Sentences with phrase «emotional film which»

Not exact matches

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 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.

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.

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.

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.

Joyene Nazatul Ismail has created a short film To Mum (Love, Me), which exhibits the emotional turbulence that one mom experiences after discovering that her daughter -LSB-...]

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.

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.

«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 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.

Their fabricated stories occasionally dissolve into something much more honest; Jack, perhaps the most emotional of the brothers, is a short story writer, with suspiciously familiar plot points and characters he insists are fictitious (from the short, Hotel Chevalier, which accompanies the film at the festival, we know this is not true).

Fear not, KUNG FU PANDA 2 is still essentially a lighthearted affair, although I appreciate the effort that's been made to give it a bit more of an emotional kick this time around, which is more than the last few SHREK films ever tried to accomplish.

The feelings of loss and envy running through the film — feelings of anger and betrayal as well, which a representative of black America directs squarely at the inhabitants of this imagined homeland — add a level of emotional complexity to Black Panther beyond anything you might reasonably have expected.

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 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.

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.

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.

A very interesting storyline which fuses science and spiritualism in a very nuanced emotional and intellectual capacity, giving the audience a captivating, suspenseful and thought - provoking film.

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.

Unfortunately, the film's final act (all the way up through the end credits) nosedives into the maudlin and saccharine instead of trusting its story to do the emotional heavy lifting, which is disappointing because the rest of the film handles this topic with such tact and level - headedness.

The film is dark, but warm and emotional at times, which helps elevate the project to new heights.

However, that emotional intensity is completely erased in the film's final half hour, which is devoted to typical courtroom scenes that provide none of the power of what we just endured.

There's some top - notch string work from composer Alan Silvestri, which adds some pleasing gravitas to proceedings, but the emotional integrity of the film ultimately comes down to a groups of actors audiences have come to know and love.

Lancaster and Scofield both give respectful performances which become the fulcrum of the film's emotional center.

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.

His use of perspective throughout is done to perfection and during its Iraq sequences, which are constantly referred to and visible right up until the emotional ending, the higher frame rate only enhances the realism — almost to the point of you looking away from the screen as one of the film's most pivotal moments plays out.

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.

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.

Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull off.

But that film had moments which were truly shocking and allowed the violence to have an emotional impact on the characters and audience.

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).

All of which is reflected in Nicholson's phenomenal central performance, for Bobby is himself a kind of actor, playing at being ugly, mean and self - sufficient in a doomed effort to disguise his absolute emotional emptiness, feeling himself exposed layer by layer as the film approaches its devastating climax.

Some of the film's most emotional moments are unintentionally funny, but these are far outweighed by the sense of mystery (and dread) which hangs over the entire narrative.

Vincent's calm, almost strenuously low - key film never gathers enough emotional momentum to become a fully dimensional romance — which might be its poignant intention.

She is tasked with carrying this whole film much of which finds her in a heightened emotional state of mind.

Adding to the charm of this fantastic piece of emotional and comedic entertainment is Waititi's stylized filmmaking, which recalls the calculated yet start - to - finish energy of any Edgar Wright film.

The film reaches an emotional and thematic catharsis in these scenes, which sets up the final phase in Schmidt's journey.

To be fair, the film - makers do establish a certain depth to his character towards the end in an emotional scene involving his father, which is heartfelt and well - played.

Despite the monster horror aspect to this tale, the Cargo trailer actually make it look like an emotional survival film - one which will have us crying buckets no matter what the out come, no doubt.

With apologies to Alfonso Cuarón's film, which I enjoyed, the buzzier effort may be an enveloping visual tour - de-force, but the one (wo) man - against - the - universe endurance saga in space lacks in character development and genuinely convincing emotional stakes.

She had to create her side of a deep emotional connection essentially in an ADR booth, which is something that doesn't even occur to you while watching the film.

But it's also true that his films, which include «The 40 - Year - Old Virgin» and «Knocked Up,» have an appealing emotional nakedness (to go with the other kind of nakedness).

This emphasis on complexity and a disinterest in reducing a heroine to a sad - sack victim extends to Lelio's hyper - vivid aesthetic, which drapes the film in surreal dream sequences, beautiful colors and left - field soundtrack choices like «Time» during a pivotal emotional scene.

Both Wiress and Beetee could have simply been twitchy, nerdy caricatures, but casting Wright (who seems to be everywhere) and Plummer (who we always want to see more of) gives them depth and brings additional emotional weight to the arena's proceedings, to the cast of other tributes (which needs all the rounding out it can get) and to the film as a whole.

Essentially a film in itself, the dance has a story in which Rogers is rescued from suicide by Astaire, it's an intensely emotional dance, a perfect combination of movement, mise - en - scène and music.

The complexity of the screenplay by Seth Grossman really starts to build after the first thirty minutes of the film and steps out of the calm, leading into something very dramatic and emotional, which surprised me.

It's that slipperiness of creation and that psychosis that finds us repeating ourselves by repeating images of ourselves (Multiplicity is a trickier flick than given credit for) which informs a trio of new science - fiction films reaching North American movie screens simultaneously (though only one is American in origin)-- we are the world's new cultural / emotional wasteland and the films of our new millennium reflect that status.

Though it tries too hard to evoke the journey aspect of the Lord of the Rings DVDs» appendices, failing to earn the emotional tenor of a conclusion in which the ramshackle postproduction facility is dismantled and crewmembers speak of starting families in the time it took to complete the film, it's a piece blessedly light on promotional affectations.