Sentences with phrase «dull film whose»

The truth is that it is a formulaic and dull film whose predictability, especially after the first 45 minutes, is almost total.

Not exact matches

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

The film's apparent comic relief is Ruth's equally lonely and wacky neighbor, Tony (Elijah Wood), whose displays of self - taught martial artistry are meant to be funny but come off as a lazy attempt to add personality to an otherwise dull and one - dimensional character.

Special kudos must be given to film editor Michael Kahn, whose facility with these completely unhinged battle sequences should shame anybody who's ever worked on a Michael Bay movie; to cinematographer Janusz Kaminski, who has given these scenes a dull grey cast evocative of nightmares torn from America's sleeping subconscious brain; and to sound designer Gary Rydstrom, who has crafted a World War II soundscape that rattles and unnerves you even when your eyes are closed.

Tom Courtenay stars in John Schlesinger's 1963 classic film from the British New Wave, which follows a clerk whose overactive fantasies compensate for a dull provincial life.

Not as commendable were the slick but forgettable Leatherface, the first disappointment by French filmmaking duo Alexandre Bustillo and Julien Maury; the Spierig Brothers» Jigsaw, part 8 of the exhausted Saw series; the dull Amityville: The Awakening by Franck Khalfoun, usually a respectable genre director, who does still add his share of clever touches (and meta moments, like when a group of teenagers watch the original Amityville Horror in the «real» Amityville haunted house, into which one's family has just moved); Open Water 3: Cage Dive, whose shark - franchise designation was tacked on as an afterthought, not that it helped to draw in audiences (in an anemic year for great whites, 47 Meters Down takes the prize for the best shark film); Jeepers Creepers 3, a super-limited release — surely in part because of director Victor Salva's history as a convicted child molester — which just a tiny bit later would probably have been shelved permanently in light of the slew of reprehensible - male - behavior outings in recent months.

Willem de Kooning, whose whiplash lines and sweeping gestures defined «action painting» in the popular imagination nearly as much as Jackson Pollock's drips, is said to have painted in a frenzy for a rolling camera, only to scrape it all out when the filming stopped because the reality of how he worked — painting a stroke, then staring at it for a few hours — seemed too dull to film.