Sentences with phrase «character in that movie feels»

All the characters in the movie felt unrealistic to the point of not being entertaining.

Jason Sudeikis's abusive character in that movie feels like a stand - in for all the misogynistic backlash Hathaway has received, and by the end of Colossal she gets to cathartically throw him across the sky via the Kaiju she's telepathically connected to (did I mention Colossal is WEIRD?).

Not exact matches

Since the «Star Wars» prequels, in which George Lucas was heavily criticized for using too much CGI to create the worlds and characters, many big - budget movies have tried to find that happy medium of practical and visual effects to give the action on screen a more grounded feel.

«Use books and movies as an opportunity to discuss how characters might be feeling,» says Froh in the article.

When you're watching «The Incredibles,» it always feels like there's so much more to discover about the story and the history of the characters, which isn't always the case in Pixar movies.

If you have ever felt invested in a fictional character's fate in a movie, TV series or book, you know exactly what Ambrosi is talking about.

Each successive Avengers movie has felt like an exercise in how many characters can fit into one film before it breaks down.

Everyone who steps onto the screen feels like a fully fleshed out character, not just a cheap rendition of something you've seen in a western or action movie in the past.

Ask your child how he thinks the waitress is feeling, or what they think it might mean if a character in a movie has his arms crossed.

I felt like the character Violet Beauregarde that turns into a giant blueberry in the movie «Charlie and the Chocolate Factory.»

I had this strong feeling that time was literally and dramatically running out, like I'm a minor character in a Coen Brothers movie?

I felt exactly the way the movie wanted me to feel — in awe of characters like Glinda the Good and terrified of the Wicked Witch of the West, with all of her evil doings and demonic intent.

Adam Sandler still feels like he's playing the same character he plays in all his other movies so to say his performance is getting stale would be an understatement.

And since neither the cinematography (by Wyatt Garfield, «Ping Pong Summer») nor the editing (by Jay Deuby, «The Heat») turn the screws on these characters or on the narrative, we never feel that frog - in - a-boiling-pot tension that a movie like this should build.

It felt kind of slow though and despite the fact that some of the characters do go through hard times, the DeNiros performance and the movie in general was so light hearted it was hard to really believe anything was at stake or anything bad would happen.

But this also means that when major, life - changing events happen in the world of the Marvel movies — like the ending of Infinity War, in which half of all sentient beings in the universe are erased from existence — they're rarely given the weight they should have, beyond some of the characters expressing, «I am feeling bad about this.»

It's kind of hard to know where to begin with what's wrong in Traffik, a movie where every scene takes about twice as long as it feels like it should, and the characters far too often make an escalating series of implausible and / or stupid decisions.

Yet by highlighting the relationships and humanity of even the characters that are not human, and placing real peril in fierce and unrestrained action the audience can feel, the movie is redeemed and utterly necessary viewing.

Review I have seen this movie twice, probably the third romantic movie that compelled me to do that, and the reasons are quite simple: It's probably impossible that anyone can't relate to young Josh Hutcherson's character, an 11 year old with a normal middle class life and problems (parents initiating divorce); that its surprise by the rediscovery of a young classmate (Charley Ray) initially as an unexpected friend and later as something else... The well crafted work of director Mark Levin is based on the mutual discovery of all these feelings (mostly new and uncontrolled) that evolved in Josh's character and in another particular viewer: you.

Regardless of all the times I've desired more fresh ideas in a movie, The Big Bad Swim reminded me that sometimes characters don't require novelty as long as they feel genuine.

Every character has their moments and none feel short - changed in this movie.

Also, to the movie's benefit, it introduces us to the titular character without feeling bogged down in the trappings of a superhero origin story.

The first hour of the movie is virtually unwatchable, with Braff oddly sprinkling in fantasy sci - fi sequences that are supposed to convey the character's inner - life, but never really add anything to the film other than make it feel alternately goofy and pretentious.

But neither are they given material which demonstrates a genuine fusing (or are they able to conjure and fake the same), and so Tom and Violet's plight feels both less real and less funny than that of Vince Vaughn and Jennifer Aniston's characters in «The Break - Up,» another movie which «The Five - Year Engagement» clearly wishes to emulate.

Day - Lewis inhabits the character fully, in his distinctive gait and posture (his back sometimes bending into a question - mark), his reedy voice (given the painstaking amount of historical research that went into the rest of the movie, it must be based in fact) and the more honest - feeling portrayal of his moral righteousness, which wasn't as arrow - straight as most like to think it was.

Omer, the terrorist, is the most reasonable character in the entire movie: «I just feel confused... about this country.

For Mana, showing up for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational drama.

How do the type of male characters they are surrounded by in this movie confirm those feelings?

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.

Allen's films have always felt very similar, but «Café Society» is practically self - plagiarism in the way that it borrows story threads and characters from previous movies.

