Sentences with phrase «earlier films so»

The characters are sad, sad human beings (not the outlandish caricatures that made Guest's earlier films so compelling), the script feels hurried and unfinished, and the cast appear to have been given carte blanche over what they think is funny.

And the movie never effectively sells the story point that made the earlier films so compelling: why a bunch of outlaws and mercenaries would put their lives on the line for a town that finds itself in the grip of a bad, bad guy.

Best Director Of these early films so far, I'm betting (and hoping) Jeff Nichols will get some Oscar love.

Not exact matches

Hopper saw that the film could have a second life, so in the early 2000s he bought the rights to «The Last Movie» from Universal.

Captain America: The Winter Soldier, this year's top - grossing film so far, came out in early - April and the scattering of big movies around the calendar is one reason why all 2014 films have only grossed about 5.4 % less than all films had last year at this point.

I have so many cool memories from filming the show over three months in late 2016 and early 2017.

Filming will take place in London and begins this fall, so we can probably expect to see it on TV in early 2017.

Now, talks are still early (and we'e heard rumors like this before), so this whole thing is far from certain, but Deadline is confidently reporting that talks are definitely happening and filming could start after Pratt wraps his work on Jurassic World and Guardians of the Galaxy 2.

We spent so much time breastfeeding in those early months and I wanted to capture some of that special time on film.

so filming schedules will undoubtedly be changed to fast - track new episodes while Washington is still in the early stages of her pregnancy.

Make a loaf or two of this Savoury Pumpkin Oat Bread, wrap it up in cling film and it will keep for a few days in the fridge easily, so you can get some of your holiday food prep done early.

Also... would it be ok to prepare the drink the night before - cover with cling film & drink 1st thing - by this time the water would be room temperature & I often wake quite early so this would giv more time between drinking & eating anything else to improve results?

I want to thank Bear from Lolli & Pops for sponsoring the candy bar, Joann and Marilyn for showing up early and helping, Emily for taking these photos and helping set up and clean up, Laura for filming the «get ready with me» video... (coming soon) Glam Squad for getting me ready - specifically Erik and Christopher who made me feel so beautiful and relieved a lot of stress, Roger for his undying support, all of my friends for coming and my beautiful mom for driving 6 hours to, not only come to my premier party, but to scrub my kitchen and help me set up... I am so grateful and genuinely touched that you all care and put so much effort into a big day for me.

I had thought the film was going to start two hours before it did, and it was my first week in a new role at work, so I've been doing extra hours and waking up almost two hours earlier than I normally do.

Snyder was rightly criticized for Superman's lack of regard for saving human lives in the first film, so in this film he tries to rectify that with a montage early on showing Superman saving people from burning buildings, exploding rockets, deadly floods.».».

It runs the usual Maddin gamut of stylistic nods to (primarily) the late silent and early talkie periods, complete with a whopping amount of explanatory intertitles (perhaps outweighing actual spoken dialogue), artificially scratched / aged «film stock,» use of obvious miniatures, approximation of two - strip Technicolor and so forth.

If you remember the early - 1990s rave scene, Hansen - Love's film will ring so true.

Perhaps in the early 1930s when the film is set, things were not so radically different for women than they were in the early, pre-suffragette 1890s when Oscar Wilde wrote his play — but, without wishing to suggest that the battle of the sexes is now definitely over, things have certainly moved on, and the film's preoccupations with womanly virtue and womanly repute is of more historical interest than contemporary relevance, leaving the distinct impression that this «updating» of Wilde has been done only by half measures.

The look and atmosphere in this film is so vivid that even viewed on TV it makes you feel as if you have been to Niagara Falls sometime in the early 1950s.

One of those «look at me, I'm so trendy» early 90s films that flirted with bisexuality and / or a girl - guy - girl love triangle; the desperation here is palpable and the writing, acting and direction are all sub-sub-par.

In the moment, it seems like a loaded, inflammatory thing to place so early in the film.

Those absences might have been forgivable if the other thing that made Park's work so extraordinary, the sending up of classic film, wasn't completely missing from Early Man.

Like most great comics, he also decided fairly early that he wanted to be taken «seriously» as an actor, and so he traded in «Ace Ventura» and «Dumb and Dumber» for films like «The Majestic» and «Eternal Sunshine of the Spotless Mind.»

But perhaps one of the reasons why this film is so fascinating is that it delves deeply into the formative episodes in Napoleon's early life and gives as much importance to them as to his later actions on the battlefield in Italy, his tenure as emperor, and his subsequent exile, return, and exile.

There is also tremendous texture on display, particularly in the early part of the film... I could practically smell the inside of the Rivera family's shoe repair shop because it is presented so vividly.

He has also played the brusque, bluff President in Being There (1978); senile, gun - wielding judge Ray Ford in... And Justice For All (1979); the twin auto dealers — one good, one bad — in Used Cars (1980); Paul Newman's combination leg - man and conscience in The Verdict (1982); shifty convenience store owner Big Ben in the two Problem Child films of the early 1990s; the not - so - dearly departed in Passed Away (1992); and Broadway high - roller Julian Marx in Woody Allen's Bullets Over Broadway (1994).

But she was so successful in this film's terribly difficult role of Katja that her walking off with Cannes» best actress award earlier this year was universally applauded.

