Sentences with phrase «by films of this sort»

That trio of leads may have attracted more attention, if not necessarily the awards consideration always sought by films of this sort.

Not exact matches

The list is sorted by the film's release date rather than the number of rentals in a year.

The promo made by the South Korean broadcaster features the likes of Son Heung - Min, Harry Kane, Javier Hernandez and Mauricio Pochettino hilariously superimposed in what looks like a short clip from an old Korean film of sorts.

Thin - film microelectrode arrays produced at Lawrence Livermore National Laboratory (LLNL) have enabled development of an automated system to sort brain activity by individual neurons, a technology that could open the door to recording and analyzing unprecedented amounts of neural signals over time...

Dec. 12, 2017 - Thin - film microelectrode arrays produced at Lawrence Livermore National Laboratory (LLNL) have enabled development of an automated system to sort brain activity by individual neurons, a technology that could open the door to recording and analyzing unprecedented amounts of neural signals over time...

If you're unfamiliar South by Southwest is sort of where the tech, music, and film industries all meet in a festival deep in the heart Read More

Youth In Revolt is the sort of film that perhaps asks too much of the viewer, there is different things going on around the central character of Nick Twisp, played by Michael Cera, who we finally see a glimpse of a different sort of

Mike White, who scripted biting, edgy satire of this sort («The Good Girl,»» Chuck and Buck») before making his fortune with «School of Rock,» serves up an unsettling and generally deft comedy of manners with this clash, a film that greatly benefits from subtle, stinging performances by Salma Hayek and as her opposite number, John Lithgow.

This casting choice seems another sort of updating, as there were no black faces in the first film's unnamed midwestern town, and it's a choice amplified by the appearance as well of Andy's son Woody (Ser «Darius Blain) as the football team captain, his barely speaking girlfriend Etta (Enisha Brewster), and their vibrant Latina classmate Rusty (Ziah Colon).

The one bright spot in the film is Batman, played by Ben Affleck as the one character who has any sort of character at all.

In any case, the film, directed with bounce and snap by Mark Waters, stands as a comeback of sorts for Jim Carrey, who mugs and prances and does funny voices and manages not to be upstaged by a half - dozen flightless birds.

Paltrow does what she can in the role of Mills» wife, but she has too little screen time to make any sort of impact; by the end of the film, she is quite literally reduced to the role of a prop.

However, it was sort of a no - brainer to figure out their problem within the first few minutes of the film, but the part I was confused about was the lack of any resolution between the husband and wife, played by Kevin Kline and Diane Keaton.

By the time the screenplay provides its «reveal», we know what's coming, having been trained by other films to expect this sort of thinBy the time the screenplay provides its «reveal», we know what's coming, having been trained by other films to expect this sort of thinby other films to expect this sort of thing.

His revelations verge on going too far but by the end you realise that you've witnessed a film that crosses all sorts of genres; it's an introspective drama, a restrained chase movie and an imaginative Sci - Fi and it tackles all the tropes with a deftness and skill.

Bacall exudes a lot of magnetism and sensuality in her debut on the screen, a decent sort - of - rip - off of Casablanca - based on Hemingway and co-written by William Faulkner no less - that relies on a strong chemistry between her and Bogart in their first of four films together.

The film tries to have some subtext by doing a Straw Dogs sort of thing with his character, and, it's okay.

At its heart, Black Panther has a fairly standard comic book sort of story: baddie Ulysses Klaue (a rare live - action Andy Serkis: Star Wars: The Last Jedi, War for the Planet of the Apes), one of the few outsiders who knows the secrets of Wakanda, and who had stolen a small quantity of vibranium decades ago, is up to no good again, with a scary dude nicknamed Killmonger (Michael B. Jordan: Fantastic Four, and both of Coogler's previous films) at his side; they must be stopped by T'Challa, Nakia, and the absolute force of nature General Okoye (Danai Gurira), with an assist from CIA agent Everett K. Ross (Martin Freeman: The Hobbit: The Battle of the Five Armies, Sherlock).

While the film touches upon its various political and cultural issues (In addition to the give - and - take relationships between reporters and politicians, there's a lot about the overt and subtle sexism that Kat receives as the first and, at the time, only woman serving a newspaper publisher), the film plays mostly and best as a race - against - the - clock thriller of sorts, in which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival paper.

And, writing for Vanity Fair, Richard Lawson admits it's not a «comforting film by any means,» but it «achieves a sort of grace, in moments of sweetness and stillness, when the fullness of Leo's being — be it ravaged and weary — is palpable and, finally, undeniable.»

You can call that naive optimism on Donnersmarck's part, or historical revisionism of the sort duly lambasted by the current film version of Alan Bennett's «The History Boys.»

Owned by Starz Media, Anchor Bay released a fairly dismal slate of films in 2011, with only drama Beautiful Boy (sort of an inferior, tamer version of We Need to Talk About Kevin) scoring favorable reviews from critics — and just barely.

Running a scant 76 minutes, the film relies on a purely observational approach that's better suited to the sort of mammoth, mundane institutions chronicled by Frederick Wiseman.

By briefly profiling each, the filmmakers ensure we care about them all; they are not treated as some sort of novelty act for the sake of the camera, and this is what makes the film a standout

The film is very proud of itself, exuding a stifling piety at times, but it works as well as this sort of thing can, thanks to accomplished performances by Fredric March, Myrna Loy, and Dana Andrews, who keep the human element afloat.

What do you do when you put Titanic, Gladiator, all sort of disaster movies into a blender... Well, you'll get Pompeii, a film that is so utterly derivative of all films that have gone before it, but somehow made with such enthusiasm by Paul W.S. Anderson, the king of «schlock» cinema that you'll find it somewhat enjoyable.

