Sentences with phrase «far lesser film»

If you miss your seat on the hype train early on, for whatever reason, and to even perhaps a far lesser film, you're pretty much out of luck.

Meanwhile, a very different British talent, in a far lesser film, merits discussion in the Best Supporting Actor category.

It's as manipulative as it is dishonest, but unlike many other far lesser films worthy of the same description, all this flick's shamelessness is on purpose.

Not exact matches

Released last month, the film has so far grossed less than $ 60 million worldwide.

Captain America: The Winter Soldier, this year's top - grossing film so far, came out in early - April and the scattering of big movies around the calendar is one reason why all 2014 films have only grossed about 5.4 % less than all films had last year at this point.

Marketers promoting an R - rated horror film, for instance, are far less skittish about the content accompanying their ad than the marketer of baby shampoo.

Thus males, whose performance is unpredictable and who are in any case secondary attractions for the heterosexual audience of the films, earn far less money than female porn stars, whose appeal is largely visual and whose standard of performance can be counted on.

It was also based on a real exorcism in Washington, which was far less dramatic than the film.

FOM can use the footage to customise and edit replays, using the cameras to focus on whatever action is happening at the time and missing far less, because every car will be filming everything that's happening around it, all the time.

That sense of purpose and drive animates Stone in a way that his recent films have not, and even though it's far less gonzo and experimental as Stone's quintessential catalogue, the storytelling skill is still consistently engaging and the resulting 134 minutes inform as well as entertain.

The constant fighting and punching gets nastier and less funny, the film drags on for far too long, and the ending is uninspired and predictable.

Rick's business model does have some flat - out illegal elements, which become important to resolving matters near the end of the film, but it's ironic how those illegal activities do far less harm to ordinary people — even providing work for some of Dennis» friends — than the legal ones.

As far as the effects of this film goes, they were decent, but it was nothing to gasp over, especially when films made for far less money have better production values.

But though it doesn't have Gomorra's comprehension problems, it also lacks that film's iconic cinematic imagery and seems ultimately far less memorable.

It appears that I've done little else but praise the film and it's true that the strength of Django far outnumber weaknesses — though that doesn't mean that the less well - handled elements do not take away from the picture.

Just a sexist assumption of mine) brings up War of the Worlds and Cloverfield, two far, far better films that did more with less... Spielberg's film costing 120 million and Reeves» only $ 25.

The Walk finished with a domestic gross of just $ 10.1 million, making it by far the biggest flop of Zemeckis» directing career (though much less costly than the mocap family film Mars Needs Moms that he produced) and one of the biggest financial disappointments of the year.

12 YEARS A SLAVE unsurprisingly leads the pack, with only one nomination for GRAVITY, though Cuaron's film is far less of a threat in the categories SAG celebrates.

One of the most impressive things of Bahrani and Bahareh Azimi «s script is that it sets up scenes which could have followed into much more dramatic outcomes but the writers chose to take the road less traveled and in an odd way, by taking the less dramatic approach, the film removes itself that much further from the majority of indie films that concern themselves with cramming the most amount of drama into the least amount of time.

This can detract from the pacing at some points, especially since the film tends to intercut between the revelations of Harry's past, and his friends» efforts to destroy the items which, by comparison, seem far less integral to the plot.

But Clooney doesn't push the aesthetics of the film quite so far into hermetic beauty as the Coens, and he presents his characters with less distance and greater affection.

To which I would add that there seemed to be far less objection when, only last year, the Palme d'Or went to another meditative film about nature, death, and possible afterlives — Apichatpong Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives — perhaps because there is no right - wing Buddhist conspiracy suspected of plotting to undermine Western democracy as we know it.

Garland's film has a lot to offer for the diligent and focused filmgoer; however, its carefully structured, sometimes plodding revelation of details and plot may frustrate audiences more accustomed to quick answers and bountiful action responses, which are few and far between, but no less intense in a film like this.

In a further gamble, the director and screenwriter strive to reveal their subject by limiting their film's scope, more or less, to a few mere weeks at the end of Lincoln's first term, at a time when the overwhelmingly popular president resolved to take advantage of the lame duck Congress to pass the 13th Amendment.

Further still, the male - centric dialogue around that sexual violence will mean that the film is even less likely to appeal, in spite of the strong female presence in its production.

