Sentences with phrase «comes a film lacking»

From the producers of Get Out and Happy Death Day comes a film lacking in Get Out's social commentary and Happy Death Day's irreverent, campy carnage: Truth or Dare.

From the producers of Get Out and Happy Death Day comes a film lacking in...

Not exact matches

Yes, Omalu found CTE in Webster's brain while personally funded his quest, but the film's lack of placing Omalu on the shoulders of those who came before him, leave one feeling that the film is telling less than the truth.

The Long and the Short and the Tall (released as Jungle Fighters in the USA and Canada) is a 1961 British war film directed by Leslie Norman, which stars «Short man syndrome» is a condition in which a person has to deal with a feeling of inadequacy which can come from a lack of height — or a perceived lack

But Mr. Rodriguez seems to be coming from the angle of those directors nostalgic for some film that influenced their vision and, lacking the respect to leave it alone, are determined to add their name to the franchise largely out of some notion of self - importance.

Despite the best efforts of a game cast (and although it fares much, much better than its immediate predecessor), American Pie Presents The Book of Love primarily comes off as a typically low - rent and flat - out needless straight - to - video endeavor - with the pervasive lack of laughs ultimately exacerbating the film's myriad of problems.

Brad Pitt's portrayal of a bitter individual often lacks the necessary edge, especially in the first half of the film; eventually, after some floundering around, he finds a performance, but it doesn't really come together until just before the very end of the film.

The film doesn't come alive as a thriller, with big reveals limping into the light, and resolutions lacking significant punch.

One's efforts at overlooking the film's deficiencies are consistently confounded by the almost total lack of interludes and encounters that are actually funny, with the inclusion of a couple of chuckle - worthy moments within The Hangover's final 10 minutes (ie a hilariously inappropriate wedding singer) coming much too late to make any kind of positive impact.

Soderbergh is no neophyte when it comes to Heist films, and Logan Lucky is arguably the best of the bunch, but it still feels lacking.

The awards made some questionable decisions when it came to recognizing this film, and among the most questionable, in my opinion, was a lack of recognition for the score by the great Alfred Newman, who hit some conventions and contrivances, but did what he did best by breaking down a lot of barriers for epic scoring sensibilities at the time to come up with refreshing and stellar compositions whose symphonic beauty is remarkable by its own right, and important in the selling of the sweep of this film.

However, other then a clever way to tell a coming of age story, this film really lacked a spark.

Their friendship has a crucial lack of stakes, despite its unique nature, and the legendary film project that eventually comes between them.

Classic Woody Allen films come to mind when attempting to describe this gem (partially due to the prevalent old - school jazz soundtrack), although Beginners lacks the overt neurosis (which may be a positive depending on one's opinion).

The Playlist gives the «largely harmless and tame, but also shallow and uninvolving» film a «C» grade, and Indiewire seconds that, claiming «The story comes across like a quest to turn history into entertainment, and as a result it lacks any lasting value.»

If the film comes perilously close to being anti-art, it's because Bateman's directorial chops (or lack thereof) don't offer much of a counterargument, although he's given invaluable assistance this time around by the Coen Brothers» composer Carter Burwell and their sound designer, Skip Lievsay.

Pettyfer is pretty and easygoing but lacks the sort of charisma that comes with a more focused sense of interior purpose, and the film basically feels, at its core, like a mash - up of carefully cross-tabbed teen movie trends, which is probably what happens when you set out in pre-production with the chief intent of manufacturing the next big «Twilight» - type cinematic franchise.

Moreover, it lacks the shattering claustrophobia of my favorite modern horror film, The Descent (2005), a film that was as meticulous when it came to the construction of scares as it was when it came to fully realizing its characters.

Since the inception of the SAG awards, we've never had a year in which all four acting winners have come from films lacking a corresponding Cast nomination (minus 1994, since there was no such category in its first year).

It's a coming - of - age story you have seen countless times, and while you have never seen it quite like this, the film shows Justine's transition with metaphors and symbolism that is both meaningful yet lacking impact since the actual story is rather simple.

Alvarez» choice to go practical, and the lack of technology in the film, means this remake will hold up well for decades to come.

As Gitai's most widely screened film, Kadosh won both admiration and sharp criticism — the criticism predictably coming from the Orthodox community, which disputed the film's portrayal of Orthodox men acting with brutal lack of feeling toward their wives.

I was also disappointed with the film's lack of interest in Shannon as a person because I feel like there was potential to build on her thoughts on life and her own morals instead of focusing way too much on Amy coming to grips with her life.

However, now one such film has come along, and there is, for whatever reason, a sort of eagerness for it to fail, with people anticipating hating exactly the kind of work that is sadly lacking in mainstream film culture.

