Sentences with phrase «emotional film where»

Not exact matches

It's these scenes which have the most emotional truth and where the film's most successful portions lie, especially when Streep and Jim Broadbent light up the screen with a portrait of a particularly British and unfussy kind of romantic longing.

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.

It's nothing like a safely commercial film: like Ex Machina, it asks viewers to be patient with its mysteries, and with the relatively subtle emotional responses of a group of characters who are all clearly repressing their fear and frustration, right up until the moments where they explode.

The film feels empty and intellectualized at the core, where it should feel powerfully emotional.

There is no mystery here - the audience is cleanly and surgically manipulated (completely in the opposite way as in Life of Pi - where the emotional manipulation was in fact necessary to achieve the point of the film), and the purpose was merely to show the viewer how easy this is.

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.

BEST DOCUMENTARY: No factual film came close to Nick Broomfield's tragic profile WHITNEY CAN I BE ME for emotional impact, but Brad Abrahams» alien abductee oddity Love and Saucers, Jedd and Todd Wilder's heartbreaking mystery God Knows Where I Am and Roger Donaldson's Formula 1 biopic McLaren were standout performers in limited / festival release.

Both films show two extremes of storytelling where the execution transcends the amount of time it takes to deliver that emotional gut - punch.

Gone is the first film's svelte singularity of purpose, where world - building served up grace notes that accentuated or relieved narrative and emotional drive.

It's all on the page in terms of dialogue, but the deer scene, for instance, or the scene on the phone near the end, were the moments where I felt she's allowed to be more emotional than anywhere else in the film.

Melfi throws up a lot of balls with this script and not all of them pay off, but where the film succeeds is thanks almost entirely to the diverse, well - textured offerings of this talented cast who make for a picture that is genuinely charming and surprisingly emotional.

It shows the influence of Cassavetes in its comic dramatization of the trials of male bonding and the struggle for emotional integrity, but where Cassavetes captures the tooth - and - nail wildness of first - generation Americans clawing their way into the middle class, Anderson's film recalls an older, more disciplined, although no less self - excoriating, tradition — the WASP modernism exemplified by Ernest Hemingway and Howard Hawks.

I also felt that the musical score was somewhat forced for the purpose of provoking on the emotional level and was only there to make up for the lack of it in the film, it did seem quite unnecessary in parts where I thought silence could have worked better, but thats not to say of course that it was brilliant to listen too, and the changes were spot on to suit the changes determined in the film but for a simplistic kind of story it seemed excessive.

When Rebecca goes into labor as John is delivering a eulogy, or John happens to stop for a beer at the liquor store where his father is secretly moonlighting, the film pivots from emotional complexity toward sitcom - ish simplicity.

Where the film really manages to strike an emotional chord, though, is in its examination of an ordinary man's search for meaning in his life as he nears his eventual demise.

Hawkes and Hunt provide The Sessions with a strong emotional core, but Lewin's utter indifference to style undermines the film at every turn, making it seem soggy, plodding, and ugly where it should be suffused with feeling.

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.

Fassbender delivers the strongest emotional pull of the film as his Magneto is always torn between what is right and wrong We also revisit Alkali Lake, where so much has happened in other X-Men films.

While the battle scenes can only be viewed as impressive from a visual standpoint, where the film finally shows its fatal flaw is in the utter lack of emotional grip, as characters live, love and die, and yet no tears are shed among a viewing audience despite following these hearty heroes for over eight total hours of film time.

While the screenwriting is mostly on par with the first film, where Rocky II dips in quality is with the lack of the truly emotional content of Rocky.

Where Avatar falls a little short is in the romance between Jake and Neytiri, which while compelling doesn't resonate as strongly as the emotional cores of many of his previous films, whether the traditional romantic love stories of a Titanic, The Abyss, or The Terminator (or even True Lies); or his dual epic sequel tributes to maternal love, Aliens and Terminator 2: Judgment Day.

The aim to leave the audience satisfied is evident throughout but especially in the end where a plot twist could have been worked as a bone - chilling yet emotional impacting moment that the film instead opts to keep low - key and lighthearted.

