Sentences with phrase «emotional film in»

Not exact matches

The two met in Manila last month in an emotional reunion, filmed by «The Brave Ones.»

That makes her death even more tragic, but in the first «Guardians of the Galaxy,» it's still an emotional moment that opens the film.

In The Revenant's case, the moment of highest overall emotional intensity came right at the end, suggesting that the film, at two hours 36 minutes, was not, in fact, too lonIn The Revenant's case, the moment of highest overall emotional intensity came right at the end, suggesting that the film, at two hours 36 minutes, was not, in fact, too lonin fact, too long.

In the film, which takes place in Los Angeles in the not too distant future, Samantha's evolving emotional intelligence leads her to fall in love with her human user, Theodore Twombly, played by Joaquin PhoeniIn the film, which takes place in Los Angeles in the not too distant future, Samantha's evolving emotional intelligence leads her to fall in love with her human user, Theodore Twombly, played by Joaquin Phoeniin Los Angeles in the not too distant future, Samantha's evolving emotional intelligence leads her to fall in love with her human user, Theodore Twombly, played by Joaquin Phoeniin the not too distant future, Samantha's evolving emotional intelligence leads her to fall in love with her human user, Theodore Twombly, played by Joaquin Phoeniin love with her human user, Theodore Twombly, played by Joaquin Phoenix.

It's going to take a lot more then «visions» experienced by people in emotional and suggestible states to convince me, something like something seen by dozens of people who are not in an emotional and suggestible state, which is caught on camera by a person who we can reasonably assume would not tamper with the film.

Yes, he can intellectually understand the concept of the Gospel, but it's the emotional distance that he feels from his own terrible past and grace found in Christ that provide the film's real tension.

Great moments abound, from Steve showcasing his heroism sans muscles by jumping on a dummy grenade to his emotional goodbye to Peggy Carter in the film's finale.

Some people deal with this urge by cheating (which can lead to extreme emotional torment), some with consensual swinging (which requires an understanding partner and a resilient relationship), some through outright suppression (which usually results in bitter subconscious resentment), and some watch adult films.

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.

Intriguingly, an analysis of movie music scores shows that film - makers use highly non-linear sounds to evoke a stronger emotional response in their audience.

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.

In contrast, laboratory studies using emotional films often show a consistent decrease in mood immediately after an emotional evenIn contrast, laboratory studies using emotional films often show a consistent decrease in mood immediately after an emotional evenin mood immediately after an emotional event.

«Both 2 - D and 3 - D are equally effective at eliciting emotional responses, which also may mean that the expense involved in producing 3 - D films is not creating much more than novelty.

The last film was an emotional victory, but in Dawn, the physical manifestation (of computer - generated characters) is a quantum leap forward.

In the opening scene of the 1982 film Blade Runner, an interrogator asks an android named Leon questions «designed to provoke an emotional response.»

In this film they not only help heal these people who are sick on a physical level but on an emotional, physical and spiritual level as well.

According to Beber, people who mention at least one film were found to value monogamy and exclusivity in relationships more, and value emotional openness with a partner more than those who didn't list a flick.

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.

The legal and administrative loopholes that enable Carver's profitable schemes and the mass displacement of respectable home - owners are articulated here in some detail, though the film's principal approach is emotional rather than analytical.

Studi, Beach, and Kilcher also get their moments to shine in Hostiles, despite their characters» own emotional journeys coming across as a secondary concern to the film.

«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.

The film changes a few bits from the book, including making Jo - Jo the shirker into the Mayor's son, giving the film a deeper emotional center, serving as an additional relationship to go with the bond between Horton and the mayor, but most of the rest of the story is still in place, held together by Charles Osgood's narration, which has just the right effect.

There are, one assumes, whole swaths of the book that develop Jack as an emotional character while he's not doing much of anything, but that doesn't — can't — work in a film.

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.

