Sentences with phrase «do anything in this film»

Not exact matches

«As the actor in the film, you just have to step away and say, I don't know anything, really, and whether any of it is true or false.

At no time does the film show the couple in anything but a chaste embrace.

I used to do stop motion short films in college, but have been too afraid to do them for the blog (the quality of my old videos werent anything to brag about).

«Anything over 50 yards is rare in a game,» says Broncos offensive coordinator and quarterbacks coach Gary Kubiak, «but I did see film of Vick throwing a ball 75 yards.

I'm not sure there is anything creepier than children in horror films, there is just something about taking that innocence and turning them into something dark and sinister that doesn't sit well with...

In a recent YouTube campaign film, he complained that «we have gone down the road of mediocracy and compromise, we don't like the idea of excelling of anything because we worry that it implies that somebody is less good».

Another advantage of this light - based processing is it doesn't require anything to come in physical contact with the film being treated — for example, there is no need to attach electrical contacts or to bathe the material in a chemical solution.

While Yates doesn't do anything shockingly out of turn with the film, I found myself struggling to connect with the epic, symbolic conflict and was more interested in the smaller moments.

Trying to underplay conventional plotting as much as it can, this film is seriously meditative upon the life of a man who we barely known anything about, and makes matters worse by portraying gradual exposition in too abstract of a fashion for you to receive the impact of the would - be remedies for characterization shortcomings that do indeed go a very long way in distancing you from a conceptually sympathetic and worthy lead.

Once the fear has passed, just in time for nap, visual and musical style are sometimes played in an immersive fashion by highlights in a directorial performance by Nicolas Winding Refn that bring some life to the film, though not as much as John Turturro's inspired lead performance, which does about as much as anything in bring the final product to the brink of decency, which is ultimately defied by the serious underdevelopment, overambition, monotonously unfocused dragging and near - punishingly dull atmospheric dryness that back a questionable drawn non-plot concept, and drive «Fear X» into mediocrity, in spite of highlights than can't quite obscure the many shortcomings.

There are, one assumes, whole swaths of the book that develop Jack as an emotional character while he's not doing much of anything, but that doesn't — can't — work in a film.

The flash - forward right at the end of the film, when Harry, Ron and Hermione are middle - aged parents waving off their kids at King's Cross, actually affected me more than anything they did in the previous seven films.

The film doesn't use sound anything like as effectively as Leone, but the fight scenes feel brutal and realistic, particularly in the final showdown (s) between Carver and Gideon.

This is not to say the «other» is always morally superior or anything, but it's a crucial fact in understanding apartheid that, it bears repeating, it was the NATIVE population, the MAJORITY of the country (do the aliens outnumber the humans in this film?)

With this movie, he just doesn't deliver anything worthwhile for fans, and it's a shame because if the story would have been a bit more developed, then I think that the film would have succeeded in being a memorable action film.

If there are truths about Nick Cave to be found in this film, I don't know that they will reveal anything he doesn't want revealed.

Sennett admired Fazenda's comic gifts and her willingness to do anything for a laugh, and accordingly starred her in his 1920 feature film Down on the Farm.

I think this film had the potential in being a great film, but it simply doesn't deliver anything good for the entire family.

People like Daniel D obviously don't know anything about film, and look for improbabilities in a narrative to decide wheather its a good movie or not.

If the secret police ever want to get anything out of me, all they have to do is sit me down in front of this film.

Mercifully light on the soppy sentimentality that often weighs down most kiddie flicks, Peter Rabbit is a fast - paced, gag - a-minute affair that at times recalls the films of Zucker - Abrahams - Zucker in its willingness to do anything for a laugh.

Without ruining anything in the nearly two - hour film (if you know the history, I am too late,) I can say it is an ambitious sequel, has its moments, yet does not always have the energy or flow of the first film despite the return of the same director.

A lot of scenes in the film just don't make any sense and don't add anything to the thread of a narrative that runs through it, but they are striking and do have an effect on you, which is perhaps the purpose.

Yes I dislike the way Legolas is portrayed in these films, as if he's some kind of invincible super God - like character who can do virtually anything such as defy gravity.

Even though the 2003 comedy scored a 14 % on Rotten Tomatoes, I thought that this was an excellent film and a great attestment to the message, «Don't let anything stand in the way of your dreams.»

Rarely are female leads given anything of substance to do in action films, so I applaud Besson for writing this role for a woman.

