Sentences with phrase «experience the film rather»

It is best to go into this movie as blind as possible because it is better to experience the film rather than read about it later, but the story focuses on biologist Lena (Natalie Portman) and a team of scientists who venture into a strange force - field - like area that mysteriously appears on Earth.

Not exact matches

Instead, the film would be about a clown who comes riding into town on a donkey; he's with a rather motley circus; he experiences the human failings of the circus people; he encounters Magnus, who wants to dominate and control; he substitutes himself for a poor human - puppet and is killed by Magnus.

Rather, this film shares Fellini's insights on the artistic impulse and creative process: availability; openness to experience; spontaneity; structure; memory; narration; verisimilitude.

Yet, while those films used the experiment as a touchstone, allowing the story to take on more aspects of a thriller, Kyle Patrick Alvarez's film is less concerned with thriller elements, but rather the loss of individuality the participants experienced, and how quickly the guards began to abuse the prisoners, most of whom quickly bent to authority.

Whether it is the purchase of Lucasfilm, the sequel (and prequel)- isation of Pixar's earliest and best work or the Disney Infinity «multi-platform experience,» the world's most successful film studio is no longer venturing outward in search of material, but rather has turned entirely inward, and is fracking its own landscape of licenses to generate «content.»

If this were the case then Touchy Feely would have done well to spend more time on tightening this idea rather than giving Abby somewhat confusing additional storylines, for instance the five - ten minutes she experienced the drug «ecstasy» seemed utterly disconnected from the film.

But to do so would defeat the point — the film exists not to tell a story but rather to evoke an experience.

Ross offers something in his film adaptation of the novel that Collins, writing with Katniss's voice, never could: the experience of watching the Hunger Games, rather than being a contestant in them.

For those interested in where it ranks on the thrillometer, let us say that Corbijn's film is a haunting rather than a galvanizing experience.

Coming of age films are often plagued by adult screenwriters taking the adolescence experience way too seriously, rather than embracing the benign moments that contribute...

It all feels «been there, done that» cliched, with nary a memorable sequence or moment to even justify the film as a theater - going experience, rather than a future rental.

In our dossier on «American Extreme», we are joined by guest co-editor Jack Sargeant: not, in this case, to make «sense» of these films as such, but rather to engage with more sensorially demanding cinematic experiences, often well beyond the scope of what is deemed acceptable.

For those who enjoy a unique film experience rather than simply being spoon - fed the plot or just wanting to leave the theater with that warm fuzzy feeling.

Understand I'm not advocating the events depicted in this film, I can only relate to what I've experienced in my lifetime and from that perspective, they were awful then and now the government is using their behavior as a jumping off point rather than where it escalated to during the 60's and 70's.

Unlike other films in the subgenre, this isn't a series of CliffsNotes or the greatest hits of a former first lady's life, but rather an entirely subjective, visceral, upsetting and sometimes beautiful experience.

Rich and allusive (the divides the film slowly reveals are not just along gender lines, but political and ideological ones too), this is a movie to experience rather than simply consume — baking in the heat, shivering in the cold and aching at the frustration of being lost in an environment that's hostile in every conceivable way.

It's rather interesting to note that Warner decided to market the film, much like Hitchcock would have probably done, by using a simple yet highly effective warning to all future audiences that the lights in the theaters would be toned down during the ending sequence, promising a fully immersive experience of pure horror.

The jokes are timed to interrupt the narrative as little as possible, thereby allowing the audience to experience the film in a rather unobstructed sense.

The film was so full of restraint and tension, followed by such tenderness that I came out of the screen feeling I had experienced rather than watched the film, so much more than the post work relaxation I'd been looking for.

Working from an original script by Peter Morgan («The Queen,» «Frost / Nixon»), the film follows the odysseys of three individuals touched by death and in profound ways: a reluctant medium (Matt Damon) in San Francisco who can commune with the afterlife but finds it a curse rather than a gift, a French journalist (Cecile de France) who survives a near - death experience (a harrowing recreation of the 2004 tsunami) and a British schoolboy (George and Frankie McLaren) feeling adrift after the death of this twin brother.

They deal in eloquence with divine monologues and exchanges leaping from McCarthy's pen as we see glimpses of the characters discussing the plot of the film rather experiencing it, and telling the audience the theme rather than showing how greed guts a man's soul.

The pace of the beginning of the film, the slowed, vision - soaked moments in the middle, and the last bit make this one of those films you experience rather than watch.

Unlike Netflix, Amazon has quickly built up a reputation in terms of prestige because it gives its films actual theatrical runs, rather than treating the cinema experience as an afterthought.

We already shared a video of the cast of Demolition talking about working with director Jean - Marc Vallée and one of Vallée and Jake Gyllenhaal discussing their experience making the film, but now it's time to switch gears for a round of our movie version of the game «Would You Rather.»

Unlike Amazon, Netflix insists on releasing its films in theaters and online simultaneously, rather than prioritizing the theater experience.

