Sentences with phrase «everything in this film seems»

Haneke, with the help of director of photography Darius Khondji (Se7en, Panic Room) and production designer Kevin Thompson (Michael Clayton, Igby Goes Down), makes excellent use of white hues and natural lighting (everything in this film seems to be WHITE!)

Not exact matches

Time travel has always been a thing of science fiction but the rules for time travel in this film, as well as from the book, seem very reasonable and the whole idea of killing something off that shouldn't be, will kill everything.

The young firecracker is everything you could want in a leading lady, and yet it seems like the masses have deemed her «not pretty enough» to carry a film.

everything seems rushed in the filming.

While most films these days are about nothing, this film seems to be about everything that's plaguing the human spirit in a relentlessly globalizing world.

Assayas brings us back to a time when everything seemed possible and no film in recent memory has presented such an authentic view of the immediacy of the period.

It was the very first film of Venice, and the festival seemed to open on such a high that the worry was that everything else over the next ten days would end up paling in comparison.

There's all kinds of complexities inherent in the film, and even if the movie turns out to be everything we hope, it doesn't really seem to be something that'll get a lot of awards play.

In fact, the film has everything going for it but somehow, strangely, seems uneventful.

The problem, of course, with setting a story so firmly in a specific moment of time is that, in a year from now, everything in this film will seem dated.

A mystery puzzle box thriller doused in mood and dread, the film tells the story of a village paralyzed by fear as a series of brutal murders grip the sleepy hamlet, while a peculiar illness seems supernaturally linked to everything going to hell in a handbasket.

Though, for a short while, the film has us fooled for the illusion of safety and sympathy between fellow humans in time of disastrous incidents, along with the course, it seems everything is not that comfortable.

I seems as if they wanted to film in black and white (it's likely that the money hungry producers wouldn't let them) because everything is composed in harsh blacks and whites.

Not everything in Top Five works, and a couple of scenes involving sexual farce seem to belong more to a Seth Rogen film than something as intelligent and pointed as this.

While everything seems to be in place for a quality film, ultimately it's the lack of emotion and mundane goings on that keep The Winslow Boy from making it to the level of memorability.

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

At 162 minutes, German director Maren Ade's latest film, Toni Erdmann — her first since the 2009 Everything Else — seems like a lot to handle in a single viewing.

Everything - the script, the cast, and especially the highly - anticipated performance of Heath Ledger - seemed to work together to make that film the classic that it became in 2008.

Here, everything appears subordinate to the mission of stamping Blanchett's acting supremacy on the film: even her husband's name, Harge, despite originating in the Patricia Highsmith novel The Price of Salt on which Carol is based, seems specifically designed to accentuate her character's archly north - eastern upper - class enunciation.

It seems Frances Ha delivers everything I look for in an indie film.

In the hands of a better director (say maybe Nicholas Winding Refn who directed Bronson), Legend could have been organized into a fascinating crime film, all the ingredients are there but Brian Helgeland (Paycheck, A Knights Tale) can not seem to get everything in ordeIn the hands of a better director (say maybe Nicholas Winding Refn who directed Bronson), Legend could have been organized into a fascinating crime film, all the ingredients are there but Brian Helgeland (Paycheck, A Knights Tale) can not seem to get everything in ordein order.

That's the big problem: everything in the film is so solid, so real - seeming (partly as a result of Gondry's brilliant way with analog as well as digital illusion, and techniques like stop - motion), whereas the novel is by nature light, a construct of weightless, casually handled language from which images emerge as if by magic.

Tiffany Haddish's breakout role as wild card Dina in the summer comedy smash Girls Trip is one of those supporting performances that often seems to be operating on its own plane within the movie — it's of the film, but it's so distinct from everything else that it becomes a discrete element, too.

The only reason anyone has had to doubt its dominance came when it shockingly failed to earn a nod for the Best Director Oscar, but as we saw just five years ago, «Argo» didn't even need one to take the top prize, so in terms of which film has the least number of obstacles to overcome AND everything else that a film ultimately needs to win Best Picture, it would seem that «Three Billboards outside Ebbing, Missouri» is far and away the obvious choice.

Based on the fantastic Jeff VanderMeer novel of the same name, the film stars Natalie Portman as a biologist and former soldier who joins a mission to uncover what exactly happened to her husband (Oscar Isaac) inside Area X, which is a mysterious — and growing — patch of land in the United States that seems to fundamentally alter everything in its path.

7R: Was is difficult to introduce that romantic element in the film without making everything else seem heartless and cold?

The film plays it coy with the details, until the various pieces of its puzzle come together in the third act, as the brothers to explore even stranger things — a dead body and its living counterpart existing side by side, a grisly scene in a tent that repeats itself every few seconds, even more visual hints left by an entity that seems to see everything.

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.

Nothing seems kitsch or there for nostalgic purposes; much like everything else in the film, it has a specific goal to achieve and it does so with elegance and style.

I also don't love the washed - out colour palette that paints everything in a blue gloom — at least not as much as Yates seems to, between this and the last four Harry Potter films.

Everything seems perfectly in place for Todd Haynes to deliver a great film in Carol.

In everything from the score to the costumes and hairstyling, McGuigan seems to think that there's no such thing as too much, a lavishness that just isn't supported by the film's obviously modest budget.

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.

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.

It's quite possible that this film meant to stand for something rebellious as it was written, but as the credits roll, the takeaway seems to be that citizens, and even lower - level civil servants, should just stay in their lane, do what they're told, let the big boys take care of everything, and for God's sake do not ask questions.

Additionally, even with the gender roles reversed from the 1987 original, it seems like an odd comedy to be remade, especially in 2018; this has been a year of discussions around consent and rape culture and other weighty topics that it's hard not to notice this icky cloud hanging over everything as the film progresses.

But while there's greatness in the nonsense and non sequiturs of soulful films like Spirited Away and The Tale of The Princess Kaguya, which touch on nearly everything that really matters in human existence, Sunada's goals seem far more modest.

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.

Everything that makes Chan - wook's films work so well seem to be present here in this very first look at the film.

The film is shot in a high - contrast style that makes everything seem a little more bleak and narrow than it must.

In this day and age when everyone seems to know everything way far in advance any amount of true surprise in the film world is, well, surprisinIn this day and age when everyone seems to know everything way far in advance any amount of true surprise in the film world is, well, surprisinin advance any amount of true surprise in the film world is, well, surprisinin the film world is, well, surprising.

It's everything that annoys me about modern trailers, namely that they seem to insist of compacting the entire movie into a few minutes, giving away the general structure and numerous surprises in the process, seemingly intent on destroying the anticipation of experiencing the film's surprises for yourself.