Sentences with phrase «emotional film for»

An unsentimental but emotional film for anyone who suspects in their heart of hearts that suffering really is the only thing that makes anyone worth a damn.

Not exact matches

The approach to making a figure like Oral Roberts so down - to - earth, to make a topic like heresy so emotional and to make a place like church so relationally rich, makes the subject at the core of the film — the existence of hell — so opposite of what it has become for Christians: polarizing.

I wasn't prepared for the emotional gravitas that this film brings to the screen.

In the film Toback, who has known the fighter for 23 years, intersperses footage from the days when Tyson seemed scared of nothing with clips from an emotional interview done while Tyson was undergoing drug and alcohol treatment last year.

If you're looking around for something to watch this Sunday evening that complements the Oscars, the World Science Festival has a great video which features the Coen Brothers, film composer Carter Burwell, Alec Baldwin, and neuroscientist Aniruddh Patel discussing the emotional effects and role of music in film.

On the one hand, emotional manipulation has always been at the heart of our cultural artefacts; in fact, we have always lauded the best artists, writers, film - makers, composers and the like for their seamless skills in moving us and enlarging our horizons.

Michael Rosenfeld: This film came with some unusual challenges because the topic of vaccines is an emotional one for many parents.

This film came with some unusual challenges because the topic of vaccines is an emotional one for many parents.

He also says the system might be useful for gauging emotional reactions to film clips and adverts.

More ambitious Hollywood films that want to use computer - animated figures for real - life scenes could also benefit — whether they need a virtual stunt double or a realistic emotional performance to match the gravitas of films such as «Schindler's List.»

From a study of 60 characters from literature, film and television, we scored characters on each of eHarmony's key personality dimensions needed for a successful relationship, including emotional temperament, social style and relationship skills.

I did think there were scenes of emotional import (I did care during Tony's re-watching his dad's old films, amanohyo) and there were a handful of funny moments that worked (Hammer's «Ex-Wife»... yeah kinda figured that would happen, but hey there's a pill for that now!).

I saw the film in IMAX, and a week later I'm still waiting for the safe return of my optic nerves, but it was the meagre emotional charge that shocked me most.

The film doesn't confine itself to wry satire — it's an effective action adventure and an emotional journey for its protagonist Jim.

That's a tricky balance to strike, between fact and feeling, and I suppose the family bits were added to act as ballast for the film's practical policy talk, but I'd imagine that there is some root emotional oomph to be found in that policy that could bolster the story in its own right.

Essentially the problem is that the film clumsily moves between very broad (and mostly unfunny) comedy and really earnest emotional pleas for change without any consistency.

(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.

Fighting for the right to adopt Rex after a certain incident occurs, this film fills itself with emotional depth, making for a very satisfying experience.

The film really does take you on an emotional rollercoaster - its a journey of highs and lows, and you can really feel for everything, both good and bad, that the characters go through.

Whether a twisted film impresses you on an emotional level due to the uniqueness of it, or a drama doesn't work for you based on the acting, everyone is entitled to their opinion.

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.

An obsessive perfectionist who methodically worked in virtual reclusion, director Stanley Kubrick was at once widely praised for his technical brilliance and scorned for his film's lack of emotional depth.

The two also became acquainted with novelist Ruth Prawer Jhabvala around this time; Jhabvala would become irrevocably associated with the two, acting as the screenwriter for all but a handful of their films.The trio's first films were set in India, dramas concerned with questions of cultural interplay, personal identity, and physical and emotional isolation.

The film is worthy of study for the script alone — and for the pinwheeling emotional turns and sudden flashes of feeling Denis and Angot concoct for Isabelle, which reveal as much to us as they seem to reveal to her.

It also has a not - so - secret weapon in the formidable Paulson, who deserves much of the credit for whatever emotional punch the film delivers.

For an independent film, I thought this movie was absolute amazing; its plot, visuals, actors, and even the questions posed are all fairly basic yet it reaches out and touches emotional hot - spots that many movies fail to do.

