while a peculiar illness seems supernaturally linked to everything going to hell in a handbasket.

The combination of clever how - to details and wild fantasy is a throwback to the days of Disney's live - action man - against - nature films (only slightly grimmer), but it's flanked by a more down - to - earth depiction of the hero's youth in a zoo - owning Indian family, as well as a closing sequence that changes the meaning of everything that's come before.

But the Buckinghams come to realize to their dismay that classic English theater is falling out of favor in a changing country where the public has become more excited by the explosion of vibrant Bollywood films — and, more deeply, is looking to move beyond everything British.

In the quest for realism, writers Quillévéré and Mariette Désert aren't too focussed on easy answers, so don't expect everything to be tied in a neat bundle by the film's enIn the quest for realism, writers Quillévéré and Mariette Désert aren't too focussed on easy answers, so don't expect everything to be tied in a neat bundle by the film's enin a neat bundle by the film's end.

It adheres quite well to the formula of the first film, giving us many scenes of character development, putting Rocky in the role of the extreme underdog, followed by scenes of intense training, and a finale in the ring with everything on the line.

While the narrative flow of Woodrow's character in Bellflower is presented as a relentless succession of inter-related episodes, I'd argue that everything in the film is either reconstructed or projected by Woodrow from a single point in the film.

I'm unsure how the film plays for those who know everything about the mythic beginnings of that enigmatic Swedish star, all the gossip surrounding her banishment from Hollywood (and her triumphant return), and who can trace the history of cinema by tracking the star's own move from small national markets to Hollywood to Europe and back again, all the while gracing the stage in Italy, France, the West End and Broadway.

And it's fascinating the way that Buscemi — in his first starring performance for the Coens after three consecutive bit parts — so often operates as our interlocutor in the film: the «sane» one despite his criminality, untouched by the weirdness of «Minnesota Nice,» who merely wants everything to go as planned, and who bit by bit comes violently unglued as it doesn't.

Documentary Showcase Presented by 500 Walnut: Comprising the best in documentary filmmaking, these compelling films feature everything from stirring character studies to fascinating looks at current global issues.

Everything in the new film plays exactly as it did in the film from nearly 40 years ago, with a few contemporary wrinkles thrown in by Van Sant and Joseph Stephano, scripter of the original.

Although Samuel Shellabarger's novel had been bought by Fox long before the cameras rolled in 1946, it took a few years before everything was set to begin filming one of the studio's costliest production (which also included, Forever Amber, shot concurrently).

They began with slightly bland, but enjoyable enough, backing from the late Michael Kamen (who was reportedly forced to tone - down his original theme - driven score on the scoring stage); a large step down came for the second instalment, boosted by the use of Henry Mancini's theme from Lifeforce but weakened by everything else in the music; John Powell's popular score for the third film was a step back in the right direction, a step negated by Harry Gregson - Williams's forgettable Wolverine.

Woody Allen's latest film, Wonder Wheel, is the sixteenth «wonder» movie of the year, and it has everything you've come to expect from a Woody Allen film: New York locations, relationships complicated by suppressed misery, uncomfortable dialogue about an uncomfortable father / daughter relationship, and a legendary actress going for broke in a leading role.

Those six words tell you everything this film gave up by going in a conventional direction.

Apart from the fact that Natalie Portman is pretty much perfect in everything she does, and that this film is directed by Darren Aronofsky (Requiem for a Dream, The Wrestler), Black Swan looks like it's going to be a beautiful and nightmarish blend of insanity, rivalry and a psychological, sexual thriller.

Indeed, «The Big Gamble» (16 mins., 480i) makes no bones about the forces that brought the film to life: With Connery's presence as the driving force in the midst of a lawsuit from Cubby Broccoli, Kershner and producer Jack Schwartzman (here represented by his widow, Talia Shire) smashed four scripts together and ran everything past their lawyers to ensure the film never strayed from the parameters of Thunderball.

The 26 - year - old Oscar nominated actress was joined by the stars of The Theory of Everything, Eddie Redmayne and Felicity Jones, who are both also nominated for their work in the film.

Directed by «Tron: Legacy» helmer Joseph Kosinski, and based on his own graphic novel, the film stars Cruise as a drone repairman in a post-apocalyptic future where Earth has become uninhabitable and overrun with alien Scavengers, who encounters a mysterious woman who changes everything.

Brie Larson, so good in everything to date, gives a star performance here, and supporting turns by John Gallagher Jr., Kaitlyn Dever, and Keith Stanfield help round out my favorite cast in my favorite film of the festival.

That's the big problem: everything in the film is so solid, so real - seeming (partly as a result of Gondry's brilliant way with analog as well as digital illusion, and techniques like stop - motion), whereas the novel is by nature light, a construct of weightless, casually handled language from which images emerge as if by magic.

During the bizarre (and embarrassing) courtroom melodrama that serves as the film's framing story, her hockey star attorney Bill (Woody Harrelson) will object to an exhumation of her sexual history — but by the time people have finished standing up in the gallery in a show of Dead Poets Society moral support, it's evident that for director Niki Caro and screenwriter Michael Seitzman, that Josie's sexual history be clean as the driven snow means absolutely everything.

In this film the elite assassin, who goes by the names Jack and Edward (George Clooney), is not a loveable killer but a chillingly deadly and detached professional with a machine - like precision in everything he doeIn this film the elite assassin, who goes by the names Jack and Edward (George Clooney), is not a loveable killer but a chillingly deadly and detached professional with a machine - like precision in everything he doein everything he does.

The film plays it coy with the details, until the various pieces of its puzzle come together in the third act, as the brothers to explore even stranger things — a dead body and its living counterpart existing side by side, a grisly scene in a tent that repeats itself every few seconds, even more visual hints left by an entity that seems to see everything.

She pushed hard for that contrast, recognizing that many Marvel films lacked that important storytelling element — a factor she discovered happened most often on the big exterior action sequences, when the weather would change midday and the filmmakers would solve the continuity problem in post-production, by meeting in the middle and washing everything out.