Sentences with phrase «even against this film»

Not exact matches

(Even Affleck has spoken out against that film.)

The sites, which often act as launching pads for smear campaigns against entertainment properties that users don't like for one reason or another, are being credited for sinking films before they even see the light of day.

And secondly, this 2D exciton is stable at room temperature and robust against defects, as it is present in any type of TiO2 — single crystals, thin films, and even nanoparticles used in devices.

As the struggle with Voldemort suggests, the premise of the story is allegorical — good / light against evil / dark — with obvious revivals of the genre traditions of British heroic legend and medieval romance, even though the films have modern elements.

It wouldn't have attracted right - wing attacks without the detractors being largely driven by homophobia, not to mention the current railing against Hollywood, despite it not even being a Hollywood film.

Even more vital to the film as a thriller, we have a sense that, unlike the protagonists in the original, these characters have an actual chance against the killers.

If there is one moment in the film that even brushes against maturity, I missed it.

Allied is unusually linear, after the initial setup: Max is told he married a German spy in Marianne; against orders and behind Marianne's back, he sets out to disprove it.2 The apologist urge is to call it a maturation of Zemeckis's style, to tell a story so simply and economically (even if we've kind of been here before with Cast Away), but the film feels conspicuously underdeveloped as opposed to streamlined, to the extent that the big reveal seems as if it was decided on a coin toss; it's easy to imagine the opposite outcome without any sort of retrofitting to accommodate it.

When the film begins they don't even know each other, but before long these two star - crossed lovers have to battle against Dorian's Machiavellian mother, played wickedly by «SCTV» alum Catherine O'Hara, and his loose - screw, murderous brother Angus, played by Jake Busey.

This also slightly works against the film, as some elements look even more digital and fake to a trained eye than they would on the (also included) 1080p Blu - ray disc (which also have the same audio and widescreen specs).

Such stories need a gay best friend except that this film's candidate for that post - Patton Oswalt's career - defining Matt - turns out against the odds not to be gay, even if a mistaken assumption on exactly that topic led to a grievous hate crime against him many years before.

When the trailer came out and implied the film would be in part covering Thanos» collection of the Infinity Stones, not just the fight against him already possessing them, it was even more logical that the two films would be one massive struggle against the mad titan.

The film was released to theaters in a 137 - minute cut, but Cameron's preferred 154 - minute director's cut is even better; he keeps the suspense slowly building until it becomes almost unbearable in the final, tense minutes, with Ripley racing against the clock to rescue Newt from the bowels of the endless green - blue fortress.

Condon's film also completely skims over the well - publicized rape allegations against Assange, and although that would have made an already unfocused narrative even more so, it's an important piece to the puzzle.

Even the most upbeat song of the film, sung to absolute perfection by Justin Timberlake «s Jim and Adam Driver «s Al Cody, is a plea against America's fear of the uncertainty — the next battle against the Ruskos in a blossoming Cold War.

His own take on the Spam - in - a-cabin / monster - in - the - lake concept, Beneath, showcases that intelligence, even as its energy — particularly when held against his last four films — flags through most of a soft introduction.

Even hough the upcoming film may be working against a spoiled storyline, Terminator: Genisys has the endorsement of the original Terminator director, which the studio seems to be using for a marketing advantage.

Both principal actors have a strong enough sense of their characters, even as they're pulled into increasingly harrowing places, to make the film a more successful one than Loach's last few, but it's still schematic and predictable, and it aggressively stacks the deck against Blake and Kattie in a way that makes it more effective as social activism, and less so as drama.

Yet it has fallen to third in the box office against an animated film that was just in that seat last weekend, and is an odd drop considering its only competition Drive Angry: 3D didn't even have a ripple effect in the top box office.

The relationship she builds with William Willoughby (Woody Harrelson) is both fiery and tender, and even though the campaign that she carries out is against him can be justified, it is clear these characetsr have an understanding, and throughout the film it is clear she is just as flawed as he is.

The video features footage of Boyd performing the song in the studio, juxtaposed against footage from the entire six - film saga and even some behind - the - scenes footage.

Not that the film eschews more explicit exposition, but handled delicately and realistically with two member of Murrow's staff (Robert Downey, Jr. and Patricia Clarkson), who have married against CBS policy, discussing the ramifications of what is going on, or the necessity that even Murrow succumbed to in signing the loyalty oaths CBS required of its employees.

Shakespeare scholar Holger Syme was even less charitable, proposing in a blog entry that has since become an Oxfordian recruitment camp fronted by Orloff himself that the film's chief sin is not historical inaccuracy but its filmmakers» posture as courageous iconoclasts, railing against established wisdom.

(Even the film's PG - 13 rating conspires against it; for a movie predicated on a group of people who stab other people, the filmmaking obscures the violence to such a degree there are moments where it's unclear what happened, and to whom.)

Their scenes together hit the mark and even touch the heart, but it is still the back and forth with mom that lifts this film to a whole other level as further friction is caused when Lady Bird secretly applies to a New York University against the wishes of her mother who wants her to stay close to home.

