Sentences with phrase «direction of the film leaves»

Dexter Fletcher's direction of the film leaves everything to be desired and is aspect of the film that's the biggest hindrance of the overall quality.

Not exact matches

The direction of the «Ant - Man» film should cause some concern since Wright — who was so passionately involved in the project for nearly a decade, teasing it at Comic Con conventions for years — left when the film is due out in almost a year's time.

There are obviously several directions the next two films could go in, but I think that there is too much potential with Kylo Ren to leave him out of Episode IX.

The direction of the film is superb, but the cast also deserve ample credit: Ralph Fiennes triumphs with his portrayal of a self - indulgent and flamboyant ex-producer who challenges Marianna to revive her past by leaving her stable and conservative life.

Aided by an excellent screenplay and assured direction from Nicole Holofcener, Lovely and Amazing is a film that plays for catharsis and empathy and achieves a good draught of both, content to leave expeditions into stickier climes to more serious - minded films.

I'm sure years from now we'll have a better handle on the parts of Ant - Man that came from Reed and what came from Edgar Wright, who left during pre-production after he and Marvel could no longer agree on the direction of the film.

While Sherman's direction is kind of oafish (though who knows how much of this is attributable to the fact that the film's comedic aspects were toned down by its financiers in post-production, leaving what must have been sizable gaps in approach), with montage simply not his forte (he bungles a chase episode involving a family taking a detour through Potter's Bluff), he derives performances from his cast that elevate wafer - thin characterizations and stages the climax brilliantly, placing an unexpected emphasis on the moving image.

I loved how it turned expectations on its heals, I think it is a bold direction for a new generation of fans, and it leaves the last film an enigma.

In one of the episode's funniest moments, Hader deadpans the camera directly, snapping his head in different directions — left - right - left - up - down — all while directors Alex Buono and Rhys Thomas use their cameras to over-exaggerate Gray's minimal, but theatrical movements in the film.

While many men find themselves succumbing to the allure of the younger, hotter woman and leaving their wife and kids behind, the storyline in this film shows that men who pursue such directions often give up their best companion, the well - being of their children, then, after the sexual enticement of their new lover has begun to fade and reality sets in, they've given up their happiness and ability to communicate.

When Abraham leaves the camera on Hiddleston and Olsen long enough to let them chew on their characters, the film offers flashes of something much more interesting: a handful of domestic scenes prove that the actors, not to mention Hank, would've been much better served by a ballsier script and braver direction.

Richard Prince's Untitled (Four Women Looking in the Same Direction) from 1977 has a similarly disorienting effect, presenting photographs of women who all bear traces of film and advertising — dressed up, made up and not quite real in their mannerisms — and looking to the left of the camera with what appears to be a feigned sense of concentration or thought.

Deciding to go in another direction in 1965, he left assemblage behind and channeled his avant garde spirit into a variety of mediums, especially film.