Sentences with phrase «central story of the film»

Lorraine Warren's back story plays a key role in the central story of the film and it ties into the main story with the Perron's seamlessly.

Not exact matches

Martin Saunders asks: why do so many major films seem to stumble into the central story of the Christian faith?

Kloves, who penned every film but the fifth (2007's Harry Potter and the Order of the Phoenix), has been made to serve two masters, and the result has been some choppy films that try to capture every letter of the source material instead of merely conveying the central story in a smart way.

Spielberg widened the film's focus to encompass the story's other angles — Ellsberg's evolution, the Washington elite's lies about the war, and the tick - tock of daily - deadline journalism — but the rise of Mrs. Graham, in an era when the word Ms. hadn't yet been popularized and the concept of gender equality wasn't paid so much as lip service, remains a central theme.

The kind of film that makes you wish they had perfected choose - your - own - adventure technology for movies, one that would allow you to ditch the central character and follow any number of the story's more interesting second bananas.

The film has three central characters who take turns narrating portions of their collective story in flashbacks: After being arrested for murder, Lila (Patricia Arquette) begins by saying, «I'm not sorry.»

As you'd expect from the director of Four Weddings and a Funeral and Notting Hill, the time travel in Richard Curtis» «last film» is more of a Macguffin and not central to the story.

This prequel tells the story of how Chris Hemsworth became Eric (the Huntsman of the title) and the Australian clearly enjoys reprising his central role although he doesn't have the presence to carry the film

The film's second central story is that of Cliff Stern (Allen himself).

The central story here involves Marty (Colin Farrell), a heavy - drinking Los Angeles screenwriter, and his friend Billy (Sam Rockwell), a ne'er - do - well hustler who is, at the start of the film, making his living by stealing dogs and returning them days later to collect the reward.

And despite the extensive secondary cast of cameramen, sound techs and story editors, the film manages to develop well - rounded central characters, some who of become almost likable in spite of themselves.

Without nagging time - lapse problems, a few sloppy matching shots, central questions glossed (Gandalf's resurrection — without a reading of The Silmarillion, of course — is obscure at best), and a few story conveniences (Cate Blanchett's Galadriel makes a lame cameo, the abovementioned gauzy Arwen love scenes), the film would be something of a masterpiece (and even with its problems, it's among the best fantasies ever made).

Larraín has an interesting way of crafting his version of her story almost as if it's a suspense film with his central character always on the precipice of completely losing it.

Whilst many films focus on a central protagonist or couple, others rely on a collection of characters to share the focus of the story.

However, for those that have that part of them ready to receive it, Somewhere in Time is a classy and nicely developed love story that, like the central plot of the film.

The director seems as aware as anyone else of the irony that the worlds biggest, most corporate football club are taking a central role in his first film on the subject, but he never lets these opinions interfere with his story and characters.

For a film mainly guided, stylistically, by feeling more than by thought, Wong Kar - wai's In the Mood for Love opens rather pragmatically: A simple exchange in an apartment hallway between a landlord and her two prospective tenants, Mrs. Chan (Maggie Cheung) and Mr. Chow (Tony Leung Chiu Wai), introduces the principal elements of what is, in essence, a straightforward story of star - crossed lovers and their unconsummated relationship — a romance thwarted as much by tragic circumstance as by the story's central cinematic contrivance.

That section of the story is the film's central one.

But the real star of Love Is All You Need, as I'm sure the generous Brosnan would acknowledge, is Danish actress Trine Dyrholm, who is simply wonderful as the film's central character, Ida, a hairdresser whose sunny disposition is being sorely tested by life as the story gets under way.

Their story, as filmed in Beverly Hills and Pasadena, California, and Brooklyn, Central Park and Morningside Drive in New York, is a delight to the eye and ear, filled with the sights, sounds and colors of the thirties.

Written by aviator - turned - author John Monk Saunders (of Wings and The Dawn Patrol fame) and directed by German émigré William Dieterle, the film lacks a strong central personality and mostly meanders through the middle but that easy rhythm and directionless story defines their whole situation and sets up the devastating third act, where the group travels to Lisbon for the bullfights.

The main one is that Seal was an unofficially contracted employee of the CIA, which definitely had their own fingers in a whole lot of pies in Central America in the late 1970s and 1980s, when the film's story is set.

With elements of Footloose and Step Up, the story is continually brought crashing back around us with clips from Platoon — a film Josh so loves that it plays a central role in the film's climax and redemption for all involved.

Skyscraper is both written and directed by American filmmaker Rawson Marshall Thurber, director of the films Dodgeball: A True Underdog Story, The Mysteries of Pittsburgh, We're the Millers, and Central Intelligence previously.

The story of the central relationship in the film is nothing we haven't seen a hundred times so it isn't particularly compelling or exciting.