It is a shame that these enticing qualities falter once the film hits its third and final act, where it endeavours to hit more emotional beats than it needs.

back staging it on pop fashion and art food,, cold play and you being almost as funkadleic as,, kl f our totnes pop band the west country bring out comicness and fun with bil lbalies as standup comedy, but the uncanny, comic connections,, and ideologies,, divine intervention etc has to be confronted,, in this instance,, there, writer,, everything went,, lahlah lah when i found out1999 my first son was deaf,,,, your film baby driver now he is 21 effected,, very deeply as a deaf man him and he would love to meet you,, and help you do baby driver two accompanied rap back, on his life in the deaf community London as an artists and lover of fast cars,, and anti war gang block buster, he has all the locations and sights he just needs u when u next in London,, he is Leonardo Patterson on Facebook but as his mum - an interpreter,, i have to translate he wants to take u top the 32 floor of the shade, an ask u how come sign language music blips u got him quite emotional echoes his child hood with his Jamaican father,,,, he just wants the anti war second mix,, none violent comedy,, with bil bailey unit as a mixed race teenager growing up in south London, he has seen the,, how gangs nonviolence,, have ruined it,, for, cant give any more away he cant work out how to meet your pr,, as he is dyslexic,, soi he is getting me to write this,, Lamborghini,, s are his love,, its cosmic,, could u make a,, deaf teeagers dream come true,, we could meet you clpahm picture house where wesaw bay driver with subitles at thier subtitles for deaf club every Thursday,, can you messge me onfacebook messgenr,, thanks his deaf club,, eevry wed,, would also love avisit,, deaf club central, reards su and,,, leonardo patterson,,,

As the more experienced of the two, it is no surprise that Sutherland offers a more nuanced performance, and after a series of films (The Hunger Games, The Eagle, The Mechanic, Horrible Bosses) where he was taking minor parts that didn't stretch his considerable range to an enormous degree, it is refreshing to see him given a leading role that has genuine substance and emotional depth attached to it.

We were lucky enough to have Peter join us at UNIT BAR, where he shared charming, insightful and emotional stories on the topic of our favourite Bogdanovich films, specifically those that are criminally under - seen for various reasons: Saint Jack, The Thing Called Love, Texasville, and Noises Off... He also mentions two new projects in development at the time, including She's Funny That Way (formerly known as Squirrel to the Nuts).

There is a point in the film, where Sternwood hits an emotional low point and you wished the script would let Strong get the most out of the moment.

Talking of the emotional heft of objects, one of the things that I found immediately moving about the film is the sense it has of a world where images are scarce, and where something like a rosary bead can be invested with so much longing.

Ahead of the release of its biggest film, Avengers: Infinity War, Marvel has released an emotional four - and - a-half-minute long featurette where it details the inception of MCU and how it became the biggest superhero franchise in Hollywood.

That's where a lot of the emotional connection comes from in the film.»

Their film features perhaps the first action scene we've ever seen where we cared more about what was happening in a character's relationship than how many kills he was about to rack up — and then, once it was done, felt simultaneously exhilarated by the visceral power of what was happening immediately, and the emotional stakes of what that set piece took him (and us) away from.

Though it's unclear where exactly Ross» stance is on the elements causing Frank and Lola such emotional strife, it's a film which genuinely grapples with the inconsistency between ideals and reality when becoming romantically involved.

But love isn't all easy in the Sundance indie film First Girl I Loved, where the placement of a high school same - sex romance in the swivelling unpredictability of adolescence makes this coming - of - age tale an emotional spin that attempts to increase its stakes at every turn.

The provocative new film (formerly PROJECT LAZARUS) from acclaimed Spanish filmmaker Mateo Gil (screenwriter of THE SEA INSIDE, VANILLA SKY, director of NOBODY KNOWS ANYBODY, BLACKTHORN) presents a modern spin on FRANKENSTEIN, where the emphasis rests on the emotional and psychological ramifications of reanimating the dead.

The film hits close to home and the scene where they [Andrew Garfield and Laura Dern] are being kicked out of their home was very emotional.

I agree that is it a very engaging and emotional role and he did nail it but the film itself is where I had issues.

The film only lapses during the occasional moment where things seem to go too over the top to believe outright, but given the emotional turbulence of the time it was made in, such indulgences seem forgivable.

There are some amazingly emotional moments throughout the film where you can't help but smile, and both mother and son easily find their way into viewers» hearts as identifiable protagonists to root for.

It's a beautiful film, safe, sure, but it knows where to lay the emotional hammer down and where to let the rock keep skipping on the surface.

The film ended to robust applause and an emotional question - and - answer session, where parents voiced their frustrations.

Grannan's first feature film, The Nine, is a poetic and emotional study of heartbreak, loss, and euphoria — characteristics of the makeshift community of forgotten and displaced individuals living along the South Nine Street corridor in Modesto, California, where, as Grannan has said, «the American Dream comes to a dead halt.»