Sentences with phrase «dark feel of the film»

Not exact matches

This not only makes it feel like it is from the 40's, but it adds to the dark and grim tone of the film.

Hellion takes on the dark southern poverty stricken surreal feeling of other similar films that have become extremely popular in recent years.

It feels even darker since the subsequent murder of its writer / director / supporting actor Adrienne Shelley who didn't live to see the film's release.

Indeed, the non-Marvel films in these franchises that have done best more recently are the ones that stood out from the crowd, like Wonder Woman (which rejected the dark tone of other DC movies), Logan (which felt like a grown - up standalone film), and Deadpool (which loudly razzed the idea of being linked to X-Men movies).

The gore is still there, but the general plotline came to be very predictable (especially the merging of different timelines and who the antagonist is), and the mysterious dark feel of the games we got to see in the previous films has been replaced by pointless narrowed - down bloodshed and, sometimes, humor.

But with all of the film's dark set - pieces, surrounded by dried - up corpses, I began to feel as if I was on a very long ride through Disneyland's «Pirates of the Caribbean.»

The film's single downside is a certain nagging sense of deja vu: the fact that so many of the elements of the story — the dark force, the all - empowering object, etc. — have been usurped over the years (by «Star Wars» and others) that you feel as if you've been down this road many, many times before.

The majority of the film takes place in the White House, here portrayed with a musty library feel, constantly filled with dark polished wood and many, many books.

Kind of dark and dim looking with the filming and has a very b grade / straight to dvd feel.

Physically, much of the movie takes place in the sewers (with part of the movie filmed in an actual sewer), and though the frame is dark, the setting is vivid - you can almost smell it and feel the damp.

Full of orphans with extraordinary powers, it is anticipated that the film adaptation will share the source material's dark, Gothic feel (and considering Tim Burton is at the helm, we most certainly hope he delivers).

, and whereas that film's horny humour was carefully tempered by an increasing emotional depth, the darker elements of this story feel as if they have been clumsily shoehorned into the mix.

They bestow upon the audience a feeling that this film will tread into dark areas of mystery and evil.

Near Dark remains Kathryn Bigelow's best film, suffused with style and anarchy that has an unerring feel for the irregular pulse of a very particular place and time.

With a Lynchian style that combines the lush scenery of Ireland, a 4:3 aspect ratio, older actors, and frightful visions of a dark figure, the film feels like an ancient relic of sorts, in a similar way that his last film Ping Pong Summer felt like a product of the 80s.

This film, made on an identically low budget but with a lot more confidence, feels like another step in a transformation: It waves away the somber atmosphere of his early successes to run hollering down a dark tunnel, chasing familiar motifs further underground.

The idea behind The Darkest Hour should have allowed for a fantastic film, but instead what we have left is something that feels like it could have been adequately explored in an episode of «The Twilight Zone» or «Doctor Who».

Shot on an ARRI Super 16 camera, the lack of traditional film lighting made for a grittier, darker, and more confined feeling.

Dahl's direction is superb, melding a classic film noir tone with a variety of dark red colors and hues — giving The Last Seduction an unsettled feeling of urgency not common to the noir genre.

Much as he admired it, for example, Barbera said that he felt Black Mass would not work as the opening film — «too dark, too violent, too extreme» — and so arranged for an out - of - competition screening in a high - profile slot on Friday evening.

Both About Time and Ruby Sparks are about manipulation, but where Kazan makes sure to consider the dark side of it all, Curtis revels in About Time's Britishness and charm, confronting these themes through a completely different lens that further marginalizes McAdams» character and then skips off into the sunset with the sort of weepy feel good climax you expect from a film with Richard Curtis» name on it.

Jennifer Lawrence in a serious movie is starting to feel like an automatic nomination (she's getting that Meryl Streep nomination thing going), but will enough Academy fogies sit through one of Aronofsky's dark and dirty cautionary tales to make the film itself a player?

And then there's the most frustrating film of all, the kidnapping tale that feels like it needed to have dark comedy elements like «Fargo» or «Bernie» but just comes off as flat and manipulative.

With its thumping music and chic shots of the city after dark, the film looks and feels the way a modern L.A. noir should.

This dark Western has the feel of a Gothic horror movie, featuring Charles Middleton (best known as Ming the Merciless in the Flash Gordon films of the»30s) as a sadistic land baron who holds a young woman prisoner in order to force her to marry him.

The film feels like a purring blend of Hitchcock and Lynch, with constant touches of black humour, dark tension and bizarre surrealism.

At no point has it felt like a tsunami of buzz, but the film has impressed everyone who's seen it, telling the story of an obsessive friendship turned quasi love affair between two young female friends that turns darker and more tragic as jealousy takes hold.

