Sentences with phrase «engaging film with»

Footnote is a very engaging film with strong acting, storytelling, and cinematography.

Not exact matches

100 % foreign ownership allowed Cold storage Sports centers Film processing labs Rubber and sugar industry) when engaging in partnerships with local farmers and use 30 % domestically produced raw material) Warehousing Tourism, E-commerce (with a marketplace value above 10 billion rupiahs and when working with local warehousing companies) Toll road operators Telecom device certification Non-hazardous waste management Raw medicine materials Pharmaceutical ventures Restaurants, bars, cafés Film making Film distribution Cinemas (required to show Indonesian films at least 60 per cent of their screen time) Direct selling Futures trading

DB will have wasted more than a year engaged with a surreal investor who has disappeared into the mist like a character in a bad Chinese martial arts film.

«Christians should be ready to engage with them about the main biblical themes that are portrayed in the film, namely sin, judgment, and salvation.»

The more we see of Shuri, the more we engage with this crucial component of the film's worldbuilding.

This is a conversation worth having and you can have it if you engage with this film and those who see it.

I think I'm going to be sick, AA wants nothing to do with press radio or film (nor does it wish to engage in any sect, cults or religion), yet you have the nerve to write an opinionated article about not believing in God and being part of AA?

To inform the organic sector about the OSCII activities, the OFC and OACC have created 8 short films that present organic producers engaged in research and innovation in close cooperation with OSCII researchers.

«Comic Con gives us an outlet to directly engage with this niche comic, film, and gaming crowd in a really fun, unique way,» Eldridge says.

BASC North regional officer Gareth Dockerty said: «The film shows how upland gamekeepers and those involved in the provision of land for shooting engage with their communities to manage sensitive habitats in a sustainable way for wildlife and people.»

The film is high on emotion; making little attempt to engage with the case for removing the Iraqi dictator.

I had no preconceived ideas, and was rewarded with, at first, a fresh - looking film that, to my non-prejudiced eyes, was new and engaging.

Lead researcher Professor Tuomas Eerola, Professor of Music Cognition in the Department of Music, Durham University, said: «Previous research in music psychology and film studies has emphasised the puzzling pleasure that people experience when engaging with tragic art.

To overcome this, Jin recommends scientists engage more with the public, uphold ethical standards, and increase the production of science - related films and shows.

For some, it is merely because it is such an thrilling technique of becoming capable to produce new friends, just to have other Christians that you just can possess a fun wonderful with, go to the films, and engage in a variety of other kinds of thrilling activities.

George Bowers does a very good job here creating lots of creepy atmosphere, good lighting, with some great zoom in's, and keeping the film at an engaging pace!

Occasional passing shots of Orthodox men garbed in traditional heavy black coats and hats have an almost Edward Gorey-esque surrealness to them, and yet what makes the film so engaging is the thoroughness with which it humanizes and renders accessible the hermetic Hasidic community of Borough Park, Brooklyn.

A perversely disturbing and highly uncomfortable film that bursts with overwhelming sexual intensity as the characters engage in a compulsive fetishistic psychopathology that is strangely telling, even if it will probably leave most viewers repelled and make them never want to see it again.

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.

Once the stars do arrive, the picture tears off after the bombs, following Devoe and Kelly as they violently interrogate baddies, study maps and evidence, and, in the film's best sequence, engage in a little demolition derby with villains in the middle of an Austrian town square.

My idea of a film that is worth watching, one that is consistent with our experiences of the way life really is, and devoid of script writer hyperbole of what they think is required to be engaging.

While it's hard to deny the ineffectiveness of both Peter Berg's directorial choices and the film's final half hour, Hancock primarily comes off as an engaging and thoroughly innovative spin on the superhero genre - with Will Smith's admittedly impressive performance certainly ranking high on the movie's list of positive attributes.

Yet while those comic book references, along with plenty of well - written quips aimed at older audiences, will engage the parents in the theater, the film's introspective second act may fail to hold the attention of younger viewers.

an absorbing, frequently powerful, and at times insightful film that smartly deploys its sci - fi trappings to keep us engaged while leaving us with just the right touch of ambiguity to chew on afterwards

For anyone not familiar with the events in Entebbe, the film is engaging enough as a historical account of a watershed moment in how the world chose to deal with terrorism — the actions of the Israeli Defence Forces prompted governments around the world to reassess the way they responded to acts of hostage taking.

