Sentences with phrase «engaging film out»

2:00 am (14th)-- IFC — Before Sunrise It takes a special kind of filmmaker to make a moving, entertaining, and engaging film out of two people talking all night, and Richard Linklater is just that special.

You make the most detailed and engaging films out there!

Not exact matches

Although the film lacks the polished visual effects of Hollywood sci - fi thrillers, the timely political themes — including out - of - control wiretapping, job outsourcing, and border security — make the plot both engaging and chillingly plausible.

Despite a reunion straight out of Lassie Come Home, a violent animated sequence, in which Beth sees her domesticated pet engaged in the dog eat dog world of the wilderness, exposes a gap that the film doesn't quite cover up.

Fastvold, on the other hand, certainly knows how to get the most of out the house's isolated location (Zack Galler's cinematography has plenty of style to spare), but ultimately creates a film that fails to engage.

There's not much going on here that most audience members won't see coming miles away - ie the transformation of a crusty old blind character into someone distinctly more kindhearted, thanks to the presence of Quill - but the film nevertheless remains engaging, primarily thanks to director Yoichi Sai's patience in allowing things to play out naturally.

Featuring a strong ensemble cast and solid camera work, the film starts out as one kind of story before metamorphosing into a bittersweet tale of retribution that never fails to engage.

The main characters in the film choose not to engage in the reckless behavior their friends are to instead find comfort with each other, and accept how they're lives have turned out.

The film is also fun and engaging, dishing out a decent supply of chuckles along the way.

The interviews are appealing enough, if sometimes too bland, but the more engaging passages in the film are those that show Francis out in the world, visiting migrant camps in Italy and Greece, mingling with the poor in his native Buenos Aires, and even spending time with prisoners in the U.S. as well as other countries.

That spirit of giddy flippancy keeps the film pleasantly engaging, but it also practically ensures that, unlike the books on which it's based, Peter Rabbit is rather unlikely to be recalled with misty - eyed adoration by the time the year's out, much less over a century after its creation.

«I, Tonya» is far more engaging when its characters aren't winking at the camera, and Gillespie almost squeezes his heroine out of her own movie instead of more directly reckoning with her secondhand involvement in the incident that has come to define her life, but the film always rediscovers its poise by returning to Harding's circumstances.

The film's world - building is more engaging than its plotting, which skews toward the generic as the embattled good guys set out on their last - ditch effort to save what remains of humanity; there's a sense, while watching Blame!

One couldn't find a culture more different than the simian society of Planet of the Apes (1968), a film that Schaffner was engaged to direct after Blake Edwards pulled out.

Like many films by Besson — «The Professional,» «The Fifth Element,» «The Messenger» and other high - octane shoot -»em - ups — «Lucy» starts out riveting but becomes less engaging as it goes along.

But the film engages extensively in gross - out humor, without much success.

Perri was a big fan of the film, calling it «thoughtful, engaging and just an all - around blast to watch,» and singling out its uniqueness in her review.

Adapted from the short film by director David F. Sandberg and adapted by horror - centric screenwriter Eric Heiserrer, Lights Out may be a quick, simple, and slightly familiar piece of PG -13-level horror, but it's also a well - made and unexpectedly engaging thriller as well — with an ending that's sure to generate at least a small amount of debate among horror fans.

Dern gives an engaging, against - type performance, though the script is stretched out very thin to support a feature - length film.

Maybe my expectations were duly lowered but director Francis Lawrence, who took over the series from filmmaker Gary Ross and raised the bar, and screenwriters Peter Craig and Danny Strong turn out a surprisingly engaging film about rebellion, propaganda, media, and the emotional and psychological scars of war, all seen from the point of view of a young woman (Jennifer Lawrence) who becomes a symbol of resistance simply by surviving with courage, dignity, and compassion.

It turned out to be quite an engaging story, with believable, complex characters, a fun, if dramatically - inclined, plot, and seaplane action that was surprisingly quite exciting throughout the whole film.

For a film that came out in the late 90s, I was just as engaged as if it came out this very year.

With his previous film I Wish, we knew that Japanese filmmaker Kore - eda was an expert at drawing engaging performances out of adorable young children.

Morris would just get engaged in making a point — he's a prodigious and enthusiastic talker, a quality that's rarely on display in the many films in which he so prodigiously listens — when the line would cut out and I'd have to call him back, a maddening glitch he handled with graciousness and good humor.

His new film, Free Fire, is built around a premise that is simultaneously old school and high concept: two groups of criminals in 1970s Boston arrange an arms deal in an old warehouse, things go south, guns are drawn... and they proceed to engage in a gun battle that plays out over the course of the entire movie, mostly in real time.

