Sentences with phrase «end of the film quite»

I did like the beginning and end of the film quite a lot though.

Not exact matches

It was he, along with Ismail Merchant, who filmed Howards End and so many other literary adaptations some years ago, many of them quite good.

Heffner, himself a historian, finds JFK filled with «not - quite - provable speculations about the end of Camelot,» but he is intrigued by the angry response to the film on the part of print media and television journalists.

The beginning of the film was quite funny and the ending was one that made you smile.

Paltrow does what she can in the role of Mills» wife, but she has too little screen time to make any sort of impact; by the end of the film, she is quite literally reduced to the role of a prop.

I think Jackson has to be commended for, quite bravely, deciding to jump in at the deep end once more by taking on yet another set of films, where the story is not so much saving the world but helping a band of warriors reclaim their home.

While much of it is quite funny, the film ends up feeling like a good comedy sketch stretched out unnecessarily to a feature - length.

Having never read the book I'm rating it as just a film and it's really a film that starts well then gets predictable then got silly and confusing, The story was not new but it had a different take on it, It wasn't acted very well but it had some good intense scenes that were done well, With a good cast the story should of been told more deeper and we never really know how it all started which was quite annoying, I did like the ending but the scenes before that completely ruined the film as they didn't make sense or were done that well, It's not a bad film it's just poor for what was on offer.

The only reason my rating is so high is the fact that I never expected it to be as good as it was, It come as quite a surprise how funny it was, Ice Cube basically plays the same character that made his role in the Jump Street films so good, It's nothing new but it's full of cheap laughs from start to finish and the fight at the end was pretty entertaining, Yes it's predictable but it's allot of fun.

The character is not used well in the film, particularly towards the end, and I «m sure fans of Deadpool «s will be quite upset at the way he «s wasted.

While we can gather that the Angulo boys» relationship with the movies was a matter of shielding themselves from an unbearable reality with empowering artifice, nothing in Moselle's film delves into the internal contradictions inherent in this quite so well as the lyrics of Black Sabbath's «End of the Beginning,» which plays at the movie's close.

All of these little things add up by the end of the film into something quite substantial, and we actually have grown to like these men and their own little world.

In fact, I notice this with a lot of Blumhouse productions, although it's actually a symptom of how they make their movies (they rework a lot of their films and end up removing quite a bit of footage by release).

Although Fatal Attraction does go overboard in a few memorable scenes, it never quite breaks suspension of disbelief, even when Lyne lets it all rip in a frantic confrontation at the end (reportedly re-shot for audience approval) that commands your attention, even if it feels a bit inconsistent with the rest of the film's tone

Still, it does remain interesting and quite watchable even if the characters and story are cartoonish, but any aspirations of being a good film get blown into the wind by a grossly overblown deus ex machina ending and is further evidence of De Palma's problem: he has so much fun setting things up he seems begrudging when he has to end it, and it's a letdown both for him and for us that he can't punctuate things properly.

The threat in The World's End evolves as the film progresses, as well, culminating in quite an awesome and satisfying resolution that puts a fine period at the end of the Cornetto TriloEnd evolves as the film progresses, as well, culminating in quite an awesome and satisfying resolution that puts a fine period at the end of the Cornetto Triloend of the Cornetto Trilogy.

It is a pity that the script doesn't quite have the courage of its convictions to provide a more understated ending and instead lapses into the slightly saccharine final scene but it's only a minor blemish on an otherwise thoroughly enjoyable film.

With a stellar domestic start and a solid international launch so far, it's quite probable that «Black Panther» will join the 32 films with $ 1 billion in worldwide earnings by the end of its run.

Framed with aerial insecticide spraying at the beginning and an earthquake at the end, Short Cuts doesn't quite strive for the same accumulating punch of Altman's similarly - sprawling Nashville, but had an enormous influence on film dramas of the following 20 years, particularly Paul Thomas Anderson's Magnolia and Paul Haggis» Oscar - winner Crash.

That ended up not quite being the case, but as audiences at both Telluride and TIFF have subsequently discovered, it's a genuinely phenomenal piece of work, and one of the best films to come out of the studio system in years.

Its story holds precious few surprises and the title character ends this film as pretty much the same person he was when we met him at the beginning — without quite becoming the person Luke Skywalker and Obi - Wan Kenobi found and pulled out of a wretched hive of scum and villainy on Tatooine.

While Thomas W. Kiennast's black - and - white cinematography is quite beautiful to behold (Gröning's film certainly features some excellent cinematographic moments as well), Atef's film never manages to convey why we should care, today, about this brief moment in Schneider's well - documented life, including her never - ending struggle with the German press, her inability to escape the role of Sissi that made her instantly famous as a teenager, and the various tragedies that befell her, including the suicide of her ex - husband.7 The film is not a biopic per se (and Atef declared that she did not intend to make one): thus, audiences who are not already familiar with Schneider certainly will not come away from viewing the film with much of a sense of her life's story); yet, given it is not a biopic, one wonders what the film is, or what it tries to accomplish.

