Sentences with phrase «entire film work»

Aubrey Plaza gives a fantastic, nuanced performance in the lead role as Ingrid, and made the entire film work.

It's that performance that is so convincing that makes the entire film work, and she brings the more sensible emotion the story needs even though we question it all by the end.

But then, just when I think I have the entire film worked out, it hits me with a fantastic sequence in Wales.

Not exact matches

As a member, you have the expertise of our entire sales and marketing team working for you to promote your products and services to visitors, meeting professionals and travel trade, media and the film industry.

Instead of having the entire atmosphere of the theatrical stage, now my works are created by putting cut out colored film onto the 2 - D surface.

The action in the film never feels cheap or amateur, which only helps make the entire premise work and continue to do so.

Its unprecedented approach to the controversial subject matter at its core works splendidly, effectively churning viewers in their seats for the entire duration of the film.

I've always maintained that it's ok to boast about one's talent if you have actual talent, and De Palma, whose work has spanned so many genres, has gifted us with more indelible moments in any given film than most directors have in their entire careers.

Jeff Bridges, playing the human hero sucked into the machine, has to carry the film's entire burden of charm and appeal; he seems to have freaked out under the strain, turning in some surpassingly weird, alienating work.

I've written before that I think he's a hugely talented guy, and this performance is certainly a stretch compared to his usual film work, but the movie's entire conception is surprisingly thin.

For Line, the more pessimistic work, Frankenheimer deliberately avoided warm colours and timed all his outdoor scenes for overcast days, so that the entire film is hued in muted blues and grays.

Perhaps one of the reasons that the mass public has continued to fail to embrace the film is that he works against the grain at every opportunity, playing a borderline villain, not unlike Captain Ahab in «Moby Dick», willing to push his entire family to the brink of his own madness in order to come to a destiny that he keeps changing a firm position on.

Viewed as a stream - of - consciousness reaction to a rich, established, older man's fear that he might lose everything he has worked his entire life to attain, however, the film takes on a more illuminating meaning.

This entire project has my full attention: Pet Sematary is my favorite Stephen King novel, and while the 1989 film was a pretty solid adaptation (King wrote the script himself), there are a lot of details that were left out of the film that could work perfectly in a new take on the material.

Director Jean Renoir worked in black - and - white his entire career — and then traveled to India for a sumptuous production that Martin Scorsese ranks as one of the most beautiful films ever made in color.

The songs (many written by Sheryl Crow) often are funnier than entire Adam Sandler films and the sight gags work well.

Though Patrick Warburton's Kronk was undoubtedly the best thing about The Emperor's New Groove, this film proves that the character works best in small doses; forced to carry an entire movie, Kronk becomes tedious and (unbelievable as it seems) unfunny.

There's a unique experience I have every time with Anderson's work: I watch with a smile on my face the entire time, until the final moments, when the film's emotional undercurrent hits me like a ton of bricks and I watch the end credits roll with tears streaming down my face.

Like much of Hong Sang - soo's work, this film plays with time, doubling back on itself like a Mobius strip to give us the entire story from a different point of view.

So I was really excited to be able to play someone who's brain never stops working out throughout the entire film.»

It certainly worked as the couple next to me wept through the entire film.

And if you thought Gyllenhaal was great in «Prisoners,» you ain't seen nothing yet: the actor «carries the entire film on his shoulders, and he delivers with a smoldering internalized performance of torment that is easily his finest work.»

Though it's the entire pretext for the film, there is virtually no evidence to suggest that the FBI actually needed Hathaway's assistance as a hacker, but at least he seems a lot more comfortable using weapons than any of the agents he's working for, which comes in handy near the end.

The entire film was shot on a sound stage, so the effects specialists had to do a lot of detailed work to make this film more believable.

Not only is it a work of terrifying brilliance, but it's also one of the most important films ever made: after 1960's Psycho and 1974's Black Christmas, Carpenter's Halloween firmly established the concept of the slasher film and changed the entire genre of horror forever.

The entire cast and crew... everyone who worked on the film....

So I think it's the entire ensemble which works in favour of the film.

For a film like this to work, the two leads need to have the acting ability to carry the entire narrative, and Cullen and New certainly achieve this under the skilled direction of Andrew Haigh.

Directed by Quentin Lawrence and based on a television film he had directed earlier, the entire film is kept to a couple of sets and a small, contained cast, and the controlled microcosm is part of what makes it work, as the threats are all outside the walls, unseen and only heard over a phone line or described by the charmingly commanding Morell.

Indeed, there are moments in the film when it seems the entire purpose of positioning Arthur as some sort of benign underworld Don was merely to provide some witty banter, word play and the quick cut dialogue exchanges between multiple characters that often marks Ritchie's work.