Corbijn isn't making a stereotypical Hollywood thriller, with the stakes spelled out in neon and the loud fight scenes spaced every few minutes, but he doesn't seem to realize there is such a thing as being too vague, and in his efforts to make some kind of art - house / thriller hybrid, he goes too far the other direction and creates a nicely rendered film with no emotional hook.

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.

As with all his Potter films, Yates never shies away from showing blood or carnage when appropriate, and the emotional kick the film delivers in its more intense and upsetting moments is all the more potent because the violence goes unsanitised.

And when the film slows down to take an emotional beat, those are perfectly handled too, with one scene in particular that should have the entire audience wiping away a tear.

(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.

You can't exactly call Alfonso Cuarón's Gravity the best film of its kind, because it has no kind: It stands alone as an extraordinary balance of 3 - D effects, heroes - in - jeopardy storytelling and emotional depth.

Baker's combination of acute emotional intelligence and raucous, often bawdy humor sometimes brings to mind Fatih Akin, a German filmmaker of Turkish descent who also likes to set his films (Head - On, The Edge of Heaven, Soul Kitchen) in tough urban areas where conflicting cultural value systems meet and clash.

Jason's choice to direct such a different kind of film gives him great merit... and the result is a multi-layered, rich very moving film that takes one in a myriad of emotional directions.

In that film, Hansen - Love stays with the family in the aftermath of the tragedy, watching how they adjust and deal with the financial and emotional chaos he left behinIn that film, Hansen - Love stays with the family in the aftermath of the tragedy, watching how they adjust and deal with the financial and emotional chaos he left behinin the aftermath of the tragedy, watching how they adjust and deal with the financial and emotional chaos he left behind.

Though the theme of resentment plays a big part in the film, Tom's emotional transformation is taken a little too far, to the point that you're not even sure if you like the main characters anymore.

But the film embraces cultural specificity in a way that no other Pixar production has before, combining the studio's customary emotional directness with a deep dive into a great nation's art, music, history, and customs.

And while the movie's obvious highlight comes with Roma's brutal dressing - down of Kevin Spacey's officious manager, Mamet's screenplay affords virtually all of the actors their moment in the sun - with Lemmon's sad - sack of a character ultimately standing as the film's emotional center (ie despite his exceedingly slimy actions, Levene becomes a figure worthy of the viewer's sympathy).

There is something of an emotional commitment brought to the storyline by the characters in this film, which really comes across well on screen.

The film's nightmarish, appropriately trippy visuals (particularly in Renton's «cold turkey» montage), a memorable rock and dance - tinged soundtrack and Boyle's undeniable ability to maintaining the story's momentum and manic energy seals Trainspotting's position as a striking, emotional and affecting viewing experience.

After making a cameo as herself in The Muppets in 2011, Silverman went a different direction by taking on a dramatic role in Take This Waltz, a film following a married couple whose relationship begins to crumble when one half of the pair forms an emotional bond with a neighbor.

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.

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.

Benedikt Erlingsson's follow - up to Of Horses and Men is «another skillfully crafted, surreally told tale of man and nature — or in this case, woman and autre — but one with more emotional depth and sharper political undertones» than his previous film, according to Jordan Mintzer of THR.

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.

Already respected as one of the best actresses in film, Blanchett raises the bar even higher by playing 13 different roles in Manifesto, embodying some of the most influential and emotional artist manifestos in history.

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 improves substantially as it charges into its impressively tense final stretch, with the movie's closing minutes packing an emotional power that one might not have necessarily expected - which, in the end, cements Full Metal Jacket's place as a justifiably iconic war film.

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.

In place of the emotional stage - setting another film might waste its time on, there is instead a lengthy getting - ready montage, with drooling close - ups of Anastasia (Dakota Johnson) slipping into her lacy gown while her husband - to - be Christian (Jamie Dornan) fastens his cufflinks, which look like two enormous platinum Chewits.

Amn excellent film in terms of its animated appeal, but the story loses its strength of emotional appeal and would become easily forgotten.