As the story becomes more episodic, and Charley ends up further and further from home, so the film feels distant from its earlier, more nourishing scenes.

While Gens can splatter gore with the best of them — early in the film, a human body packed with C4 goes off in graphic detail — he fails to stage so much as a single rousing action scene, even when he has four double - fisted swordsmen facing off inside an abandoned subway car.

For a film that is so consumed with the burning complications of first, early love, «On Chesil Beach» more resembles a wilted relationship, one that offers up no excitement about the future and little respect for the past.

The other major flaw is that so much time was spent in this movie on it's stylistic looks which as i said earlier were flawless but so much time and effort was spent on these that it seems to have taken away from the character development side of the film.

Whereas across earlier films Haneke's predilection for deceit served a high - minded, if still somewhat suspect, intellectual purpose (an interrogation of privilege and meaning in Caché, the deconstruction of genre in both versions of Funny Games, and so on), here his disingenuous approach is not only unwarranted, but is actually at odds with the tone and tenor of the drama.

That's my best guess; at the end the film informs us, «and so the legend begins,» leaving us with the impression we walked in early.

Thank you for being one of the few reviewers who understood the brilliance of the early games as well as the reason why the film fell so short.

Still, I don't recall the novel being so screechingly histrionic, and certainly Julie Harris» earlier take on the character of Eleanor remains the most affecting of the two films.

The end result is a head - spinner to be sure — not only does it not make any sense in the traditional definition of the word, it doesn't even attempt to do so — and those who demand that their films offer up some kind of conventional narrative structure will no doubt throw up their hands and leave early on in the proceedings.

Tom Wilkinson's (Batman Begins, The Patriot) character was pushed too much earlier in the film so that you could almost predict his true intentions.

Disney is already in early talks with Favreau and screenwriter Justin Marks to return for The Jungle Book 2, so now Serkis» film runs the risk of retelling a familiar origin story when audiences are already primed and ready for the sequel.

So while anyone who has any memory of the early Seventies will feel like they're back there again with the establishment / counterculture antagonisms and raging ego trips and spells of mellow sunlight, they will also, like the film's hero, detect another phantom vibe.

The comedy is broad, and this is certainly more multiplex - friendly than Kiss Kiss Bang Bang, however, so those who hold that earlier Black film in high regard might be left feeling a bit unfulfilled.

For whatever reason, Warner Brothers packaged Jammin'the Blues, one of the greatest short films ever made, alongside Michael Curtiz's feature length Passage to Marseille (1944), a thoroughly mediocre military melodrama so desperate to replicate the success of Curtiz's earlier masterpiece Casablanca (1942) that it reuses most of the principal cast and some of the same story beats about lovers torn apart by war and self - centered anti-heroes who come to learn the importance of self - sacrifice.

Part of what makes L'Avventura so impressive is that Antonioni developed a cohesion of narrative and stylistic devices that had only haphazardly surfaced in his earlier films.

Yet there is an immediate relevance to all of her films, explicitly so with 2006's Old Joy, which interrupts its early moments of awkward silence with Air America broadcasts in which callers animatedly discuss first the legacy of the Johnson administration's push for civil rights legislation, then the current political divide of the Bush era.

The gamesmanship continues in Abel's modest apartment, where the close attention paid to his earlier activities lends his attempts to hide that coded message an instinctive audience sympathy, even though he's spying on the good old U.S.A.. By observing a spy at the ground level (the camera swoops low around Abel's pursuers» feet, as if it's combing the apartment itself), Spielberg establishes the humanity so crucial to the rest of the film.

So the review ended up being very scatter shot and covering inane details like why John Hurt was in the cellar (when he'd already appeared earlier in the film) to the point that it felt like Reed looking for boom mics in Star Trek.

Neither its full - length trailer nor the earlier teaser quite replicated the mystery and allure that the last two Star Wars films so successfully nourished in advance of release.

My favorite film of the year (so far) is still Luca Guadagnino's Call Me By Your Name, which I saw at both the Sundance and Berlin Film Festivals earlier in the year.

They may not have seen the film yet, but they were tired of critics slating their beloved universe after not - so - nice reviews for Batman v Superman: Dawn of Justice earlier this year.

Echoes of the earlier films and their original source abound: the sexual triangle, the working - girl protagonist, the social settings, and so on.

At various points in his fantastically varied and storied career he wrote position papers on the need of support for a moribund Australian film industry, wrote and directed numerous episodes of such seminal TV shows as Homicide and Division 4 for Crawford Productions, was central in establishing film courses and departments in places such as Canberra and Brisbane (Griffith University), wrote plays and performed poems at Melbourne University and La Mama in the 1960s, directed feature films in the early 1980s (most memorably Ginger Meggs in 1982), made documentaries for the ABC and SBS (The Myth Makers, Images of Australia, The Legend of Fred Paterson, and numerous others), wrote and edited such books as Screenwriting: A Manual and Queensland Images in Film and Television, helmed commercials for a vast array of companies and government bodies, contributed film reviews to ABC radio (and more occasionally TV) across various states (for almost 40 years), wrote for numerous publications including Overland, The Canberra Times, Metro, The Concise Encyclopedia of Documentary Film, The Hobart Mercury, and so much more.