Sentences with phrase «emotional film about»

In short, The Spectacular Now is a wonderfully unapologetic and emotional film about the realities of growing up and discovering the need for responsibility.

Trying to balance a humorous, honest and emotional film about alcoholism seems like an impossible task but it is what James Ponsoldt's Smashed attempts to do.

Recommendation: A likely underwhelming box office draw due to its title, The Diary of a Teenage Girl is an authentic, emotional film about a life in transition.

Not exact matches

By mapping those emotional responses to the corresponding plot points, the studio gleaned objective data about the film — something that would otherwise be judged subjectively.

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

Now, while most of these films look grand in scale, emotional to the core in the dramatic department, and visually awesome... if you think about it, they're all kind of doing the same thing.

It's likely no shocker a film about two degenerate gamblers from the writing / directing team that brought us the harrowing «Half Nelson» is going to be at least a little emotional draining.

«Django Unchained» is «Blazing Saddles» with a body count, a positively incendiary entertainment about America's greatest shame, the personal and social toll of slavery, and like Tarantino's last film, «Inglourious Basterds,» this is a case of history being remixed in a way that makes more emotional sense to Tarantino as a storyteller.

(Think Emily Blunt and a cigarette lighter...) The movie also finds its emotional core in that dilapidated old farmhouse, and, rather gracefully for such a hard - charging, violent film, slowly becomes a story about the cyclical effects of neglect and regret.

With incredible acting, dark but nessacary action and incredible emotional impacts, what is there not to like about this film?

John Ford, showcasing his pride of his Irish heritage, made this emotional and realistically violent film about the 1916 Easter Rebellion of Irish patriots revolting against their British rulers.

The film's uncomplicated plotting allows plenty of space for goofy little throwaway gags — like a running joke about the young McGregor's feeble attempts at birdwatching — that other films might have cut to make way for various subplots or emotional character moments.

One thing I will say about this movie is that is quite possibly one of the emotional films that I've seen in a while, and one of those reasons is because of the music, the music in this movie are brilliantly done and the film has little to none of it, but they know when to use it to the films advantage, and it works incredibly well when it is used.

The film reveals that more than half of the New York ballroom scene are HIV positive; many of its subjects talk to Jordenö about the emotional agony of being tested.

The film has a revelation about a character's love life that will resonate even stronger today, after gay marriage votes across the country, and I think that revelation is the emotional denouement the movie needed.

Despite the efforts of a strong ensemble cast — featuring Bruce Dern, John Ortiz, Ellen Burstyn, Nick Offerman, Jon Hamm, Catherine Keener and Patton Oswalt — the film fails to drive home its point, about the power of the stuff we leave behind when we die, with the same emotional punch that the people on - screen seem to be telegraphing: grief, longing, regret, resentment and sundry other flavors of moroseness.

Even though the studio literally made a movie about feelings, Coco ranks among its most heartfelt and emotional films.

And what's most striking about Looper is how effectively and clearly each character's emotional struggle is detailed, a feat that seems near - impossible as the various figures are introduced in the film's first half.

Its comparatively simple first act remains a good example of how to apply the horror elements of the Silent Hill games to film with a degree of elegance and wit, and for a solid 35 minutes, it's an atmospheric film about a mother whose deeply maternal desire to help her daughter inadvertently places her in danger, and the need for Radha Mitchell's Rose to find her daughter when she goes missing provides a cogent and palatable, if somewhat slight, emotional basis from which the proceeding action can spring.

It's important to remember that these films are more than just spoofs or parodies of the genres they emulate as each film has a powerful emotional core with something to say about friendship, growing up and more.

We never learn anything about Harry's past as a husband and father, and intuit only a few traces of his background as a cop and a former alcoholic, but we discover a great deal about his emotional life in relation to his friends and former colleagues, which is all the film really cares about.

The interview with him on the Criterion release in which he speaks about the emotional response he had to the film at 9 years old is a great one for fans of either Renoir or Scorsese.

director Mike Mendez — that, while it has a charming sense of humor about itself, leans too heavily on CGI blood; The Girl With All The Gifts (B), a well - shot British zombie film that attempts to inject new life into a tired genre, and almost succeeds thanks to young star Sennia Nanua; and the disappointing Phantasm: Ravager (C --RRB-, a low - budget labor of love which, while it plays like a Phantasm fan film, ultimately undercuts the emotional closure it attempts to bring to the franchise by failing to resolve the central conflict between good and evil.

While Majid Majidi's «The Song of Sparrows» featured several poetic, and surprisingly funny sequences and Dorris Dorrie's emotional «Cherry Blossoms» made me want to run out of the theatre and call me parents to tell them that I love them (incidentally, Film Movement's, and more importantly, Sheboygan, WI native Meghan Wurtz is raving about the film over my shoulder right now), Fatih Akin's latest ruled my day.

It is always impressive to see how Haneke can be so subtle and forceful as with this magnificent and devastating oeuvre about aging, devotion, love and death - a film that surprises us for its deep tenderness and honesty while striking us with an overwhelming emotional power.