I say «lack of star involvement», but The Longest Ride does come with gilded lineage in the shape of 29 - year - old lead Scott Eastwood, who will be hoping that the film starts to push his career Clint - wards.

The film's strokes become broader, and while still a fascinating character study, it's significantly lacking what's come before.

There may be a day when computer graphics completely supersede the need to have celebrities in the middle of films, but given the costs of production today for animation, as well as the lack of the movie star draw to fill in the seats, Final Fantasy is a reminder that the day of the human actor will be with us for a long time to come.

It's all very standard - order, and the stuff in between the action often lacks energy, so it is relieving to report that the film at least comes alive during the action scenes.

And so the recognisable character motifs — her pregnancy; her watchful smarts; her lack of cussing; her comfy pragmatism; even her accent all come across as little easter eggs to the film's fans, while still allowing Tolman room to create a totally different character.

There is so darn much setup that it leaves no room for impulses to run free, so Confetti lacks the outlandish giddiness that comes from great improvisational comedy, but it's also missing the benefits of scripted film - like character development or storylines that are brought to a satisfying conclusion.

We've heard good things about Germany's «The Lives of Others» and Denmark's «After the Wedding,» but the utter lack of exposure for both of these films seems to indicate that a nominee is about all they should be expecting come awards night.

«When we wrote the film, those films and that show had not yet come out, so it felt like there was a lack of discussing female sexuality in a way that felt honest and funny.

Solid look at how the X-Men came to be - Stellar Cameos - January Jones looks rockin» in go - go boots Cons: - The original X-Men were not used - Some of the dumbest characters were chosen for this film - Azazel» action sequences couldn't hold a light to Nightcrawler» in X2 - The action overall felt held back and the film lacked any «real» edge - The ending was too predictable and too conveniently wrapped up Impressions: Matthew Vaughn is an incredible director and Brian Singer has done solid work with this material.

To my taste, however, neither film comes close to Chan's or Woo's best work: in terms of choreographic and musical invention, Rumble in the Bronx pales alongside Chan's Drunken Master II (1978), and Broken Arrow, though it's often better conventional entertainment than Woo's earlier films, lacks most of the campy mannerisms that made them so singular.

We'll admit, we curse Hollywood's lack of imagination when it comes to the films they greenlight, but when it comes to picking untested talent for major projects, they're obviously unafraid to play it risky.

The film's title comes from the name of a self - help book written by Teddy Raymond (Tom Berenger), a semi-anonymous guru whose work has managed to sweep the nation (or at least greater Los Angeles; the movie makes it hard to differentiate between the two) despite his lack of participation in the publicity machine.

This film is awful, lacks any and all common sense and should of never made its way off the dusty shelve it came from.

One of the few negative reviews, written by Ed Power for www.independent.ie, complains of the film's relative lack of fisticuffs: «Black Panther spirals into a stodgy tale of internecine feuding, in which T'Challa is required to come to terms with the sins of past generations,» Powers writes.

It should be noted that this film was shot with video technology that is now ten years old, and some of that may come across as a lack of quality today.

That's not to say the film lacks problems (as I understand, it skirts close to appropriating Pacific islands culture, and the depiction of Maui came under criticism) and there was certainly a problem with some of the merchandising.

I'm sure they will come up with plenty of compensatory ammunition in the content of the film — or rather lack thereof.

It is definitely lacking the human drama of other dog films that are more fondly remembered (like Old Yeller) and obviously comes without the narration of The Adventures of Milo & Otis and voiceovers of Disney's 1990s Homeward Bound

The film comes out this December and may just be a gift for all religions and lack thereof.

Anderson's script comes across as being a little too busy at times, juggling so many different subplots that it lacks the focus of his other films.

The dichotomy between the two sides has fleeting moments of entertainment, but the film lacks a certain level of self - awareness when it comes to portraying just how ideal Gwendolyn and Stacy are.

The video transfer is in crisp 1.85:1 anamorphic widescreen while audio is provided in an excellent and immersive Dolby 5.1 English dub (and here my qualification of a «general» lack of a western bias comes into play) that is, nonetheless, inferior to the Japanese - language 2.0 surround track, which features the original vocal talent who have, not including this film, logged over twenty - six hours of finished time voicing these characters.

I love Tarantino, but since the first trailer came out, I have had an unsettling lack of interest in this film

Heaven is definitely not a film for everyone, in fact, I would venture most viewers will have a hard time coming away liking the film because of the lack of sympathy for the characters or when the film tries to tie in religious undertones in a mystifying final stretch.

Rumley has described the roots of the inspiration for the film as coming from his mother's treatment for terminal cancer, and watching the manner in which medications and the lack of greater social interaction destroyed her connection with the world at large.

The final film in the trilogy lacks in the story department, but certainly gives fans what they're looking for when it comes to the conclusion of the series.