Sentences with phrase «emotional film on»

«More than making up for its disappointing predecessor, «The Hunger Games: Mockingjay — Part 2» is an incredibly emotional film on many levels and a more than worthy conclusion to the series, mainly because it doesn't shy away from finding ways to improve upon the original book.»

Not exact matches

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.

Martin Scorsese's recent film Silence, like the historical novel by Shūsaku Endō on which it is based, turns on an act of emotional blackmail.

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.

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 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.

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.

Slowly, the film reveals the emotional toll his work has taken on him.

The emotional closing stretch, at the very least, ensures that the film ends on an admittedly affecting note, and yet it's ultimately impossible not to wish that the remainder of Deepwater Horizon had been similarly engrossing (particularly given the seemingly electrifying nature of the story's true - life origins).

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.

The film ends on a remarkably touching emotional note.

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 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.

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.

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.

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.

He's a large and purply ruthless brute that originally appears to be just another impact-less Marvel villain hellbent on destroying Earth, but what Infinity War does differently than any other Marvel film is that it allows us to sympathize with him and see his emotional flaws and vulnerabilities.

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.

Incredible film making relying on performances and closeups to bring the emotional content to the surface.

Like Gleeson and Byrne, Gluck seems to recognize his film's inherent frivolousness, frequently calling attention to some of the screenplay's plot mechanics and hacky tropes — at one point even hanging a lampshade on Peter's famous blue jacket, in acknowledgement of the object's trite value as an emotional symbold.

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.

It's an undeniably indie film, unconventional in many respects, and effective on an emotional level.

Despite a warmly interacting cast that includes Jennifer Ehle as Emily's sister and Keith Carradine as her lion - maned, lionized father, and a valiant effort on the part of Nixon and Davies to externalize the poet's inner demons in emotional, high - tension scenes, the film can't escape an underlying static quality that extinguishes the flame before it can get burning.

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.

While it may not have the emotional impact that the first film did, I really admire the fact that both films are based on the continuing true story of these people.

A twist in the third act adds a meta and surprisingly emotional spin to everything we've already seen; in a film industry littered with projects explicitly capitalizing on moviegoer's nostalgia, The Lego Movie gets there with efficiency and a relentless, consistently endearing good humor.

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.

That kind of emotional centre is key to the success of Crowe's films, and it works beautifully here, aided immeasurably by a wonderful performance by then - newcomer Renee Zellweger, as well as a spot - on effort from Cruise and a deliciously over-the-top innings from Cuba Gooding Jr..

It captures the excitement of a breaking star, it generates a raw and unsettling emotional power and it honors the aesthetic of hip - hop in way that's never quite been done on film before.

Other films that came after it were far more fastidious in their rendering of the sexual aspect to these clumsy affairs, but this film is far more psychological, directing much of the film's emphasis on the emotional toll of lying to yourself and your loved ones.

Carell leans a little hard on Doc's emotional innocence, but he owns the film's best moments.

Haynes, with a film light on dialogue and entirely too reliant on Carter Burwell's impressive, ever - expanding and changing but nonetheless incessant score, draws on the hollow sentimentality of his premise rather than the emotional specificity of his characters» engagement with the art and history that saves them.

Yes, remarkably, as rich an affair as this is, the fluid story telling and constant surprises keep the film rolling along, taking us on a wildly entertaining, emotional and fulfilling ride.

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.

If it were possible to overlook some of the annoyances of this character during the first two films, it isn't anymore: Grey is borderline abusive in the demands he makes on Ana, and it's frustrating to watch the film confuse playful sexual dominance with emotional domination, as Christian insists on knowing his wife's every move and overreacts to the slightest insinuation that she might have her own life.

It certainly does what it says on the tin, with an epic final clash, but compared to Jackson's finest hours, it's visually muddy and pretty much more of the same, and without the stakes of emotional payoff of the «Rings» films.

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.

Without the emotional gut punch that seemed to come in every frame of Mungiu's masterpiece 4 Months, 3 Weeks And 2 Days, this picture truly opens up on multiple viewings, and with its eyes set to the heavens, the film seems Hell bent on questioning their existence entirely.

The visual pyrotechnics are nicely balanced with a focus on the emotional beats of the story and the film works largely because its three young principals have finally learnt how to act.

Nick Frost, on whether there's a relationship between the fact that there was general agreement that making «The World's End» was the most fun film «Three Flavors» film to make «in terms of having a laugh» and the substantially darker emotional tone.

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.

Almost bereft of dialogue, the films rely on the compositions of the group Tindersticks (and various figures within it) to provide emotional cues.

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.

Lack of bias is fine, but when the brothers reserve judgment on the emotional abuses, beatings and financial exploitation of hookers (almost exclusively called «bitches»), their film looks irresponsible and too easily impressed by the men it portrays.

As much as the film is immaculate in its production values, the most care and consideration on the screen is the patience with which Haynes stages the film's emotional beats.

But the film finds an unexpected link to the current moment when it touches on the emotional and physical abuse McLaren inflicted on Westwood.

the Aliens or Prawns (derogetory term given to them by the humans) play a much larger emotional and dynamic role in the film than the trailer or bits of viral marketing let on.

For here are two and a half hours of every Marvel superhero that has appeared on film, together facing a turbo baddie (and an unrecognisable Nidge) with tremendous amounts of ass - whooping, mega-effects, not a little emotional impact and...