Universal appears to be quite confident in this one, as a representative informed press before the screening that we could run reviews right away, and asked only that we refrain from giving away the twist at the end of the film.

At a seemingly lean 105 minutes, the film feels more like 205 minutes as it chugs along to its big twist ending (ahem, Señor Shyamalan at your service), and though the story gains some momentum in the middle with the introduction of a group of ghost hunters, the random change in direction doesn't quite fit with the rest of the film's tone.

It's been quite a long time since we've had a real juggernaut performance from a film that ended up winning Best Picture (you could argue the last was The Hurt Locker, which won 6 of its 9 nominated categories).

Peters, who of course ends up wrapped in a blanket with Eastwood's character by the ho - hum film's minutes, was actually quite a cutie in this.

I would also surmise from the nonsense near the end of the film that there is quite a bit of material which was excised for purposes of time, and the intended finished product probably was meant to make more sense.

Crowe never quite finds the heart of his film about a man who goes to the decimated front after the end of WWI to find his missing three sons, presumed dead in the conflict.

As bad as the film is, I must admit, it is almost a bit of a guilty pleasure because it is SO bad, that quite frankly, I was expecting to be thrown for a loop with a surprise ending.

Evoking horror films of the»70s, Kill List starts as one thing (hitmen pulling off one last dangerous job) and ends up as quite another.

Compound that with a fairly ridiculous plot and a final shot that somehow leaves the impression that an adequate ending was never quite able to be conveyed, and Simon's film turns from a sure crowd - pleaser to one that can irk if you aren't in the mindset to accept it as just a piece of fluff entertainment and nothing more.

Though it's not always easy to see these changes, the characters at the end of the film are quite different than the ones we're introduced to at the beginning, although the world they were born into, as well as the one they are thrust into, always seems to stay the same.

It's quite refreshing that, in the end, one of the year's better films got the attendance it deserved.

Perhaps Burger was trying to reflect the stoic culture of the period, but while we know the character's motivations, we never quite grasp their emotions — especially Eisenheim, who becomes quite distant and inscrutable during the second half of the film (this may explain why the ending takes some by surprise).

A End of Watch Rated R for strong violence, some disturbing images, pervasive language including sexual references, and some drug use Available on DVD and Blu - ray Sometimes found - footage films work and are quite a lot of fun to watch.

One wonders if Padilha was fought by the studio to dumb down or rush the ending, as the last act of the film doesn't quite live up to the potential set up in the rest of the film.

As for Sting, his contributions to the film were reduced to two original songs, an opening Tom Jones number and the end credits song that is distant in tone but quite agreeable and the subject of the film's only Grammy, Golden Globe, and Academy Award nominations.

I'm also quite surprised at how many people think the film ends with a shot of sunflowers.

Even though Therese and Carol's intimate connection — it's not quite fair to call it «love» — can only expand so far inside the confines of their society (and the guillotine blade falls swiftly when its bounds are overstepped), they are ultimately triumphant — maybe not at the end of this film, and maybe not in each other's arms, but as people growing through suffering and finding grace in who they really are, the world be damned.

Employing a workshop format to cast the film, he ended up with quite the impressive roster; working with DiCaprio again for the first time since his take on «Romeo & Juliet,» he also has a galaxy of stars in support, including Maguire, and, playing against type, Mulligan as the materialistic, sometimes simple - minded Daisy Buchanan; curiously, it's her first leading role in a big Hollywood production.

Three weeks on, and it still reins at the top of the box office with initial sales of $ 21.9 million in the first weekend, and while it may not be quite the end for fans still enjoying the spectacular conclusion, the cast and crew made their bittersweet farewells some time ago; farewell to each other, farewell to their magnificent film sets and farewell to the stunningly sprawling landscape of New Zealand and its «friendly» inhabitants.

In fact, while there is quite a bit of impressive stunt and special effects pieces, they aren't thrilling in the slightest, and by the end of the film you will probably come away feeling just as empty as you were going in, except eight bucks lighter.

In the end it went to The Shape of Water, a safe kind of consensus choice that, while a lovely film about queer people, didn't have quite the same sociopolitical heft — in the positive or negative — of some other nominees.

There is a serious reconsideration, though, of the choice the characters made at the end of the first film, and the sincerity of their performances is at times quite moving.

Life of Pi is a troubled film with moments of cinematic excellence that can not quite keep itself together in the end.

Dakota Johnson... spends quite a bit of the film in the buff; her nipples practically deserved an end credit... Jamie Dornan, who supposedly serves as the seductive force of the film, has far fewer skin - baring moments (and of course, no real frontal reveal).

Keep in mind that I still have quite a few films to see before the end of the year, so my personal top 10/15/20 that I'll be releasing in early January remains subject to change.

I had an amazing time at the festival and saw quite a few films, but I did realize that Whiplash, even though my very first film, was still one of the best of the fest by the end.

The very ending of the film is quite bizarre, showing a slither of originality hitherto unseen.

At the end of the day, though, the two films are actually quite different despite their similar setups.