Given this, Edge of Seventeen is a film that a wide audience can connect with and is thoroughly engaging in this way.

I also detested the title character a bit more than perhaps the writers intended or would have wanted, since it kept me from engaging more with the film.

There's more than a glimmer of something engaging in Red Sparrow — a grim, sorrowful thriller with a keenly rendered texture — but the film gets tripped up as it both resists classification and invites all of it in.

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.

With all of that said, the film does come close enough to engage throughout its course, with color, intrigue and, of course, good loWith all of that said, the film does come close enough to engage throughout its course, with color, intrigue and, of course, good lowith color, intrigue and, of course, good looks.

There's little doubt that the effortlessly engaging central performances play a substantial role in the film's success, with D'Agosto and Olsen's charismatic work ensuring that their respective characters never come off as the sleazeballs one might've anticipated (ie Shawn and Nick's relentless scheming is almost Ferris Buelleresque in its good - naturedness).

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.

It's a stirring sequence that's heightened by Holbrook's engaging, downright poignant performance, with the film's compulsively watchable atmosphere perpetuated by the initial scenes set within the past - as Lawrence does a nice job of infusing such moments with a melodramatic and suitably old - fashioned feel that proves impossible to resist.

Director, Hany Abu - Assad crafts a fast - paced, compelling and carefully scribed film with darkly engaging characters and a surprising story that keeps you guessing right to the end and leaves it open.

With the artful and clever concept of little to no dialogue, the film keeps the audience engaged and too scared to make a sound themselves (you don't even wan to munch on your popcorn) Yes, as with many thrillers, there are a few plot holes, but the plot is unique, the acting is good and suspense is palpaWith the artful and clever concept of little to no dialogue, the film keeps the audience engaged and too scared to make a sound themselves (you don't even wan to munch on your popcorn) Yes, as with many thrillers, there are a few plot holes, but the plot is unique, the acting is good and suspense is palpawith many thrillers, there are a few plot holes, but the plot is unique, the acting is good and suspense is palpable.

While Anon doesn't boast a superior story, it's engaging in the way many B - grade noir films from the «40s and «50s were — pulpy excursions into the dark side of human nature with hard - bitten heroes and duplicitous femmes fatale.

It is this ability to crossover from potential niche status - a huge risk for a film with a mammoth budget - to billion dollar behemoth should light a fire under the asses of studios to show them that stories about anyone can be successful as long as they are well made and engaging.

Although Spettacolo is thoughtful and charming throughout, it's mildly disappointing that the film doesn't further engage with the self - reflexivity of the annual event itself.

I like my movies with beautiful cinematography, well composed sets.....real - like engaging stories... and an all together a seamless work of art... but all of Almodovar films are too complicated and never ending... too much... I wonder if

Writer / director Scott Cooper's latest film, Hostiles, starts with a bang and ends with a whimper, but it's what happens in between those diametrically opposed sensations that makes this one of the most engaging and complex films of 2017.

«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.

Such atmospheric stiffness joins with uneven structural pacing until the final product feels utterly aimless, and such an unfortunate formula does heavy damage to a film that arguably barely comes up with enough engaging aspects to transcend mediocrity.

I was engaged by the film's charm, but with too strong a reservation to recommend it as anything more than an enjoyable trifle.

As an effective drama, however, the film is frustrating in its unwillingness to engage with its characters beyond its broader strokes.

In Basterds, however, Tarantino was engaged with an exhaustive canon of World War II movies, from Casablanca to Schindler's List, while the subject of Django Unchained — slavery in the American South — is one that has been conspicuously absent in Hollywood films in the century since D.W. Griffith's The Birth of a Nation.

But the film is remarkably engaging and, with close looks at so many important pieces of art, bursting with beauty.

Perhaps you're idly wondering how this remake of a 1974 vigilante - justice Charles Bronson flick engages with its subject, and interrogates the original film's assumptions and, perhaps, recontextualizes its central ethos of «we white straight men are under attack and thus are so completely justified in slaughtering — ah, defending ourselves — with extreme (and literal) prejudice»?

However, neither film successfully engages with the audience's emotions, which results in films that can only be admired at a distance.

There was the audience's in the pure fun of the film, based on Tony Stark's in the physical exhilaration of flying, the mental exhilaration of finding a task to engage his mind and spirit so entirely, and the spiritual exhilaration of meaningful and sustaining engagement with the world.

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.