«To be able to work with our neighbour and dear friend Harvey Weinstein and The Weinstein Company to bring this film to US audiences for the first time is a bonus for our entire community.»

When Twentieth Century Fox and producer Lauren Shuler Donner brought director Bryan Singer back into the X-Men film universe with X-Men: First Class - a movie Singer was originally set to direct - little did we know that the man behind the first two X-Men films would end up working on an entire new trilogy of series installments.

According to Southpaw director Antoine Fuqua — who worked with the composer on the boxing film — he was astonished to learn that Horner wrote another entire score for his next film, a new version of The Magnificent Seven.

The release comes from Twilight Time, who have released 19 other Allen films to date — his entire body of work for United Artists and Orion Pictures, from 1971 to 1991.

These fellowships and grants are funded through a group of partnerships with very generous foundations, film industry companies, and individuals committed to the work of sustaining artists and advancing their work along their entire journey to connect with audiences.

The entire series, beginning with «Iron Man,» qualifies as a work of marketing and narrative genius from Marvel Studios President Kevin Feige, Before the home video market existed, Hollywood studios would never think of creating a movie that required viewers to see a decade's worth of other films to know what's going on.

There's plenty to admire throughout the entire film; Ford's direction is ambitious and, like his work in A Single Man, he has a keen artistic eye with some vibrant and striking imagery captured by Christopher Brown's art direction, Seamus McGarvey's sombre cinematography and the gorgeous production design by Shane Valentino and Meg Everist invites you into the characters» dark, dual existences without ever losing its consistent tone.

«We're thrilled to be working again with Jeremy Renner, who also produced our upcoming summer film «The Founder,» and this time in front of the camera with Elizabeth and the entire cast on Taylor's incredible directorial debut,» TWC co-chairman Harvey Weinstein said in a statement.

Casting, working with John Houseman, special effects, locations, and visual approaches are main highlights, although Carpenter's explanation of the film's re-shooting, re-editing and re-scoring - efforts which improved the film - are arguably the most compelling; when a film doesn't work, the choices are to cry in a dark room, or stand up and fix the problem; the latter of which the entire crew addressed with admiration.

Jacobson said making the movie was a blast, an experience where she got to work with old friends like Fred Armisen — but with Ninjago being an animated film in which the actors do voice work, she did not meet the film's entire cast until the movie's press tour.

I won't bore you with details as to why the original film is far superior other than to say that the entire premise works better in the Japanese culture where social graces are far more repressed, especially when it comes to sexy dancing.

The movie was distributed by Megan Ellison's Annapurna Pictures, an independent production company that used to work with bigger studios like Sony or Fox to release its films, but is now handling the entire operation itself.

Best Action Sequence «Inception» Basically the film's entire third act is a riveting accomplishment that's candy for the senses, but specifically the razzle - dazzle of the already famous corridor sequence was a jaw - dropping piece of work.

GKIDS president Eric Beckman said, «We are thrilled to be working with Salma and the entire creative team to bring this stunning and deeply moving film to theaters.

The entire film is exquisitely shot, with phenomenal work from both the principal cast, and virtually every extra on set.

Of the many thrills that come from interviewing creative people — variously, unknown, ascendant and at the top of their game — there's also the under - discussed flipside: talking with, 1) vapid young «actors» (line - reciters is more like it) who have neither a sense of film history nor an appreciation for their occupational good fortune and, 2) perfectly genial writers and directors who are nonetheless so relentlessly on script — occasionally reciting entire career - checking passages verbatim from press notes no doubt spit - polished into significance by some friendly faction in the dark wings — that you realize they actually have less summary insight or thoughts about several months or years of their own work than you do after 90 to 120 minutes with it.

There's little doubt that Jimmy and Judy's central visual conceit - the entire film has been shot entirely from the perspective of the two central characters - proves effective at holding the viewer at arm's length at the outset, with Furlong's almost aggressively obnoxious work as Jimmy initially exacerbating the movie's low - rent sensibilities.

Working with veteran cinematographer Henry Sharp (who had shot King Vidor's The Crowd in 1928), Lang imbues even the most benign of locations with a sense of unease, which gives the entire film a slightly uncanny quality.

That could also keep two - time winner Janusz Kamiński's work on The Diving Bell and the Butterfly (practically an entire film made up of trick shots, and certainly an easy choice for those who vote «most cinematography,» a la «most sound» and «most film editing») in the race as well.

The second disc contains a version of Castle in the Sky reminiscent of the «Work in Progress» Beauty and the Beast, as it's the entire film in sequential storyboard form; a better keepsake than a viewing experience, it plays with the finished soundtrack in Japanese or English.