What do you do when you put Titanic, Gladiator, all sort of disaster movies into a blender... Well, you'll get Pompeii, a film that is so utterly derivative of all films that have gone before it, but somehow made with such enthusiasm by Paul

Directed by Peyton Reed, whose last theatrical feature was 2008's Jim Carrey comedy Yes Man (which perhaps describes his level of control on this film), it's likely to be the sort of mindless diversion devoured by a perpetually unfaltering core audience, but the rest of us tired of this staunchly self - involved and defiantly conventional universe will be left with one more opportunity to grumble at the infinite depths of Marvel's stockpile.

Though it's loose in narrative, the general plot of the film focuses on six female spirits (played by Colette Kenny McKenna, Krystle Fitch, Anastasia Blue, Tanya Paoli, Kara A. Christiansen and Makaria Tsapatoris), all recently murdered by the same serial killer (Bryant W. Lohr Sr.), seemingly stuck on the threshold of reality and the afterlife, confined to the labyrinth passageways of a sort of purgatory-esque edifice.

This time out the film is set in China, so the Middle Eastern inflections of the first score are gone, to be replaced by stuff about as Chinese as Klaus Badelt's The Promise, but like that score it's not hard to enjoy this sort of material as a kind of guilty pleasure.

The film, a prequel of sorts to the Harry Potter franchise, is inspired by one of Harry Potter's Hogwarts textbook «Fantastic Beasts and Where to Find Them» and tells the adventures of the book's fictitious author, Newt Scamander.

I'd like to think that he would appreciate our film's intention to capture forever, in Koni's words, «the sort of everyday life that is accessible to everyone and understood in its cruel internal irony by almost no one.

The film strains credulity even for a vid - game fantasy by letting the leading lady recover awfully quickly from bad injuries, but other than that Vikander commands attention and is the element here that makes Tomb Raider sort of watchable.»

Those looking to be inspired by a feel - good drama based on real - life events may find it, while those looking for a good story without the manufactured situations usually injected into these sorts of films may not.

sung by Mick Jones as himself in a cameo that makes a strange sort of sense within the films context of cloning; a minor character with a freckle fetish who regards Anne of Green Gables as an erotic classic; and one of the most achingly powerful evocations of longing that I have ever seen.

Director George Hickenlooper (Factory Girl, Hearts of Darkness) films this mostly fictionalized interpretation of the rise and fall of uber - lobbyist Jack Abramoff (Spacey, Moon), fancying his antics as some sort of comedy we should all be entertained by.

Zooms into the back of Harry's head, alas, too quickly position the film as an it's - all - in - his - head psychological trip of a Mulholland Drive sort, an impression solidified by a second half that has Harry travelling to Montana, where his investigation leads to a cop (James Remar) and his wife (Deborah Kara Unger).

So I've been waiting the better part of three years to see the sequel of sorts to one of my favorite films of 2007 with another set of great stories told by world class film makers and actors.

Besson solves this (sort of) by bringing the film to a rather sudden conclusion.

We get a glimpse at a day in the life of Mannix, as he sorts out a pregnancy scandal with a single actress (Scarlett Johansson), manages a cowboy star's (Alden Ehrenreich) miscasting in an art film, and searches for a missing debauched Hollywood favorite (George Clooney); all while keeping twin journalists (both played by Tilda Swinton) off his back.

I originally knew that I wanted the through line of the film to sort of be their exodus from Syria after they started to expose ISIS and [the group] actually began to target them and kill them one by one.

The combination of an overblown narrative and an overwrought style, and neither structure aspect's being as realized as they should be, render the film, well, sort of monotonous, at least when pacing is further stiffened by a chilled directorial atmosphere which dull things down, occasionally as tedious.

Clint Eastwood's ode to the heroic pilot is an old - fashioned sort of film, an account of a stoic, strong - silent - type man forced to account for his own heroism by a bunch of pencil - necks.

Presented as a «sort of sequel» to Apatow's 2007 sophomore feature, Knocked Up, This Is 40 gives center stage to the earlier film's supporting characters: Los Angeles record label executive Pete (Paul Rudd) and his wife Debbie (played by Apatow's real - life wife, Leslie Mann).

Based on a 1979 film starring Alan Arkin and Peter Falk in the roles of put - upon father - of - the - bride and crazed father - of - the - groom, respectively, the remake doesn't have a single scene as classic as the «serpentine» gag of the first but compensates with the sort of instant familiarity afforded by veteran personalities in comfortable roles.

On one level, the film, written and directed by Leigh Whannell (Saw, Insidious), trots out a very familiar sort of action - hero origin story: Victimized by violent crime in a cyberpunk future, main character Grey Trace (Logan Marshall - Green) vows to hunt down the men who killed his wife.

These sorts of tidbits are frequent, but by and large, the film remains tethered to a rigorous discussion of artists.

It's like an anniversary clips show for a long - in - the - tooth sitcom, filmed with the same sort of production values as a backyard porno and scripted (by an uncredited writer) with almost exactly the same kind of ear.

Dodgeball: A True Underdog Story has become a sports cult film of sorts — one of the best of the Frat Pack movies — telling the story of the scrappy dodgeball team at Average Joe's gym, led by Peter La Fleur (Vince Vaughn), going against Ben Stiller's White Goodman and the formidable Purple Cobras from his Globo Gym.

It was well made film, everything sort of fell into place, it did not feel too stylised and incredible cinematography by roger deakins that really tied the film together.