I think that within the first five pages, I wanted to do the movie and it was because of my character... Richard [LaGravenese] has a really great understanding and a great knowledge of film in general and I felt a lot of the older films that I'd grown up with, I felt that Ethan was a character out of some of those older films.

Is he the only character in the movie who is feeling abandoned?

It's a character that feels like he walked in from the set of a different movie, one that is far more aimlessly wacky.

While The Discovery plays in many ways like a more effective version of the concept - choked Brit Marling / Zal Batmanglij movies, the cult scenes feel underdeveloped next to their film The Sound of My Voice, an intriguing but ragged thread left dangling as The Discovery turns towards more concrete, backstory - driven explanations for its characters» obsessions.

I'm a longtime fan of writer / director Martin McDonagh because his movies often feel «written» in the best possible way, with a wonderful mixture of flawed characters, heartbreaking loss, and laugh out loud comedy.

In the Heart of the Sea is an old school movie that feels too sluggish, too underdeveloped, and too free of characters for the audience to invest iIn the Heart of the Sea is an old school movie that feels too sluggish, too underdeveloped, and too free of characters for the audience to invest inin.

Director James Mangold, who began digging into this character's dramatic potential in 2013's «The Wolverine,» has made a comic - book movie that feels like it takes place in the real world.

It's clear immediately that Payne is going for a nostalgic, unabashedly old - school feel, with the movie's black - and - white cinematography merely the tip of the iceberg in terms of its far - from - modern sensibilities - as Nebraska progresses at a seriously deliberate pace and, for the most part, emphasizes small, character - based moments over plot.

Even Walton Goggins (who is really great in the movie) feels like a familiar Tarantino character we would have seen from an earlier, better Tarantino movie.

The character feels bland next to the other Marvel superheroes brought to the screen in recent years, including Evans» own Johnny «Human Torch» Storm in the lighter, underrated Fantastic Four movies.

The improvisation in this movie was great, and you really feel as if you understand the characters.

In light of all this, it's inevitable (and in no way a spoiler to reveal here) that not every character makes it out alive, and that if you come away from the movie feeling bummed out and anxious rather than elated, that means «Infinity War» has done its job, just as «The Empire Strikes Back» and «Harry Potter and the Deathly Hallows: Part One» did their jobIn light of all this, it's inevitable (and in no way a spoiler to reveal here) that not every character makes it out alive, and that if you come away from the movie feeling bummed out and anxious rather than elated, that means «Infinity War» has done its job, just as «The Empire Strikes Back» and «Harry Potter and the Deathly Hallows: Part One» did their jobin no way a spoiler to reveal here) that not every character makes it out alive, and that if you come away from the movie feeling bummed out and anxious rather than elated, that means «Infinity War» has done its job, just as «The Empire Strikes Back» and «Harry Potter and the Deathly Hallows: Part One» did their jobs.

Not bad at all.this film keeps you guessing in ways you never do a lot in horror films.Rob Zombie directs theses actors like I've never seen a horror director do before.this movie is truly amazing, people are calling it «terrible» I call it «good» it's the kind of horror film that actually deals with characters and not just pointless blood and guts.I felt like all these characters really did go through something, and this movie is truly just about them overcoming it.I don't consider this a horror film, I consider this a drama / horror film, cause that is what it is, and I love it.this mvie isn't just about a killer killing people, it actually deals with the people he's after anf even deals with himself at times, which I truly loved.Rob Zombie has proved to me again that he could direct.perfect seq...

While the movie relies on somewhat archetypal characters and a predictable plot, its core message about overcoming fear and loneliness by seeing the humanity in one another will resonate with anyone who's ever felt unheard.

Then, in a twist that wouldn't feel out of place in a Two Ronnies sketch, Padilha and screenwriter Gregory Burke torpedo the emotional centre of their movie by having a kindly airport security guard inform Pike's character that the telephone she's using — the one she's just poured her heart out into for two straight minutes — is out of service, but she's welcome to try again from the bank of phones over in that corner.

The result is great, as it features the two perfectly in character as seen in the Before films, but also because it plays with the fourth wall and expresses some of the vitriol that many audience members feel when someone else is being inconsiderate in a movie theater.

GHOST WORLD The top five films on my list are melancholy affairs; it was a year for movies in which characters felt isolated and haunted.

«What Hugh said to you is the attitude we all have — myself, Lauren Shuler Donner, the studio, [director] James Mangold, Hutch Parker — all of us, feel like this is six or seven or eight (depending on how you count) movies in the making, and there are few characters in the history of cinema who have cast as big a shadow as Wolverine, so to tell the final chapter of that story, it has to be the best, and it has to have a mythic quality to it.

Perhaps the hyper - stylized and conceptual Hooper is just a poor fit for a story as nuanced as this — for a movie about such a charged human issue and where characters spend the majority in some tearful state, shouldn't the audience actually feel something?

The connection to Cloverfield (which Abrams and Burk also produced) was added late in the overall development cycle, which might be why the final act of the film feels like the characters have suddenly been dropped into another movie.