Sentences with phrase «does anyone in the film»

At no point does anyone in the film even vaguely resemble an actual 21st - century teenager; when these kids text each other, it comes across like science fiction.

Not exact matches

«I think my movie, personally, is one of the most important films that have ever been made in America... I don't know if anyone is going to see it, but I feel the film is going to take care of itself in time and be around as long as there are films.»

This point - and - shoot camera makes filming in 3 - D virtual reality so simple that anyone can do it.

Does anyone else see the humor in the creationists debating their point of view over the Internet (invented by science), filmed on cameras (based on science) in a hall lit by electricity (harnessed by science).

In this modern day, anyone with a camera, a body, and an internet connection can create an adult movie, and a lot of them are pretty normal people just filming what they do normally.

Also some variants 70 mm film is projected at 48 fps (Disney's «Soaring» Ride and some of the documentaries put out in the 1990s if I'm not mistaken and it also looks amazing, and certainly didn't have anyone complaining.

I still don't get how the CSS Texas was shown at the start of the film in Virgina, US and ends up in the Niger River, Africa, anyone??

Anyone who hates this movie because it does not comport with their beliefs about the «real story» is either a racist or simply misses the point: Phiona overcomes great odds to achieve what she does in the film.

I still love this film to this day and I recommend it to anyone with kids or to someone who wants to watch a great story that doesn't care if it is in the form of a 60's Disney cartoon.

There's no question that the HFR is jarring at first (anyone who doesn't notice the difference needs to take an unexpected journey to Specsavers) but the incredible clarity and detail serves to break down the barrier between you and the film — in the close - ups you often feel like you're watching a play.

Don't let that be daunting to you or anyone who hasn't seen that film because this movie does a solid job at filling in the gaps without having to see that movie.

He did several suspense films, including Johnny Allegro and Dangerous Profession, but it was his work on The Window that earned Tetzlaff a permanent place in the memories of filmgoers — a dark, chilling, and suspenseful thriller, based on the fable of the boy - who - cried - wolf, this film, about a young boy (Bobby Driscoll) known for telling tall tales, who witnesses a murder in his tenement building and can't get anyone to believe him, was an instant hit.

For anyone who finds films about affairs boring, We Don't Live Here Anymorecould feel like being stuck in a bad marriage - for all the wrong reasons.

You don't have to be Asian - American to appreciate the Wongs with all their flaws and missteps; this could be your family, or the family of anyone you know, and in that way the film crosses that invisible genre line in the sand.

* But thankfully Evans does a fantastic job as the Captain and all the other actors do great jobs too and don't make any of the characters too stupid or cheesy unlike how other 40s era films made in the 90s, 2000s and on have been (Red Tails anyone?)

And did anyone connected with this film know that Hill House is supposed to be the quintessential haunted house in film and literature?

I don't know if anyone has made the comparison yet (I've avoided most reviews), but the film reminded me quite a lot of Michael Mann's neo-noir «Thief,» both in narrative drive and in stylistic signature.

Not only does he have some of the best dialogue in the film, but for anyone with a soft spot for a particular Lego minifigure, his transformation will be especially satisfying.

X-Men Origins: Wolverine took in a whopping $ 373 million worldwide, but did anyone actually love the film?

It relates to a song in Frozen, but I don't want to ruin the joke for anyone that has yet to see the film.

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.

Flawed though Meet John Doe may be by its ending, it is the key film in Capra's filmography, and a must - see for anyone interested in classic cinema.

He left after a single season to pursue film opportunities, but did not really strike gold until Caddyshack (1980), in which he played a rich golf pro who oozed confidence and a dry sarcastic wit three steps ahead of anyone else.

Director Rodrigo Plá presents events as in a film noir, as though the outcome is inevitable, no matter what anyone might do to try and change that, and the realization that dawns upon the viewer is one of dread.

But things feel malformed from the off, which begins with a lot of people saying a lot of portentous things, and continues to the assassination itself, which is more than underwhelming, in part because of what seems to be a pretty tight budget — Landesman watches Giamatti as he films the shooting, but there doesn't seem to be anyone else in Dealey Plaza except him.

I probably won't be spoiling the film for anyone by stating that Voldemort does make an appearance late in the film, portrayed eerily by Ralph Fiennes (Maid in Manhattan, Red Dragon).

Needless to say, I like Burt in this film, although I don't see it as any different than the Bandit, especially in his sense of humor and get - even strategy with anyone in authority that tries to bend his will.

Responding to separate tweets both criticizing and thanking the creative team for the scene, Edmondson acknowledged the cameo but explained and later clarifying that anyone thinking Marvel and the creative team were making a «petty statement about the film» are wrong - making it clear he does not sing in the chorus of those lambasting the film.

You won't see another film this year that coasts as long as it does on the sex appeal and posturing of its actors, and while I can't imagine anyone besides Pitt and Jolie in these roles, it's a shame there's so little meat on the film's bones.

It also highlights the effort that Linklater has made in support of Independent filmmaking and how he was influential in helping create the Austin Film Society whereby old film prints could be saved and showed, as well as raising money from filmmakers to help make more films.Overall, it does little but scratch the surface and a bit more in - depth analysis to his films would have been welcome but to paraphrase Billy Bob Thornton on the outtakes at the end; «Rick Linklater doesn't need anyone to make a documentary about him.