But the filmmaker has such a consummate understanding of storytelling and technique that he knows when to drill down into a moment for greater emotional truths and when to condense what must have been excruciating volumes of information — both in terms of the Papers themselves, and the journalistic processes of vetting, creating and production of a daily newspaper — to communicate the essential details that keep the film on track.

Black Panther might be Coogler's most accessible film yet, trading in some of that deeper emotional or inventive storytelling for something that's visually crazy, but structured in a very familiar manner, especially when compared to other MCU films.

Much of the film's emotional punch comes from the ever - optimistic Dug and his relationships with three key supporting characters: caveman tribe chief Chief (Timothy Spall), who admits he's old for... 32, Goona, a female football phenom who Dug digs (she's voiced by Maisie Williams of «Game of Thrones») and Hognob, Dug's pig pal, who's much more than a pet (he's got a little Gromit in him).

For a film that requires nearly five hours of viewing investment, it feels terribly stingy on the emotional payoff.

It's an impeccably crafted history lesson that, unusually for a Spielberg film, tells us why its subject matter is important, instead of engaging with it on an emotional level.

Clearly, the filmmakers, including screenwriters William Nicholson and Michael Hirst (the latter penned the first film), assume we commoners will forget our need for emotional involvement amid the folds, pleats and billows of period pageantry.

Yet for all that, the real emotional resonance is due exclusively to Lawrence, who moves through the film with an urgent determination that brings a visceral reality to even the most far - fetched of situations.

As such, «The Dark Horse» is as good a title as any for a film that takes an overplayed genre — the inspirational mentor story — and still manages to surprise, sneaking up to deliver a powerful emotional experience within a formula we all know by heart: After suffering a nervous breakdown, a Maori chess champ volunteers to coach a group of disadvantaged kids.

It's too bad that the buildup to the film's denouement does not adequately prepare the audience for what should have been an emotional turn of events.

But without the (old) Disney genius for emotional structure and character design, the results are rather flat — the film concentrates on Disney horror and trauma without the relief of Disney charm.

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.

The movie which put Cameron Crowe onto the directorial A-list once and for all, Jerry Maguire may be his biggest commercial success to date but loses none of the warmth, humour and emotional insight that makes his films seem so, well, complete.

You don't need to be involved in the jazz scene or have an understanding of drumming for the movie's core theme to connect; music is simply the vessel to drive home one of the most emotional and awe - inspiring films of the past decade.

The Way Way Back does generate a fair amount of laughs throughout the film, but misses on the emotional level because of the underplayed drama between mother and son — a shame because Collette's character had real potential to be more than just a naïve mother who is content with looking the other way for everything in life.

Peck's film sets out to make use of the unfinished manuscript of Remember This House, Baldwin's late - career attempt to grapple with the deaths of Martin Luther King Jr., Malcolm X, and Medgar Evers, but it soon abandons this premise for the kind of emotional detours that give some of Baldwin's best work its freewheeling, capacious spirit.

Or it could just be that a film focused on Batman — even if he's in Lego form — is never going to be able to conjure up emotional memories from childhood (or parenthood) for everyone in the theater.

In spite of this, there are moments in the film that do touch upon the sublime, and the setting is partially responsible for the fleeting moments of emotional connection.

However, Anderson's film skewers the idea of using other cultures for self - actualisation, while finding deep emotional resonance in the natural vibrancy of its setting.

There are often too many moments played for laughs that undercut much of the films emotional impact occurring in the third act.

That Marion Cotillard is generating serious awards buzz for her performance in the small - scale Belgian drama Two Days, One Night is a testament to the film's quiet emotional power.

His films aim for a kind of heightened misery at the cause of circumstance, and how his characters tackle these emotional challenges.

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.

Finally, it closes with the best finale of any film this year, the most heart - wrenching ending I've seen in a studio film in years, that for once shows us the emotional toll that a taut thrill - ride would have on a person in real life.

Tracking a Japanese man's brief return visit to his family after living in North Korea for twenty - five years, Our Homeland portrays the frustration, pain, and sadness surrounding his difficult situation with an emotional potency I have rarely experienced during a film.