Yet an actor in a Cameron Crowe film must be prepared to do things that fly in the face of conventional narrative: his characters are forever addressing the camera and declaiming their innermost thoughts in voice - over, the cumulative effect of which is an anything - can - happen atmosphere and characters of substance etched in lightning - quick vignettes.

Nothing gets resolved in the end, and the character doesn't do anything except mouth off for the entire film.

I don't know how nerdy the people in this film are in real life, but most everyone in this cast is some kind of a reject who has done hardly anything before.

If Rampage's giant monsters stand for anything — and giant monsters usually do, even in films as silly as this one — it is the destructive self - interest of the monstrously rich, and there is an unexpectedly topical plot thread here about billionaire grifters in gilded office blocks getting their FBI - mandated just desserts.

If you're in the mood for something fun, then give this one a shot, just don't expect anything great with the film.

If there is anything I didn't like about the film, it's Cameron's lack of realism when dealing with the roles of children, especially Jonathan Lipnicki's (Stuart Little, The Little Vampire) character as the boy that Maguire forms a bond with, as he's too unrealistic in demeanor and too strange looking to buy as a real kid, and for that matter the same goes for Tyson Tidwell's (Suarez, The Ladykillers) demeanor (son of Rod) as well.

The first third of the film shows them in action, with each character attempting to do anything that's possible to earn some money.

And just as with those films, my mind couldn't help but wander adrift in a sea of thoughts that had nothing to do with anything taking place on screen.

I'm not even of the school that thinks the Zimmer approach is fundamentally wrong for a film like this — it's just that in this instance, he (assuming he actually had anything to do with it) certainly did get it wrong.

When it comes to «Marvel's The Avengers», they are the hottest ticket in not only film this year but also anything having to do with media in general.

I don't know if that amounts to anything considering the films in the same category - «A Walk to Remember, «Whatever that Miley Cyrus film was called», «Message in a Bottle», etc..

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutin the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutIn The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minute.

If anything, the tiny - budgeted film (though not that poor considering the filmmakers licensed a David Bowie song) is a sizzle reel for Josh Trank who shows he can do on a fraction of the budget what many directors in Hollywood can't do with hundreds of millions.

There are very few films which do that today, the last film to truly deliver that promise is The A-Team, which beyond anything else provided entertainment in droves.

Of course, if his films are any evidence, von Trier has been orbiting Planet Melancholia for a while now, even before his widely reported battle with clinical depression, and so it's little surprise that the main characters in Melancholia enter the stage with an existential weight on their shoulders that has little, if anything, to do with the world's imminent demise.

As for the rating, anyone who knows anything about The Hunger Games should know that this doesn't lend itself towards light material — this is one of the darker «PG - 13» films to be released in a long time.

Spielberg's frantically uneven film, adapted by Cline and Zak Penn and set in a grim 2045, posits an immersive virtual world called the OASIS where humans can become their own avatars and do anything imaginable.

Not only did the film make all kinds of»80s jokes and references, but John Cusack's character existed as something of a throwback to the many famous roles he had in that aforementioned decade (Better Off Dead, One Crazy Summer, Say Anything, et cetera).

It ends with a title card that states «A Paul Schrader Film,» but it is such in name only — a version of the movie that neither Schrader nor Refn (who retains an executive producer credit) nor Cage endorse or have done anything to promote, assembled by a team of producers without the input of Schrader or the film's credited editor, Tim Silano.

Topics include: using the «C - word» the most times allowed in a 15 rating, wanting to make an American action film that didn't parody anything, the social commentary on «Starbucking», the characters and the friends cast to play them, and Wright's directorial style.

Say Anything... has also just made its DVD debut in the US this month, and reviews of that disc are full of praise for the new 16:9 anamorphic video transfer that's been done of the film under the director's supervision, making mention of its detail, sharpness, colour saturation and perfect black levels.

And any time spent thinking about how ridiculous what they're actually talking about is, is still more entertaining than some of the antics the supporting characters get up to, be it John Malkovich trying to kung fu a robot or a former Special Forces soldier complaining stress or all the running he was having to do, or dear God anything having to do with Sam's parents who offer nothing to the film but reminders why they shouldn't be in it.

This religious - fish - out - of - water narrative involving the Hasidic community has been well trod in films before, but in the hands of filmmaker Sebastain Leilo and his more than capable cast, Disobedience doesn't treat it with anything less than striking intelligence and humane interactions.

Yet Power doesn't know how to balance it all out properly, resulting in a lopsided film that seems more interested in torturing its characters than anything else.