The film it feels closest to is James Gunn's Super, which is actually quite a dark film but is clever and odd and plays with the tropes of the genre enough not to make it serious.

In this case, A Serious Man actually does feel a little bit like their last film Burn After Reading in that it's something of a dark comedy.

The film does end somewhat abruptly, but this is a cliffhanger in the grand tradition of The Empire Strikes Back, The Dark Knight or Harry Potter and the Half - Blood Prince (not all created equal, though they have similarly unresolved endings) and offers such an incendiary climax (literally and figuratively) that you don't leave the theater feeling hoodwinked or unfulfilled.

Bookended by musical performances, the film concludes with the girls singing an ethereal ballad, «I Feel The Cold» (written by Alex Proyas, director of both The Crow (1994) and Dark City (1998)-RRB-.

In the film's version of this landmark event, Robbie perfectly encapsulates this feeling, adding an undertow of something a bit darker: Tonya's need for acceptance is quenched, if only for a moment.

It also feels like a perfect film for the times: the US box office successes of both Lincoln and Zero Dark Thirty are indicative of a period in which Americans are much more reflective and self - critical than is customary; aside from its homage to the country's most revered president, Spielberg's film is a reminder of the enduring battle between American idealism and bigotry, and between its White House and Congress.

The film is dead simple in its visual execution, except for some symbolic flourishes that will either jar with you or make you feel there's a mysterious resonance you can't quite pinpoint — like a lingering shot of the dark interior of a sauna locker, this film's equivalent of that black sun of an air extractor in Apichatpong's Syndromes and a Century.

The characters in his films — Emily Watson in «Breaking the Waves,» Björk in «Dancer in the Dark,» just about everyone in «Dogville» — have often ended up dying in what feels like the director's ritualized acts of execution.

Bolstered by confident, strong performances from its two leads (as well as the rest of the principal cast), a visual style that perfectly reinforces the film's themes and tone, and a killer soundtrack, the film feels like a well curated tour of the darker corners of the art world.

He updated this 50 + year old film with some outstanding technology but overall, the film feels too dark for me and doesn't have that cheer of the original.

However, the film feels alive, with moments of exhilaration, levity, and surprise that offset the dark, heady themes and lead it to a tonal sweet - spot that few big - budget films have the consideration to aspire to.

On the other hand, it's an undeniably sweet film, to the point of a sugar overdose, and Isle of Dogs also has the tendency to feel a bit twee, like an approximation of a Disney film's simplified emotional fervor, such as Lady and the Tramp (1955), or perhaps the much darker MGM children's classic All Dogs Go to Heaven (1989).

It has an expertly crafted mix of self - reflection, endearing comedy and unsettling dark fantasy that feels reminiscent of films like Spirited Away.

This is, in the best possible way, one of those films that keep you wondering just where it's going, and that keep you holding on, even when (especially when) it's as if you're feeling your way in the dark.

Dark Universe feel a little disappointed about this, we are huge fans of the original film and hope this will turn out be a respectful remake.

But 1983's «The Ballad of Narayama» is a film whose dark soul feels indebted to his early, anthropologically distanced studies of the carnal appetites of the underclass.

It is not dark and it is not cutting, instead it is an aching, pining film that layers the simplicity of this love affair with such strata of feeling that the story eventually becomes the essence of every affair ever, gay or straight, in which true, luminous love has been denied by circumstance.

Less comic than his previous films (although what is left is wonderfully dark), Three Billboards feels like a return to the tone of McDonagh's early plays, particularly the tragedy within Beauty Queen of Leenane.

«While the lush 3D location shots of a desolate Moscow are admittedly stunning, the forgettable characters and paint - by - the - numbers plot threaten to burn the entire film out of your brain mere seconds after you've left the theater,» says Daley before joking, «Remove the sporadic alien attacks and «The Darkest Hour «suddenly feels like a Sunday night slideshow of your parents» summer tour of the Motherland.»

In Darker, it feels as though the filmmakers, too, have finally realised where the fun of these films lie.

Filmed seamlessly between an elaborate sound stage and a couple of park locations, the film has a dark and eerie feel to it that's probably too intense for younger children.

There have been other uninspiring films in the Marvel canon (Iron Man 2, Thor: The Dark World and so on), but this is the first of these films that feels like it is aimlessly jumping from point A to B to C to D, following the exact same origin / redemption storyline that has been seen a billion times before.

The smudgy, dark lighting and the look of hand - painted black and white photographs gives the film a retro feel reminiscent of old Hollywood classics.