But the more Molly's Game tries to decide what its story is about rather than just telling it, the more the film feels like it's trying to «solve» Molly rather than portray her, to the point where its two big emotional moments involve Molly being sat down and informed about her own daddy issues by one male character, and getting passionately defended by another, her lawyer (Idris Elba), while she stays silent.

Gudegast, making his feature directing debut after writing «A Man Apart» and «London Has Fallen,» seems to understand just enough about that element of Mann's film to recreate some of its conflicts — both in terms of crime scenarios and the characters» civilian lives — but lacks the discipline, or maybe skill, to lend them real emotional weight, much less originality.

Those who don't know much about Snowden's story may still find this movie enlightening, but it never achieves the emotional force that Poitras achieved in her film with the real Snowden front and center.

Like Ex Machina, there is something almost clinical about the film, which keeps us at a slight emotional remove (the underlying drama of Lena trying to «save» Kane doesn't have quite the emotional punch that it should, especially since it drives her willingness to put herself in immense danger).

Tony Kaye's film about America's failing school system isn't subtle, but it has a fierce emotional punch and he draws knockout performances from his eclectic cast.

It's an emotional and telling clip that answers many questions viewers may have about the inspiration for the film.

Maybe my expectations were duly lowered but director Francis Lawrence, who took over the series from filmmaker Gary Ross and raised the bar, and screenwriters Peter Craig and Danny Strong turn out a surprisingly engaging film about rebellion, propaganda, media, and the emotional and psychological scars of war, all seen from the point of view of a young woman (Jennifer Lawrence) who becomes a symbol of resistance simply by surviving with courage, dignity, and compassion.

This was one of the only horror films I genuinely cared about the characters, the more you care the scarier and more emotional it becomes.

His deceptively straightforward films are rich and cinematic: every cut, every decision to shoot in long shot or shot — reverse shot, and every object, costume, and piece of furniture reveals something about the emotional and intellectual subtext.

«Touchy Feely» Lynn Shelton's latest isn't perfect, but damn if its highs don't exceed just about everything else I've seen this year, packing more emotional wallop into a single scene than most films do in their entire running time.

But what I'm also happy about, is that regardless of his incredible skills, he is also allowing in this film to be emotional and... Vulnerable.

Some characters make really dumb decisions (I'm looking at you Star Lord and Scarlet Witch) here, and the ending of the film is more manipulative than trully emotional if you think about it longer than ten seconds, but Avengers: Infinity War is still a thrilling blockbuster.

As the film progresses, and we learn more about the lives on - screen, the deeper our own emotional depths are reached.

It turns out they were a series of very mediocre jokes about things that had happened so far, like Harris mispronouncing Chiwetel Ejiofor's name, Terrence Howard getting surprisingly emotional, and Pawel Pawlikowski getting played off by the music as he accepted the award for best foreign film.

«Sideways» — Alexander Payne's comedy about emotional muck of people past their prime — continues Nick Rogers» look back at the 365 best films of 2000 - 2009.

Mon Roi, Maiwenn's follow - up to Polisse, is a mediocre film about a destructive on - and - off relationship and its emotional rollercoaster.

Much of Good Time's queasy, sustained high derives from Connie's lack of compunction about exploiting people even more disadvantaged than he is, but the film's unexpected emotional wallop is a product of how the Safdie brothers, co-writer Ronald Bronstein, and Pattinson judiciously draw out Connie's tragic dimension.

While quite a few of the X-Men films have had a middling critical reception, the early buzz around Logan is pretty positive — and Stewart seems to agree about the film's emotional impact.

Are you sick of anticipating a film that's promising great emotional payoff and just the right about of tears for the holiday...

Looking at Annapurna's diverse emotional and artistic film lineup, it's exciting to think about what this portends for Edith Finch and other games under the Annapurna Interactive umbrella.

Indeed, without giving away where the movie heads after that, it's safe to say that it starts to reveal itself less as a story about righting a wrong and more about reconciliation — one that still blends McDonagh's signature dark humor and sudden swerves into laughs into gasps, yet also taps into an emotional depth that closer to his theater projects than his film work.

What's really distressing about The Vanishing is the film's climax, with the emotional voyeurism it invites.

He has described his film project as «a really sprawling, emotional nightmare fairy - tale type movie... about an abandoned orphan who gets lost in the woods.»

For all of his obvious skills and uncommon talent as a visual storyteller, Kosinski's first two films were short on character depth and emotional engagement, but whether a function of Kosinski's innate preferences for spectacle over substance or simply script - related issues, Kosinski's feature - film output made him an odd, left - of - field choice to direct a film about American firefighters and the Yarnell Hill Fire of 2013 that resulted in the greatest loss of firefighters since 9 - 11 more than a decade earlier.

And while it initially seems like John Debney's generic musical score is going to be the only source of mood establishment, something funny happens: setup established, the characters begin to move about like butterflies emerging from cocoons, displaying tenfold more emotional nuance than one might rightfully, albeit cynically, expect from such a film.