Sentences with phrase «come out of the cinema»

i heard a few people coming out of the cinema saying «well that was cheesy» and it just made me think well what did you expect, you've just paid to come see one of the biggest summer blockbusters going and it's the Third in the sequel.

The Boxing matches were amazing and just a real heart felt Movie that will make you come out of the cinema telling people about it.

But also people's responses as they come out of the cinema, even as they go in, what they are saying on social media or in reviews.

There's also at least one plot hole so big that you'll probably come out of the cinema saying: «Hang on a minute, why didn't they try..?»

Mind you I remember sitting waiting for my five kids to come out of the cinema one day and a father walked out with his kid complaining about the NASTY NASTY movie.

Not exact matches

There have been comparatively few leaks compared to last year's awards season (so far), when a single group called Hive - CM8 leaked more than a dozen of 2016's top movies, including James Bond movie «Spectre,» «Legend,» «Steve Jobs,» «Creed,» and Quentin Tarantino's «The Hateful Eight» — before it even came out in the cinemas.

More viewings, more thoughts are required, but suffice it to say I came out of the film unsettled and intrigued with the ever elastic possibilities of cinema.

I think cinema is currently interacting with the new media; for example, there is a lot of film criticism coming out of Bulletin Board Systems [popular Chinese online forums].

Rushmore is also something of a high - water mark for Anderson, who is the inadvertent godfather of an irritatingly quirky school of US cinema that grew out of the late 1990s and came to give us such annoying films as Napoleon Dynamite and I Heart Huckabees.

Ava DuVernay over the last few years has become a mighty presence in cinema, and an important voice that shines a light on diversity in her films and the stories she tells and while I Will Follow came first and Selma counted as her big break out moment, Middle of Nowhere is what officially started the stir.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

There isn't much sense of escalation, except for the fact that when it comes down to the final battle the robots yell out dialogue whilst pummelling each other, in that most gratuitous of cinema traditions that refuses to die.

Films that moved us, resonated with us, and out - and - out blew us away all saw release in 2017, so much of them, in fact, that, as with previous years at the cinema, it was difficult coming up with the 10 best.

While none of the films beyond Craven's ever really stand out of the usual grind of horror sequels, it did give a number of up and coming directors a chance to flex their creative muscles: Chuck Russell (A Nightmare on Elm Street 3: Dream Warriors), Renny Harlin (A Nightmare on Elm Street 4: The Dream Master) and Stephen Hopkins (A Nightmare on Elm Street 5: The Dream Child) all leapt from this series directly into big budget action cinema.

But Hark is a seminal figure in the Golden Age of Hong Kong cinema, and has crafted some of the more fantastical action extravaganzas to come out of Asia over the last decade - plus.

In recent years, some of the most exciting releases have come from directors based in Chile and South Korea, but just as notable have been the run of excellent cinema coming out of Greece.

Ratner grew no less shy this weekend, according to Twitter and several Vulture sources: After a screening of his film Tower Heist at L.A.'s Arclight Cinemas, the director came out for a Q&A, and when asked by the moderator whether he prepares and rehearses with his actors before shooting a scene, Ratner waved his hand dismissively and said, «Rehearsing is for fags.»

I think the release is later than expected for two reasons, firstly Sony Pictures Classics now have a trilogy of films coming out over the summer with this, the new Almodovar film and Before Midnight hitting cinemas in May and June respectively.

Slides Maggie Cheung, acting out her own role as one of the greatest stars of Asian cinema, comes to Paris to portray Irma Vep (the character created by Musidora) in a remake of the famous series «Vampires» directed by Louis Feuillade between 1915 and 1916.

For all of this director's classic contributions to NYC cinema, After Hours may yet be his truest depiction of the crazies that come out at night.

«The Railway Man» is a thoughtful reprieve from the louder and less subtle cinema that starts coming out this time of year.

I thoroughly recommend this film to anyone who appreciates good acting and wants to see a real movie that keeps you gripped throughout and stays with you when you leave the cinema, unlike the majority of sub standard productions coming out of Hollywood these days.

«So it is not surprising that two of contemporary cinema's best actresses, Rachel Weisz and Rachel McAdams, take the leading roles here and that Alessandro Nivola does perhaps the most affecting work of his career as their costar -LSB-...] Coming across at first as timid and plain (quite a challenge for an actress as charismatic as McAdams), Esti turns out to be passionate not only about Ronit but about her vocation as a teacher in a girls high school as well.

Coming out of the 1970s, the era of the auteur director and truly mind - blowing cinema that bled into the Oscar race, was really the last time the Academy hummed.