Although not quite as sharp and clever as the aforementioned Heckerling vehicle, Clueless, I Could Never Be Your Woman (its rather odd choice for a title is derived from a lyric to the 1997 White Town song, «Your Woman», covered by Tyler James in 2005, the same year this was filmed), is actually quite inventive in its own fashion, with Heckerling drawing upon her own experience in being an older woman working in a youth - oriented industry, making entertainment meant to appeal to people about 30 years her junior.

The Revenant, while entertaining from moment to moment, ultimately feels like film school on a much grander and more experienced scale - but with the same tendency to overindulge in technique and form, rather than substance and feel.

THE FORBIDDEN ROOM It quickly becomes apparent that The Forbidden Room is more a film to experience, rather than to fully understand.

What becomes the central conflict of the film is eschewed in order to depict the incident's resulting effects on the protagonists; the humble story tells their experience rather than the action surrounding them.

Prior to arriving at this year's festival, I intuited this was a project that may possibly best be experienced midst non-journalist folks (rather than at a Press Screening), so prioritized arranging an advanced seat for a public audience viewing of the film at Park City's Library Theater... during the showing and following Q&A, one could hear a pin hit the floor as the motionless audience appeared fully intrigued.

After a certain point, though — I'd rather not say exactly how — «Table 19» extricates its characters from their prison, and from there, the film becomes something I did not expect: a movie about characters who've been thrown together in an unfamiliar context, and find that the new experience encourages them to deal with emotional issues they've been refusing to address for a long time.

These make the album seem rather longer than its 45 minutes and mean it isn't quite the kind of elegant listening experience which people have come to associate with Desplat (though it's worth stressing again, that with a film like this one, it is exactly the right kind of score).

Topics discussed include the significance of the title (which is given rather passing treatment in the film), the kids» experience as young actors, the physical demands of the film's stunts, working with late director Norman Tokar and star Bill Bixby, and the comic team of Knotts and Conway, who are recorded together.

The story album is rather tedious to sit through because since home video did not exist back then, story albums were the only way to experience films again and again.

With this, the characters» loneliness feels all the more resonant, and the film feels all the more of its own style, rather than looking like it was assembled by someone intent on remaking the theatrical experience.

While Swerdlow's film feels predominantly comedic — aiming to depict the junky's behavior as childish and pathetic — it's only natural that for the actors involved, the experience was sometimes painful, forcing them to relive moments from their past that they'd rather not.

There have been many films about the prison experience, but Nicolas Winding Refn's mannered biopic is the first to examine its incarcerated subject not as a monster or a victim, but rather as an artist — and one who truly suffers for his art, whether through regular beatings or long stints in solitary.

The end result is a film you respect and a film with some incredibly strong moments, but a rather vapid experience overall.

While some may be disappointed that The Falling is rather more literal - minded than it initially appears, Morley's decision to privilege the lived experiences of her adolescent protagonists over their symbolic qualities sets her film apart from the fascinated, but remote, gaze of Weir's classic.

Plus the omnipresent hype, not for the films themselves, but rather for that ineffable, high - altitude Sundance experience and for you, you, and you, oh my God, actually present at the most happening American film event, where, as one blogger gushed, the thrill was not in seeing the merchandise but in watching Harvey Weinstein make a deal.

by Walter Chaw Movies from the magic hour of my moviegoing experience cover that brief period of time between my being able to go to the cinema unattended (dropped at the theatre with a quarter to call the folks afterwards) and my being able to decide that there are actually films I'd rather not see for any price.

From the beautiful and intimate score by Mychael Danna, to the inspired production design by David Gropman, to the pitch perfect performances by Suraj Sharma, Irrfan Patel and others, this movie is one of those rare films that brings its audience a mesmerizing experience rather than just a couple of hours of entertainment.

Both these films use the idea of time travel to explore the metaphysical workings of memory and trauma, creating a cinematic vision of technology as experienced rather than observed.

As with his best films — which include «The Tree of Life,» «Badlands» and «Days of Heaven» — Malick is obsessed with crafting a sensory experience, rather than a dense or even particularly cohesive narrative.

Quite how these men divided their time on the film remains a tight - lipped mystery for now, but being as both have significant sci - fi experience we have to assume it was a close collaboration rather than split down the middle (i.e. civilian and hero wear).

This adds, rather than detracts, from my experience of that particular film as it falls deeper and deeper into the gloomy psychological abyss that lies at its heart.

I don't think there's a possible scenario for making this an enjoyable, satisfying film, but an R rating might have made it a more powerful and emotional experience rather than just merely interesting and engaging.

It's a model that merges the experience of playing a video game with the experience of watching a film and it's been rather successful» «just look at Heavin Rain.

Plastic are rather hoping gamers will be able to complete Datura in one sitting, much like you would a film, targeting an «unbroken experience» for full impact.

In other words, they construct the world they experience, making sensory information idiosyncratic and / or socially oriented rather than accurate, and people's perception of their world an ongoing film or performance.