«The «Hunger Games» films have steadily improved, and the rising star of Jennifer Lawrence as the central figure in the story certainly hasn't hurt.

Details on the film remain a mystery, but it will reportedly tell the story of the rise and fall of the American dream, dealing with race and culture from the perspective of one central character.

Adapted by screenwriter James Ivory from a 2007 novel by André Aciman, the sexy new film — a coming - of - age story of first love that has already racked up multiple awards — has been criticized in some quarters for its central relationship, a summer tryst between Elio (Timothée Chalamet), a 17 - year - old boy, and Oliver (Armie Hammer), a 24 - year - old man.

But that gives a disservice to Hossein Amini «s taut, Elmore Leonard - ish script, that gives texture to parts that needed none, to the simultaneously minimalist and multi-faceted central performance from Ryan Gosling, to the sweetness of that central love story (the film is as much rom - com, or at least rom, as it is a thriller).

Though the snow that was central to her original vision may have been stripped away, the mother - daughter aspect that was essential to her story remains the most emotionally charged part of this very amusing film and will have many mothers struggling to hold back the tears due to some of the home truths it deals with.

Director Barry Sonnenfeld and the scriptwriters make the central relationship of J and K firsthand again, with the action and special effects aiding, rather than dominating (as with the cash - grabbing second film), the story on display.

- Bob [DISAPPOINTED] Beautiful but oh so empty, the latest picture from Park Chan - Wook is a superbly constructed con - artist film that is weighed down by its «dirty - old - man» central story involving a secret society of pornographic literature.

What becomes the central conflict of the film is eschewed in order to depict the incident's resulting effects on the protagonists; the humble story tells their experience rather than the action surrounding them.

Filmed entirely in South Africa, with a cast made up of the country's citizens, this powerful, sometimes shocking account of the life of the apartheid martyr, Solomon Kalushi Mahlangu, frequently benefits from a strong central performance by Thabo Rametsi that helps to hold the story together.

The central relationship is between the two brothers — the film is essentially the story of that relationship — but you'd have to be a very, very nice person to care about how it all works out for them.

Portman's effort behind the camera yields one of the film's most forgettable segments in the story of an apparent manny (that's «male nanny», impressed women explain) enjoying a day in Central Park with a playful young girl.

We know how this story of the 1979 Iran hostage crisis will turn out, so screenwriter Chris Terrio (working from the book The Master of Disguise by the film's central subject Antonio J. Mendez and an article by Joshuah Bearman) and director Ben Affleck instead build the film's tension out of a blow - by - blow account of the details of a covert operation happening alongside the larger and more publicly known captivity of over 50 personnel from the American Embassy in Tehran.

Although Francisco Goya is the central character of this story by Forman and co-screenwriter Jean - Claude Carriere (Birth, The Unbearable Lightness of Being), the film isn't really about him, merely using him as a historical and thematic vessel for which to spotlight the Inquisition, Revolution, and events that transpired during his time.

The George Washington director's films often take time out for characters with no relation to the central plot or its characters, giving them a moment to themselves before returning back to the business of the story.

The film succeeds on nearly every level and doesn't fall victim to the stifling over-faithfulness to it source material that I feared it might — Kazuo Ishiguro's novel is a difficult one to adapt, and there is a lot of streamlining here, especially in straightening out Ishiguro's meandering timeline and eliding a lot of the portions of the story not essential to the central relationship among the three children.

Instead, it is the most sumptuous, classical star cross'd lovers romance — a «Juliet and Juliet» story — in which the central love affair is presented just as legitimately as those that dotted the Hollywood films of the Golden Era (films whose narratives French film theorist Raymond Bellour memorably likened to machines designed to produce heterosexual couples).

On the question of how central the Dumbledore / Grindelwald story will be to the forthcoming five Potterverse films, Yates said: «currently the beasts feature slightly less in the second film, and Grindelwald takes more of a foreground.

This is an incredibly busy film, with a three - way narrative that follows the plot of Tolkien's book, begins the process of revealing the central villain that will put all of Middle - earth in jeopardy, and, for some reason, inserts a romantic triangle between an ancillary character, a character from the previous films who has no role in the actual story, and another who is the creation of the screenwriters.

Dickson Leach's film debut is a solid one — a simple story which relies on its two central performances from Kendrick and Troughton, both of who deliver in spades (excuse the terrible pun).

Still, what actually matters are the central characters, all of whom bring the necessary charm and pathos to keep the story from veering into the sort of reductive children's films that can not relate to anyone above the age of seven.

Like All the President's Men or The Insider (two films you can't help but think of watching this, and that's no bad thing either) Michael Cuesta is focused on the story and the central character and how the quest for and to expose the truth changes lives forever.

By Debbie Burke A log line or logline is a brief (usually one - sentence) summary of a television program, film, or book that states the central conflict of the story, often providing both a synopsis of the story's plot, and an... Continue reading →