The accidental similarity, plain as day on paper, becomes even plainer on the screen: Minutes into the film, stage and cinema veteran Simon Axler (Al Pacino, himself a veteran of both Broadway and Hollywood) ambles out of his dressing room, the camera following close behind; gets locked out of the back entrance of the theater, and must come in through the front; and dramatically inflicts some violence upon himself before a shocked live audience.

And having a movie come out during that period and getting a lot of awards attention isn't solving the problem that I think needs to be addressed, which is: What has happened to movies for grown - ups made by people who are still interested in the idea of cinema as an approach?

Leviathan and Deep Star Six came out the same year (1989) and neither was considered classics of modern cinema.

As of today, July 1st, I've seen only a movie or two below the 150 mark, so I've hit on almost all of the worthwhile bits of cinema that have come out between now and January 1st.

The debut film of It's the Earth, Not the Moon director Gonçalo Tocha, Balaou, won the Portuguese award in 2007 but never saw cinema release (finally coming out on DVD in 2012); the 2010 winner, Pedro Caldas» acclaimed Guerra Civil, remains lost in distribution limbo due to rights issues.

There is some conceptual weight to drive the film along: an homage to silent cinema, an index of Todd Hayne's filmography, a flight of fancy along the road of childlike wonder and a favourable gesture of the impossible... but none of this adds up to a feature film, and instead Wonderstruck comes off about as insightfully as a cluttered brainstorm session from a writer's blocked first grader who can't quite figure out what his thoughts are all about.

Anyone that watches movies for a living must constantly keep their finger on the pulse of what's happening in cinema, but it's easy for one to slip through the cracks, which is why it's so exhilarating when a small indie like «Starred Up» comes out of nowhere and knocks you flat on your ass.

«Rendition» comes out in a season of politically charged R - word film tittles (see «Redacted» and «Reservation Road»), set to assault cinema marquees with bloody threads of alliteration.

Elegant, intimate and always playful (watch out for some old - fashioned back projection and one of the sight gags of the year), Pablo Larraín's latest comes to UK cinemas hot on the heels of Jackie (although he filmed it first).

Lee Chang - dong's Poetry resembles much of what is great about the current cinema coming out of South Korea — for my money, some of the best in the world.

That's what Sundance is all about - diving headfirst into indie cinema galore and finding the best out of whatever you discover, experiencing the finest storytelling from veteran & up - and - coming filmmakers, and learning more about yourself, ourselves, love, and our world, along the way.

Lament the saturation of CGI - laden franchises, reboots and superhero films all you like, but some fantastic, revelatory works of cinema came out this last year — even some of those comic book movies you're so worried about.

Meanwhile Franco's film adaptation of William Faulkner's novel, The Sound and the Fury, came out last week in US cinemas.

In Master of None season 2, we got a buffet of emotions; pulling from everything like homages to Italian cinema to more personal stories like Lena Waithe's experience coming out to her family during Thanksgiving.

With a very compact 95 minute runtime, not a minute of screentime is wasted and it's full of memorable scenes and stunts which comes to a climax with a climactic, tense and perfectly choreographed break - out chase that remains one of cinema's truly great action scenes.

After years of hype and speculation, Batman v Superman is finally coming to cinemas this week, and fans, as you may have suspected, are very anxious to find out what the film is like.

Florian Kilderry couldn't know that the Connultys are said to own half the town: he has only come to Rathmoye to photograph the scorched remains of its burnt - out cinema.

I have read all of the alex rider series and cant wait for stormbreaker to come out in the cinema.

With the exception of the Clone Wars CG films which came out in 2008, I haven't watched any of the SW films in nearly a decade and I've never watched any of them more than 3 times, yet I still remember all of them much more clearly than I did TFA immediately after leaving the cinema.

Loading screens are XXX ratings, levels are introduced by the same guy who did every grindhouse movie trailer and the plot is so over the top that it could only have come out of exploitation cinema.

To celebrate the release of Solo: A Star Wars Story coming out in cinemas later this month, EA and DICE are having a special «Han Solo» season in their video game Star Wars Battlefront 2.

Jacotey's work draws inspiration from the gathering of people together, the expression of emotions in their many and varied interactions and the contexts and details in which these engagements take place — architecture, landscape, or place; picking out wallpaper, furniture, clothes, and zooming in further to detail pattern, patina, texture... Her works — though insistently manual in their making (paintings on plaster and dust sheets, pencil drawings, sewing and fabric)-- make use of perspectives that reference the world of cinema and slo - mo, the photographer's point and shoot, identifying an artist who has come of age in the smartphone world with its prevalent verbs — zoom, scroll, tap, drag, swipe etc..

We're obviously hugely inspired by the natural world, cinema, music and its references; our love of the great days of rock and roll runs through the veins of our brand am I'm sure comes out in our work.