Sentences with phrase «everything in this film feels»

In other words, almost everything in this film feels like a reference to another movie, but it's expertly assembled to look fabulous from start to finish, with some seriously striking sequences along the way.

To be honest, just about everything in this film feels contrived.

Not exact matches

Everything about this film moves at a very solid pace and you feel like it is giving you a slice of life at this moment in their lives.

The film only genuinely falters in its string of resolving scenes (We learn some vital things, such as the extent of Curtis» need to bet on a loser and the subtle way the crux of Gerry's character is revealed in his meal choice, but many of the late scenes feel more uncertain than everything else in the film).

Hanks» solid yet stiff performance is, in the end, emblematic of everything that's wrong with Inferno, as the film's overly serious feel is completely at odds with the fun, fast - paced tone of Brown's page - turner - with, especially, the dull third act ensuring that the movie ends on as anti-climactic a note as one could envision.

But the dramatic strain of trying to level the playing field only makes the film's pro-Israeli bias — evident in everything from the opening text to the demonization of the PLO — feel perniciously covert.

Everything that made the first film so much fun is still here and done in a way that doesn't feel like a simple rehash of the first movie.

Everything about this film oozes class; the 60's setting is beautifully captured with it's attention to detail and strikingly rich photography by Eduard Grau; the slow motion scenes with overbearing sound effects; the subtle changes of colour saturation providing an excellent technique in developing the mood and feeling of Firth's character and a fitting soundtrack to accompany the lush imagery.

A film without significant highs or lows, everything about The Martian feels in - between, like a narrative waiting for its spark.

In true Anderson fashion, everything about this film feels organic, from the production design to the use of colors and costumes.

Most of the women in Woody Allen films feel like everything's awful.

When I came onboard, I wanted to make sure everything Chinese in this film feels genuine.»

The game does a good job of offering enough variety in content that you won't feel like you've seen everything even if you've watched the film.

itself, Kameron, you wrote that it was «the kind of movie that makes me want to avoid the internet for a century,» which makes me curious about how you and the rest of the gang have approached writing about tricky films in a moment where everything feels polarized between «this movie will save mankind!»

Misjudged, miscast, ludicrous, saccharine, underdeveloped and manipulative, it's everything that Crowe's work normally isn't; even his sense of music is absent, the film overloaded with tracks that feel like they were purchased in bulk.

Perhaps that's why large portions of this film feel like scenes Toback just wanted to use up somehow — particularly the Grodin sequence, in which his character rails against his fading faculties by turns sweetly and violently, and which might have been moving if it didn't feel so detached from everything around it.

Reed's past films Bring It On and Down with Love have effervescent storytelling, but everything in Ant - Man feels perfunctory.

For his part, Martini is clearly trying to go for a stylized, hyper - real effect in which everything looks normal but is a bit off but his results are off in all the wrong ways — the film feels as if it was made by someone who has been charged with making something in the tradition of «Blue Velvet» and «Donnie Darko» but who never actually got around to seeing them and is basing his work on what he thinks was in them.

«We felt that considering everything that's going on in the United States right now, there's an appropriateness to this film.»

Writer - director Mike Mills («Beginners») creates feelings and moments, and in turn, he and his cast conjure a film that's as much about nothing as it is about everything.

The film launched a new wave of Hong Kong filmmaking and you can feel its influence in everything from Bruce Lee's martial arts thrillers of the 1970s to Jackie Chan's Drunken Master films to the Tsui Hark - led new wave of high energy, special effects laden adventures in 1980s Hong Kong, and of course, the Oscar winning Crouching Tiger, Hidden Dragon, Ang Lee's tribute the magical, colorful genre that King Hu reinvented with this film.

Much like other horror and thriller films, A Quiet Place has a dominating, droning score that, while fairly good in terms of melodic interest, somewhat undermines the feeling that everything should be utterly silent as our characters hide desperately from the monsters.

The first film felt like a fun little movie to pay homage to some classic horror movies, and seeing the success, it felt like Wirkola put in everything he had to make sure that this movie stood on its own and it sure a fuck does.