However, when it does work, it works well, touching all of the required bases in order to pay homage to the men and women of the Coast Guard, restoring its reputation in the minds of anyone that views the film that it is much more than a place to avoid more dangerous military service.

Zach isn't particularly keen on the unexciting town until he meets Hannah (Rush, The Giver), the cute girl next door, with whom he becomes fast friends, though Hannah's feisty and reclusive father, revealed later in the film as R. L. Stine himself (Black), thinks she should have nothing to do with Zach or anyone else.

Anyone with an interest in directing films would do well to watch Laughton, a notoriously difficult actor, handle his own actors.

The film finds Clooney's hit man from the states overseas in Italy, prepping to pull off what he hopes will be his last mission - anyone care to make a wager that events don't go quite as planned?

In a Cannes where even some of the better films seemed the work of directors stuck in a creative groove, mining overly familiar aesthetic ground, Carax and Reygadas pushed fiercely at the borders of what they — or anyone else, for that matter — has done in cinema beforIn a Cannes where even some of the better films seemed the work of directors stuck in a creative groove, mining overly familiar aesthetic ground, Carax and Reygadas pushed fiercely at the borders of what they — or anyone else, for that matter — has done in cinema beforin a creative groove, mining overly familiar aesthetic ground, Carax and Reygadas pushed fiercely at the borders of what they — or anyone else, for that matter — has done in cinema beforin cinema before.

While Feige doesn't mention anyone specific from the Dark Dimension playing a role in the film, the two most notable residents are the villains Dormammu and Umar.

La La Land was probably hit worse with backlash than any other movie since I've been blogging about the Oscars in terms of a thinkpiece - prone community that really does need to run every film through the filter of «does it offend anyone for any reason.»

To make room for these films they would mostly shut out other films that were actually doing well in the year, films that could be called best by anyone's standards, but they were considered not Oscar - y enough and thus, out they went to make room for films people had not yet seen.

Aasif Mandvi hits his (very odd, in fairness) role at about twice the volume and pace of anyone else, Justin Bartha barely figures, Mia Farrow is sweet enough, but doesn't make much of an impact, and Christopher Walken is interestingly restrained, adhering to normal human punctuation for the first time in recent memory, but at the same time, hiring Walken to play an average suburban dad is about like hiring Jason Statham for a film where he doesn't punch someone in the face.

To give the film some credit, I appreciate when anyone — even unintentionally — pokes fun at society's reality TV obsession, but in this case the mashing of two well - worn horror subgenres only makes it twice as annoying that the film couldn't do either of them well.

The Riverside of this film might seem like a nice community to live in, but as depicted here, they are raving fanatics with no tolerance for anyone who might decide to do something as individuals, instead of being just another cog in the machine that drives the phony smiles and saccharine contentment.

Many of the anecdotes and insights here will already be familiar to anyone with even a passing knowledge of the period but that doesn't reduce in the slightest the nostalgic pleasure that the film provides throughout.

Tony Black revisits Avengers: Age of Ultron one year on to see how it holds up... One of my main outlets is podcasting, and recently I asked online if anyone would like to do a speculative episode of my film show in which we «fix» a broken movie, discussing why it failed and how we -LSB-...]

I wasn't too far removed from the age of the kids in this film at the time it was released, but I don't remember the terminology for a «dork» being something anyone would question, and I certainly never heard of the male sex organ being called a «pinky».

In fairness the film doesn't do any false advertising in its selling, the trailer is pretty accurate to the tone and joke level of the movie, and why anyone would want to see this if they hadn't seen the first film, is a mystery to mIn fairness the film doesn't do any false advertising in its selling, the trailer is pretty accurate to the tone and joke level of the movie, and why anyone would want to see this if they hadn't seen the first film, is a mystery to min its selling, the trailer is pretty accurate to the tone and joke level of the movie, and why anyone would want to see this if they hadn't seen the first film, is a mystery to me.

Only die - hard series fans will find any of this distracting, as the film works just as well as a standalone spy adventure as it does an entry in Bond canon, delivering most of the goods anyone might expect while also offering a handful of new twists to keep it from being just another entertaining - but - forgettable entry.

Was a time that Argento redefined the slasher flick in the same way that countryman Sergio Leone redefined the Western; that Argento (like American rival and doppelgänger Brian DePalma) was appropriating bits and pieces from Alfred Hitchcock and rejuvenating them in films exhilarating for their willingness to do absolutely anything to anyone at any moment.

I don't think anyone expected «Let Me In,» the remake of the Swedish winter - dark vampire thriller «Let the Right One In,» to show up this year, being both a remake and a horror film, but this perfectly - realized film surely deserves a nod as much as (if not more than) most films that made the cut.

«Moonlight is a profoundly moving film about growing up as a gay man in disguise, a difficult and damaging journey that's realised with staggering care and delicacy and one that will resonate with anyone who has had to do the same.

Thank goodness he still has a chance, the film tells us, as it's all his fault so he'd better take steps to put things right — but did anyone ever actively decide they wanted Jerry Seinfeld to be their child's tutor in environmental fundamentalism?