Addictively engaging, intelligently conceived and very passionately brought to life, Blow Out is, according to all relevant criteria, the best conspiracy film we've seen.

Not too far from its end, the film starts to run out of steam, as its mystery becomes less engaging, its dialogue less funny, and its interest moves from creative storytelling to imaginative visual gymnastics.

Working with a strategized network narrative — one that stands out from the many in Bordwell's samples, the year 2000 film had appeared as less all - encompassing and oddly mapped out, but after the screening I felt that device was no less disciplined as it engages the viewer by revealing some information, dispelling some, while omitting others — those countless fades to black are welcome beats for analysis.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

I'm loath to quote myself, but I'll make an exception for «Hearts in Atlantis,» which was one of the first movies I wrote about as a college film reviewer for USC's Daily Trojan, and from which I singled out Yelchin's performance as «wonderfully engaging.»

If you've skipped one of the earlier films things will make sense, but you'll not have the investment in what's playing out to truly engage.

Like The Survivalist, it's well worth seeking out; this is an engaging, suspenseful and visually striking film that marks out its director as a future talent to watch.

Ultimately, though, the strength of the performances and the witty, acerbic nature of the piece win out, and instead, the film remains a smart, engaging work, one that succeeds in being entertaining and genuinely intelligent in spite of itself.

I encourage anyone who wants to watch a thoroughly engaging film who has yet to see Spielberg's near - masterpiece to devote some time out of their day to this one.

However you choose to define it, Get Out is a wholly engaging, entertaining and particularly relevant film.

The public didn't respond and missed out on one of the year's most engaging films, with a cast full of young talent and rising stars.

Housed in a regular plastic Amaray case, Word Is Out comes to DVD with English SDH subtitles, and a wealth of fairly engaging bonus material that properly contextualizes the film.

Steinmann seems to think that the mystery he's weaving is truly engaging, but it's really just a sorry excuse for once again dragging out the specter of Jason Voorhees, whose gory antics are so restrained by the insistence of the MPAA rating system that the film feels like it was edited with one of Jason's bloody - rusty weapons.

And as film criticism written by passionately engaged people with actual knowledge of film history has gradually faded from the scene, it seems like there are more and more voices out there engaged in pure judgmentalism, people who seem to take pleasure in seeing films and filmmakers rejected, dismissed and in some cases ripped to shreds.

Where so many Marvel introductions to date have concerned themselves with dishing out every familiar and / or accessible character traits to satisfy fans and engage the uninitiated, Black Panther is one of the only such films to truly distinguish itself as its own unique entity.

As long as you can get past the out - of - place (and bad) French-esque music and massive plot hole of there being cameras everywhere in the facility except the room containing the merman, it's a pretty engaging and entertaining film.

While I can understand this point of view, I don't know if people are being altogether fair in tempering their reaction for what turns out to be one of the most exciting and engaging pure action films to come out in many years.

And yet in the ashes of «Avengers: Age of Ultron,» the brain trust behind Marvel Studios and directors Joe and Anthony Russo have built what is easily one of the strongest films of their so - called cinematic universe with «Captain America: Civil War,» an engaging, lively and just flat - out fun use of the characters we've gotten to know across the past eight years and 12 films.

As he points out in a Bullz - Eye interview, the sexuality here is vastly more upbeat than in «Last Tango in Paris,» and the NC - 17 rated film is a great deal hotter and more engaging.

The film is engaging, entertaining, and dark enough for me to get a kick out of the reveling evil on screen.»

Drawing on the exhibition fight motif of Rocky's sixth cinematic outing, much of the film details the arduous preparation that the two elder statesman have to engage in as they aim to be in tip - top shape for their elongated return to the ring.

Surprisingly, it turns out to be a tight, engaging, and well - constructed film.

The final scene, which plays out over the credits, acts as a nice riposte to the hand - wringing pseudo-liberal parenting nonsense that has gone on before, a satisfying end to a thoroughly engaging film.

The painstakingly built film universe out of Disney's Marvel properties called Marvel Cinematic Universe will finally see its biggest moment yet as the Big Bad Thanos finally engages in a battle against Marvel superheroes in Avengers: Infinity War.

As it turns out, the refugees are even more peripheral, almost invisible (including the Moroccan household staff members) to the film's narrative, which suggests Happy End is pointing a wagging finger at the entirety of white, privileged Europe, a continent engaged in her own foolhardy, manipulative dramas, happily ambivalent to anything beyond the safety and convenience of self - imposed blinders.