Sentences with phrase «couple of films because»

The franchise got off to a shaky start with its first couple of films because they couldn't find the right mix of brains and brawn.

Not exact matches

In these films, there's no need to see anything past the moment where the couple finally gets together, because getting together is the end of the story.

It was not because I was holding onto what might have been an erroneous initial impression of him a couple of years ago, but rather because I watched his film last season the cat showed a lot of growth... when he was healthy.

What exactly the film is remains a bit of a mystery, despite (or because of) a trailer and an official synopsis that talks of a couple caught up in «a presence that permeates the microscopic world,» but we'll know much more after Upstream Color debuts next week at Sundance.

«It was a really great process because the film, Either Way, the Icelandic film, served as a fantastic blueprint, and I really just spent a day dictating that movie into a screenplay and then spent another couple days flipping it around and expanding certain things, emotionally investing myself in some of these characters and some dialogue.

Coupled with that are their kids; both of Barrymore's sons are horribly annoying, to the point where you hope the director makes some risky choices, turns the film into a The Ghost & The Darkness rip - off and they both get violently killed by lions, while Sandler's daughters fair a little better, but only because they appear to have recognisable human personalities.

It could be because of camera angles; Blue Valentine is filmed in wide shot so you see both participants, full - bodied, whereas Black Swan is filmed from above and below Natalie Portman, leaving Mila Kunis» head in view — regardless, it's obvious you know what both couples are performing.

Cap was starting from a place where he and the rest of the Avengers who sided with him in Civil War, they've been living underground for the past couple of years, so the start of the film, they aren't the first to the table because they've had to live like fugitives.

Below you can check out the latest UK Quad and a couple of extra still because you've been so good this year.I mistakenly thought the film was called «End Of Watches» which made me think it was a film set in the not - so - distant future, where people had become so used to clocks on their phones and Ipods, that watches were no longer needeof extra still because you've been so good this year.I mistakenly thought the film was called «End Of Watches» which made me think it was a film set in the not - so - distant future, where people had become so used to clocks on their phones and Ipods, that watches were no longer needeOf Watches» which made me think it was a film set in the not - so - distant future, where people had become so used to clocks on their phones and Ipods, that watches were no longer needed.

A little of both, but overall it's not bad, mainly because of the steady hand of a couple of L.A. cop films (which really has become a genre unto itself) behind the camera.

With his TV and film career starting up only a couple years after James Franco made it big with the Spider - Man movies, it's no surprise that Dave was not only afraid of living up to his brother's reputation, but also he didn't want to get any special treatment because of the familial relationship.

Perhaps because he's had a couple of decades to think about it, Flanagan's vision for the film is assured, full of intimate closeups that allow Gugino's multi-layered performance to shine.

I'm not sure why exorcism films are still being green - lit, because after all, there have been a slew of them in the last couple of years and they've all bombed.

The big finale in Civil War, however, involves only a couple of characters — again, the movie goes refreshingly small — and the life - and - death stakes are grave, because the film has done such a good job of stressing these (mostly) ordinary people instead of their suits.

It's too bad things didn't work out better for the couple, because Deutsch exits too soon; as she lavishly demonstrated in Before I Fall (a teen picture that happens to be one of this year's most underappreciated films), Deutsch is an ardent, super-focused actress.

Anyway, this film works on sheer novelty value alone today, and because of a couple of great performances by Bob Hoskins and John Leguizamo.

It does have something of a reputation as a cult film, but that would appear to be primarily because of its intense violent moments that include Ichi slicing a couple of throats, slicing someone completely in half (with laughably - bad CGI), and several instances of Kakihara torturing others.

The cinematic adaptation gradually builds up to the gruesome murder of the forty - four year old entrepreneur Bryan Kocis (Stephen in the movie), because he was standing in the way of a couple of gay adult film producers who wanted to hire Brent.

I'm not saying «Summer» is better than «Annie Hall», because it's not but they're very similarly constructed and many couples of my generation which I know personally can identify to this film.

There's no single path that leads to directing a film — some dive right behind the camera as their first job, others work up to it after years of toiling as assistant directors, and then others get the gig because of their work in front of the camera coupled with the right amount of curiosity.

So yes, we're on IndieWire now, which technically means that director and Hollywood encyclopedia Peter Bogdanovich is our colleague (in case you didn't know, he's got a blog), but though we have yet to run into him by the water cooler and ask him if he saw «The Office» last night, it might be because he's been busy working on a couple of new films.

The film starts off with William H. Macy (Down Periscope, Benny & Joon), desperate for funds now that he has run into financial difficulty, hiring a couple of goons to kidnap his wife and offer for ransom, because he wants to extort money from her rich father to the tune of a million dollars.

The film is not afraid to show the embarrassingly ugly side of its characters, which is great because it shows that couples do not have to be perfect in order to be perfect for each other.

I also bristle at the notion that people should see a film simply because it has a couple of fantastic performances in it, because people generally go to the movies for more than that.

sure there are still funny scenes after it, but as a story (which was a bigger concern in this picture over his last couple films) it really really REALLY suffers because of it.

by Walter Chaw Mike Hodges has only made a handful of films in the last three decades, even disowning a couple of them along the way because they were taken from him and edited to accommodate someone else's vision.

But, it never really materialised and I didn't have a lot of interest in it, so it wasn't really until Rupert Preston (Producer on PUSHER), who had distributed the first one (the Danish original in 1996), and I had worked with on all my other films up until DRIVE (2011) and was a very good friend of mine, and with that he was very interested in maybe doing a remake because we had been talking about it for a couple of years and he said now was the time do it.

The film purports instead to show the rigidities of Victorian life: the social pressure to avoid divorce or annulment at all costs, the men's club aspects among the upper classes, the comparative freedom in Italy shown through the unhappy couple's trip to Venice, and especially the portrait of Margaret Cox Ruskin (Julie Walters) as the mother - in - law from hell who does not approve of her son's marriage, perhaps because she wants to continue bathing him.

Filmed by Sheila of Sheila and Kai, a couple biking the world to live their dream, this nearly five minute video is a sweet treat because of the way Sheila captures the streets with people on bikes, skates, skateboards and on foot, occupying them.

«Even though all the projects come to me for my final signature, you get a couple of lines as to what that film is and we're looking at now how do I get more information about it because — oh, it's a film about Alberta, it's a film about the oilsands — but who knew what it meant at the time?»