Sentences with phrase «dramatic movie with»

A long - delayed dramatic movie with some big stars and a not - needed sequel with some actors who probably needed the work are available on Blu - ray and DVD now.

Brubaker is a dramatic movie with a social conscience and a welcome change from the primarily fluffy - headed film fare of the summer of 1980.

Not exact matches

There's no denying Defoe brought the same dramatic commitment to his role that he always does, but Christians were not happy with this movie.

NPR has featured recipes in addition to a math - y video with v dramatic music (it's currently playing as I type and it's making everything feel like a fight sequence in an action movie.)

In 1998, the movie «Armageddon» assaulted theaters with a dramatic narrative of Bruce Willis rocketing to space to save Earth.

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

In 1929, Dunne was cast as Magnolia in the Chicago company production of Show Boat; her superlative performance led to a movie contract with RKO, where after a few inconsequential programmers like Leathernecking (1930), she became one of the top dramatic stars at that studio.

Had kind of touching dramatic moments as well as funny ones, and also digs a little deep at times that flow well with the movie dealing with topics like work - life balance, women in the workplace and infidelity.

Previous space travel movies had featured near - disasters with meteors, dramatic intrigues on board and confrontations with dangerous aliens.

A true showcase for Aniston's incredible - yet rarely seen - talent for dramatic roles, given how she brings so much weight to a safe drama that never takes risks and prefers the easy way with clichés, dreams and silly hallucinations that would befit more a movie made for TV.

As the story builds, these characters become richer and more complicated — and the stakes become more deadly — resulting in a movie with a delayed but no less potent dramatic punch.

The indifferent gospel music that permeates the movie never solidifies with the dramatic might that the genre is known for...

After this project folded, Montgomery returned to dramatic roles with a vengeance, spending the next two decades starring as abused, beleaguered women in such TV movies as A Case of Rape (1974) and The Legend of Lizzie Borden (1975).

The movie's problem is that it's a cartoon, offering no emotional involvement with its characters and no dramatic imperative.

This is a genuinely interesting idea, filled with dramatic possibilities, but the movie approaches it on the level of a dim - witted sit - com.

It's a years - spanning, dramatic cliché - wielding bludgeon of a yarn, rife with too - convenient connections (roughly twenty people live in all of Paris, it seems) and heavily rendered sentiment, and the great thing about this movie is that it knows all of that about itself.

The dramatic movies I caught at Sundance, compared with the docs, seemed fairly middling.

Of course, this is the type of fact - based film that probably would have benefited from taking more dramatic license with the material, because some of the sensational events that occur (including one character's supposed death) are presented so matter - of - factly that it sucks the fun out of the movie.

This film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I think, really, the film is just the byproduct of global DVD residuals from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming from, what her dramatic need is, who she interacts with, and so on.

Certainly, this is the kind of movie with big dramatic potential, and the directing and screenwriting talent already linked is top notch.

From the trailers, I was expecting the movie to be a dramatic action / adventure flick, but I found the movie to be filled with odd moments of comedy, mostly at the hands of Samuel L. Jackson as the film's main source of comic relief.

The marketing of the film is also problematic because as the trailer would suggest, we would be in store of a lighter sit at the movies, with expected dramatic undertones.

After reading up on the summer movies of May and June in yesterday's preview, readers were left with the dramatic cliffhanger of wondering whether The A.V. Club would do the movies of July through August, or whether it might go back to Queens.

First time director Jeff Baena tackles the zombie movie with a different kind of twist in Life After Beth, and the result is a comedy that mixes in dramatic elements alongside the impending zombie apocalypse.

But all of McConaughey's qualities, along with bringing - in big bucks at the box office and delivering one - of - a-kind dramatic performances, make him true movie - star material.

One of the problems with a movie this long taking that approach is once the overall premise of the film is set up, you feel like you know what is going to happen and the movie has a shocking lack of dramatic tension.

The core story reads like a screenplay, with many highly dramatic points, but the movie plays out like most other submarine movies.

What's more, they do so in a story — scripted by Christopher Markus and Stephen McFeely, who worked with the Russos on the last two «Captain America» movies — that delivers action, emotion and a dramatic conclusion that will leave fans floored.

These recreations are less dramatic aids to paper over a lack of documentary footage than a movie of their own, with a screenplay that goes well beyond established facts and a full cast (including Molly Parker of Deadwood and Peter Sarsgaard of The Killing) that interprets characters rather than representing them.

Deep down, we all know that modern superhero movies are operating with even lower dramatic stakes than Star Wars or James Bond movies: beloved characters rarely stay dead after they've been killed, and no plot development, no matter how grave, is irreversible, so there's no possible way that what seems to be happening on the screen could really be happening.

The movie begins with an odd dramatic reenactment showing recreations seamlessly intercut with what appears to be actual news reports.