Building an atmosphere of dread against a cleverly - achieved backdrop of the «I'm Ok You're Ok»»70s, the film had our reviewer wondering «Is «Christine» voyeuristic, or even exploitative?

What separates «Ex Machina» from all those other movies about the potential dangers of sentient A.I., however, is the addition of Gleeson's character to the equation, because it uses Caleb's humanity / moral compass against the audience to make you sympathetic towards Ava even though virtually every film about robots has taught us not to trust them.

Perhaps it's not even a question of the film having a main plot at all, but rather, multiplying subplots that push up against each other so that you can't separate the one from the other.

The best documentaries are those who even have a villain that the film's protagonist has to fight against to come out ahead.

I know this is going against the grain, but, as a female I didn't find anything even mildly empowering about this film!

I'm guarded about this new thing of allies rushing to my defense against the likes of Doctor Strange and Ghost in the Shell when most of these same allies defended Cloud Atlas, a film so enthusiastically tone - deaf and offensive to Asians that I can't even begin to begin.

Perhaps the most annoying thing about «Blackhat,» however, is that it constantly brings up 9/11 as a measure of the level of terror that the hacker is capable of launching against the world, and yet the film never even considers going in that direction.

It is not the fault of black movies and black actors that their success and failure can feel so collectively important — but I am wondering if, in cases like Proud Mary, it might serve the movie best to measure it against the kind of goals that white action films have been aiming at for years: that is, a genre where even a bad one can be good if it manages to be entertaining.

Even the film's B - plot, where Cate Blanchett plays the Goddess of Death and Idris Elba the Asgardian warrior plotting an uprising against her, seems like an afterthought.

It's just one puzzle in an altogether puzzling film — one that has Patrick Swayze playing Charlie Sheen's older brother (and Jennifer Grey the sister of Lea Thompson in an even greater genetic stretch) and C. Thomas Howell as a remorseless, psychopathic nihilist who takes his dose of glory by Rambo'ing up against a Russian attack helicopter.

Even so, these gripes seem trivial when you stack them up against the film's many virtues.

Some have forecasted a heated battle against Anomalisa for animated film of the year (and that even excludes When Marnie Was There, a fantastic film that's also in this feature), but it seems like a relative shoo - in for Inside Out, especially with the film garnering Best Picture nomination predictions for the Oscars — the new model nod for cultural transcendence in animated film.

Even though we're not against Mac and Kelly, the film invests a lot to making us sympathize with Shelby, Beth, Nora, and their fellow sisters.

Even as I've been railing against Armstrong's films for being lazy, he's actually gotten lazier.

And as the films roll out (or worse, even before they roll out), we find ourselves treating their fortunes as sport, pitting them against each other, judging their long - term prospects with critics and academy voters, and effectively dividing them into winners or losers.

She has to carry the entire film on her shoulders (she's almost the only recognizable face in the film, Glazer cannily contrasting her megastar status against actors from Ken Loach films or even non-pros to emphasize the sense of an otherworldly being walking among us), and does it without breaking a sweat.

The arguments for and against fracking are numerous: there is even a group of residents from Armstrong County in Pennsylvania where photography took place, that protest the film, accusing the film studios who aimed their cameras in their backyards that the movie would be fair to the drillers.

She brings a warmth and sweetness to the film that balances nicely against the bad - boy crudity, and even croons a lovely original ballad, «Mean Ol' Moon,» during a campfire scene set on (what else?)

There is even a reveal somewhere in the film about one's motivations stemming from a desire to «wage a war against God» that may make a few eyes roll at the sheer absurdity of it.

While his detractors blame Kinsey for much of the looseness of morals that developed in the decades following his published studies, Condon's film seeks to make him somewhat of a hero, as sexual repression and lack of adequate education were responsible for a high number of unhappy and confused people who saw anything but heterosexual intercourse as deviant behavior — even oral sex was against the law in some parts of the United States at the time.

We seek to celebrate the independent ethos of artists in music and film whose creations push against the grain of corporate - subsidized popular culture, even though interaction with the corporate world of art has grown more and more inevitable in this day and age.

To put these two stats into perspective, «La La Land» had the same two strikes against it last year, and while I felt certain it was going to be the one to overcome them, even a film as massively popular as it couldn't do it (and it had won Critics» Choice, PGA, and DGA as well).

It's also one of the few times «Kings» delivers an impactful moment, even though the rest of the film is set against the backdrop of the trial of the four LAPD officers who beat Rodney King, and the riots that ignited after all four were acquitted.

Taking audience questions about American Violet at the Telluride film festival, she alleged that even after district attorney John Paschall settled out of court with her and the other plaintiffs in an ACLU suit, he enforced an informal employment blacklist against her in her hometown of Hearne, Texas.

But his oeuvre before Funny Games «diatribe against violence as entertainment has so far gone largely un-examined, receiving little (if any) serious critical attention, even though the seeds of his most famous and acclaimed films are clearly present in Haneke's work from his feature debut The Seventh Continent (1989).