Sentences with phrase «even sad film»

Not exact matches

There can be something sweet and even radiant about Sonia's hopefulness (as in Brooke Smith's lovely performance in Louis Malle's film Vanya on 42nd Street); but there is certainly something deeply sad about her resignation to incomprehension, to the failure of understanding, on this side of the grave.

I had planned to post a bunch of the photos I took with my film camera, but then the film didn't work out and I was so sad about it that I forgot to even write some words down

Because if it looks like what you're describing or even close to what I think it is, it will be a sad sad thing if this is the «future» of film making — mostly because I won't go to the movies anymore.

Unfortunately this was the last proper film for «Python» Graham Chapman and also the last film for British comedian Marty Feldman, its a shame that the film is known for those two sad reasons and not much else, only for total fans really as there isn't much to recommend in this silly film, even the stellar cast can't save it.

Even though this film concludes in a sad way, you can totally see why it happens and realize you really are just watching a slice of life unfold.

The Puffy Chair is the funniest, saddest and most emotionally honest «romantic comedy» to come along in years, even if I've yet to encounter many over the age of about 35 who like the film, or even get it.

But even setting that aside, it is sad at just how shallow and lacking in motivation the film is.

Apart from some visually arresting images (at which Iñárritu has always excelled), the film has little to offer, and it's even sadder when you consider how far Iñárritu and Garriaga have fallen since «Amores Perros.»

, the so - sad - they - can - only - be-Irish melodies of Carter Burwell's Miller's Crossing score, or even with The Big Lebowski, where they concocted a soundtrack as strange as the characters in the film, assist on that one to a young Kenny Rogers.

The opening 40 minutes or so, as Hoffman's slumped sad - sack is abandoned by his wife (Catherine Keener) and fumbles with a box - office worker (Samantha Morton), are promising despite the militant moroseness that plagues even the film's most whimsical flights of fancy.

It's a profoundly disturbing film, made even more so by how profoundly sad it is.

was surprised just how good this film is.The humour and pathos of this film is quite moving.There is no - one remotely attractive in the cast, it is full of strange looking redneck Americans living in semi wilderness.Everyone is poverty stricken.The sadness of old age is there, as is the regrets of past memories, and the desperation of the son to heal the wounds of his father's past life.The acting is brilliant even with the bit part actors with the sunburnt aged faces.The fathers grumpy reticence is counters by his truculent wife, who never has a good word for anybody with her vicious put downs, which is at times laugh out loud funny.A funny sad and moving film about the sheer desperate meanderings of life and old age.

The entire cast of the film (all of whom are both a lot more successful and a lot older) is back, with Showalter again donning the short - shorts and even - tighter than before T - shirts as Coop, Camp Firewood's resident romantic sad sack.

Cant even leave a kids film in peace without retarded reviews from sad lonely people who really need to get a life.

His softly spoken presence and Stallone Sad Eyes ™ mean that this ostensibly bleak film doesn't make you want to slit your wrists once the credits roll, even though it really should.

Payne also masters the tone of the film, because even among the saddest of scenes, you'll find yourself laughing as well, and the tone never seems uneven.

While there's a sense that Hoffman could do this kind of thing in his sleep, there's a masterful specificity to his performance — you can see it in the sad little shuffle he does when he tries to run (like it ever matters where Harold is going or how fast he gets there), and even in the way his unwashed gray hair clumps together when he's hospitalized for the head injury that brings his kids together and defines the second half of the film.

It's actually a sad film much of the time, but hopeful and affirming throughout, even in its bleaker moments.

Touching and sad, anyone with a family history can find a reason to relate to this beautiful little film, which takes us on a painful journey with Alma (Anna Castillo), who wants nothing more than to take back something that matters to her, even though it often feels impossible.

It's also a sadder film that its outlandish premise suggests and Yelchin again impresses with his sensitivity, even if his character, a teen afraid of inheriting the sins of the father, feels formulaic.

[SAD NERD ASIDE: Technically Holy Motors is an A - on my scale, at least on first viewing, but it seems even more goofy than usual to impose that on the A.V. Club, as my flat A is so rare that only maybe 6 - 7 films a decade get it.

I even left Amour, the Academy Award - winning film about a man watching his elderly wife disintegrate physically and mentally, thinking «Well, I thought that would've been sadder.»

America's foremost CGI rappers are back, and this time, they're starring in a film that takes the never - fail «premise based on an easily resolvable misunderstanding, if only anyone would talk to each other» to even sadder heights.

Often as sad as it is funny, the film is a delicate and sumptuous portrayal of the relationships that define us even after the people themselves are no longer in our lives.

«Only The Brave» (Oct. 20): This one almost feels too sad to bear, sort of like «The Perfect Storm» was back when that film came out, but we'll trust a cast that includes Josh Brolin, Jeff Bridges and Miles Teller to find a way to inspire us even as the true - life events of Yarnell Hill Fire that claimed the lives of 19 of the Granite Mountain Hotshots firefighting team, including Seal Beach native Kevin Woyjeck, unfold on screen.

Most people don't know that this film came out between The Little Mermaid and Beauty and the Beast, and even fewer know that it had the sad misfortune of opening on November 16, 1990, the exact same day as the release of Home Alone.

It's sad to say that Walker's death no doubt had a large impact on the box office returns, but it at least proved that Wan was capable of delivering a solid film that wasn't a horror movie, even amidst a tragedy.

Even with limited screen time, Hoffman conveys a funny, heartfelt, and deceptively sad persona that is essential to the film's success.

Sad but insightful, these films emphasize the importance of appreciating the people we love, even those who make it difficult, before it's too late.

What's key is that even as its story and situations grow ever more outlandish, the film never loses sight of Gary's sad obsession.

While this film may come up short in terms of romantic insight, it does provide excellent comic characters and some delightfully snappy writing that will charm even the saddest old sod.

Beyond seeing a woman eaten alive by mental illness, the film becomes even sadder in its realization that Christine's marginalization extended far beyond the workplace.