Some would argue this, since its troop of brutal, scalping Jewish soldiers mete out sadistic, Apache - cribbed violence one might more easily associate with their Nazi victims, and the film's climax finds the Germans caught in their own glorified oven (in this case, an immolating movie theater), a ludicrous and dramatic reversing of history.

Feature Film: Guillermo del Toro, The Shape of Water First - Time Feature Film: Jordan Peele, Get Out Documentary: Matthew Heineman, City of Ghosts Dramatic Series: Reed Morano, The Handmaid's Tale Comedy Series: Beth McCarthy - Miller, «Chicklet,» Veep Movies for Television and Mini-Series: Jean - Marc Vallee, Big Little Lies Variety / Talk / News / Sports: Regularly Scheduled Programming: Don Roy King, «Host: Jimmy Fallon,» Saturday Night Live Variety / Talk / News / Sports: Specials: Glenn Weiss, The 89th Annual Academy Awards Reality Programs: Brian Smith, «Vegas Deluze & Oyster Shucks,» MasterChef Children's Programs: Niki Caro, «Your Will Shall Decide Your Destiny,» Anne with an E Commercials: Martin de Thurah, «Festival,» StubHub, «Machines,» StubHub, and «Mad World,» Wealth Simple

The movie lacks the dramatic power and impact of Kazan's 1954 Oscar - winning drama, «On the Waterfront,» with which it shares some thematic similarities, but it is sincerely acted by all the cast.

There's a long tradition in film of comedic actors transitioning into dramatic roles with indies that gravitate towards a grey area in between the two genres, particularly in movies that make sure to hit the Sundance Film Festival before their wide release.

It may be or not an uplifting movie, but I'm sure it'll be a dramatic story with great performances and a lesson to learn... so count me in!

It's loaded with delightful twists, the main one perhaps guessed by the most prescient members of the audience, though if you read the Welsh novel «Fingersmith,» which features even more detail than the movie, you will of course know the dramatic ending.

Competing in this year's US Dramatic category, the movie displays Burnham's storytelling ability to captivate an audience through moments knowingly hilarious or sad, and a striking confidence with narrative.

The short featurette «Behind the Wheel of Happy - Go - Lucky» (4:23) covers the movie's driving scenes, paying attention to their dramatic value and then showing us how they were filmed (with a car full of cameras, sound equipment, and heavy duty batteries actually driving around London).

With Buchanan's heists in plain sight, the movie doesn't hold its dramatic irony for long.

Instead, rent the 1966 John Frankenheimer movie, «Seconds,» which deals with the fascinating consequences of the premise - such as what it is like to be 70 but look 40 - while still being more dramatic and exciting, and considerably more creepy, than «Self / less.»

The 39 year old has made his name in dramatic films with roles in movies like End of Watch, Shooter and Fury, so he was worried he would mess up as the sidekick of Ant - Man's alter ego, Scott Lang, played by Paul Rudd.

The movie has surprising dramatic heft and it mixes the classic with the contemporary while remaining true to the characters.

Katniss Everdeen, «The Hunger Games: Mockingjay — Part 2» (2015) After four movies, it was time to say goodbye to this cinematic saga, and Lawrence went - out on top with her best, most effective dramatic performance in the series.

Like with anything that is popular, the movie's plot has led to countless fan theories; ranging from aspects like the story was all in the head of Rod the TSA agent, that Get Out is a sequel to Being John Malkovich, the important symbolism of the deer, the dramatic irony of Chris picking cotton to lead to his escape, and much more.

Kenneth Turan of Los Angeles Times: «A superhero movie whose characters have integrity and dramatic heft, filled with engaging exploits and credible crises all grounded in a vibrant but convincing reality, laced with socially conscious commentary as well as wicked laughs that don't depend on snark, this is the model of what an involving popular entertainment should be.

Fenton also conducted the show in other cities around the world (including LA, at the Hollywood Bowl) and it became so popular itself that it inspired the show's producers to combine some of the most dramatic scenes into a movie to be released in cinemas, Deep Blue (this time with narration from Sir Michael Gambon).

Not only does it begin with an account of how bits of movie dialogue (from «Rio Bravo,» «His Girl Friday») have entered her life, and the lives of her friends and colleagues, but it then segues into a great quotation from Steve Roman on SCTV (playing Juan Cortez, the first Puerto Rican Chief Justice of the US Supreme Court in the dramatic television series, «There's Justice for Everybody»): «It's got good actors, and that spells good acting.»

Moreover, the director always keeps the movie rooted in a compelling dramatic situation, with Pitt giving a very appealing turn as the seen - it - all veteran of the world's worst places whose desire to protect his family trumps his desire to save the world.

Still, if it skimps on character depth and somewhat dawdles during its first two acts, in which a pair of taut centerpieces helps prop up dramatic filler (including a subplot involving Olivia Wilde's single mom), The Next Three Days refuses to puff up its action with message - movie sermonizing.