But I'm the first to admit that I haven't seen everything, so I'm going to start including just title and basic info for films that I've heard positive things about but haven't seen myself; if you have seen a film that's listed without a blurb, please feel free to write a little blurb and either send it to me (faithx5 AT gmail DOT com) or post it in the comments, and I'll include it for any future showings of that film, credited to you.

If the film feels like everything and nothing in contemporary nonfiction, it seems entirely a result of its uniquely open and spontaneous evolution.

The new film feels like a capstone, a summation of everything Diaz loves about and finds so profound in Dostoevsky, a transmutation of the writer's melodramatic genius into grist for his more distanced, more emotionally chilled films.

It's not that it's bad or unimportant to the overarching themes, but it doesn't feel as fully integrated into said themes as everything else in the film.

Everything that happens in the film's dilapidated near - future feels terrible, and not only in the way it's supposed to.

If I am not mistaken, Carrell actually allowed Apatow to film him have a real chest wax and everything that happens in that scene are Carrell, as well as the other actors standing and watching, creating the jokes with whatever feels natural.

There's neither the overheated lyricism of Raging Bull nor the pulp grittiness of a noir like The Set - Up; everything in Kuosmanen's film feels earthy and grounded, and, unlike Bill Conti's work in Rocky, Kuosmanen forgoes a non-diegetic music score, thereby denying us any easy emotional signposts.

That might have been what people were looking for back in 2001, when nobody was quite sure how this would play as a film franchise, but with everything that's happened in the interim, don't be surprised if this feels a little quaint.

The movie's mix of music and era doesn't quite make sense, strictly speaking, but like everything in this loose, inspired and yet tonally precise film, it feels right.

There's a nice sense of messiness in the plot of this rather silly film, but it's directed with so much sun - drenched perfection that everything feels fake.

Everything about the film feels like it has been intensley, carefully planed and executed, which hsd resulted in something wonderful.

Such things make the film feel a little long by the end, and then everything wraps up in a way that seems a bit too good to be true for the main character.

It resembles that film, too, in the way it moves like a nightmare — the kind where nothing's wrong, except everything feels bad.

Relying on hoary setups and speeches that might have seemed fresh decades ago — before audiences had glimpsed the slimy realities of our political process in everything from The War Room to The West Wing — the film feels more tired than topical.

Also, part of me felt as though everything we had seen so far in the film was leading up to this punch line, which took away from the whole movie experience.

In fact, everything shown seems to indicate that the film will look and feel unlike any live - action Star Wars film before it, from the way it's shot to the story and writing.

There are moments that seem almost overwhelming in their intensity; the first moments in the outside world, the touch of a real dog, the understanding that everyone else carried on with a normal life, the shared bond over breakfast cereal but everything feels so natural and unforced that the film carries you gently through them.

Even during the film's most expansive and incredible shot, in which for a solid minute and a half or so the camera flies through a house allowing us to see the entry path of a group of burglars, everything feels confined.

It's Ozu's unique way of bringing realism to a film that allows for such speculations: despite his unusual editing style, tatami - level camera placement and generally fixed camera (though it moves more here than in any Ozu I can recall), everything in an Ozu film feels real: people talk like normal people about normal human issues.

Clocking in at nearly three hours in length, it's hard not to come away feeling like the film could have been much shorter and still delivered on everything it needed to from a story standpoint.

In one sequence, Poppy goes out for a late - night walk and attempts to speak to a crazy homeless man; the episode feels disconnected from the rest of the film, and Poppy deliberately keeps the adventure to herself, but it also points to everything else in the filIn one sequence, Poppy goes out for a late - night walk and attempts to speak to a crazy homeless man; the episode feels disconnected from the rest of the film, and Poppy deliberately keeps the adventure to herself, but it also points to everything else in the filin the film.

This version, starting with Episode 1: Tangled Up in Blue, captures everything that worked so well with the film and instantly feels fresher and livelier than other recent fare (The Walking Dead, Batman).

«How Forests Heals People,» filmed in India, Yosemite, and forests on the U.S. East Coast, is relevant across the globe, as people in every urban setting know how psychologically draining cities can be, and how a foray into green space have an incredible ability to make everything feel much better.