A fourth film in that litany was this gothic romp that fared far less well critically and commercially.

The trio in the house are a different combination of those in Fincher's film, but are executed with far less wit and cleverness.

Luckily, the film, directed by rising star Ryan Coogler (Fruitvale Station, Creed), more or less lives up to the record breaking ultra-hype, but doesn't get too far away narratively from the ever - expanding Marvel Cinematic Universe.

Unlike «No Country for Old Men,» the Coen brothers» Academy Award - winning adaptation of the Cormac McCarthy novel, this film enters the market with far less fanfare.

It's alarming when one considers that Amy Adams» far less accurate portrayal of Earhart in Night at the Museum: Battle of the Smithsonian is easier to sympathize with than any character in this film, Swank's Earhart included.

In fact, PA3 opened bigger and though it had the series» weakest legs to date, it still ended up with a domestic gross close to the first film and a franchise - high worldwide take of $ 203 M. And while the production budget again rose, it was still kept to just $ 5 million, well under the competition and far less than the marketing costs of such a high - profile wide release.

Uwais, who practices pencak silat, is the real deal: less charismatic than Bruce Lee, but far more present onscreen than Tony Jaa; he's certainly more than capable to anchor the film (and its even more insane sequel; our review).

But his previous work as a feature director, 2005's «The Baxter,» was another sweet and off - kilter romantic comedy; both films are far less caustic and a lot more compassionate than most of his other comedy work.

It sounds like I didn't enjoy the film and in truth the further away from it I get I think I do think slightly lesser of it, but still.

The sexuality might be a little less subtextual (though there's nothing explicit here), but the testy, shifting power plays in the relationship between Tom and Frances, which serves as the heart of the film, bring to mind a contemporary update of Highsmith's work, albeit seen through Dolan's lens, making it of a piece with his earlier films, particularly once Sarah (Evelyne Brochu), the co-worker posing as the late Guillaume's girlfriend, arrives on the scene to complicate things further.

But the film heads in a far less enjoyable direction when Wednesday's father shows up.

Now, the actress, writer, and director have come together for a film that's perhaps slightly less biting but far more resonant in its depiction of the struggles of modern middle - class parenting.

The film has a lesser scope of story than its predecessor, but in its minimal approach, it far surpasses its companion's emotional scope.

Far less glamorous and classy is the poster for the horror film Nurse 3D.

Yet to its credit the film has far less to do with the specifics of one event and instead focuses on a far more universal message of recovery, self - doubt and the reconciliation and acceptance required to overcome any personal loss.

Much less effective, although I admire the effort, is Michael Tully's «Don't Leave Home,» which reaches further back than Gutierrez's film for a cinematic exercise inspired on remote haunted locales like «The Haunting» or «The Innocents» (one of my favorite films of all time).

Based on the best - selling 2010 novel by late author Vince Flynn, «American Assassin» is far less complicated than the «Bourne» or «Mission: Impossible» films, though there's a nice twist about an hour in that definitely does the trick.

It's far less accessible than his 2015 film Ex Machina — Annihilation's esoteric last act alone will almost certainly prove divisive — but it's also a daring, unique sci - fi experience in an age of branded IP juggernauts and safe rehashes.

Not too far from its end, the film starts to run out of steam, as its mystery becomes less engaging, its dialogue less funny, and its interest moves from creative storytelling to imaginative visual gymnastics.

You don't need a film like Me and Earl and the Dying Girl to tell you that the effects of cancer spread far beyond the individual sufferer, but that doesnʼt make Greg's catharsis any less meaningful.

While perhaps not as celebrated in the mainstream, Joe Dante's The Howling (1981) arguably does something far more profound (and, perhaps ironically for a horror film, less exploitiative) with the material than its celebrated predecessor.

Far less noxious — and much more crossover - friendly — than most of their peers, writer - directors Jay and Mark Duplass had established a comfy little niche in the Amerindie landscape, imbuing films like The Puffy Chair (2005) and Baghead (2008) with a shaggy - dog humor that's an antidote to all that SXSW - sponsored mopiness.

Summary: The film is far less interesting than the scandals surrounding its development.

After the stunning success of the first Indiana Jones film Raiders of the Lost Ark, the follow up (and strangely, prequel) is far less impressive, blighted by pacing problems and clumsy attempts at humour.

Some viewers might also be reminded of The Legend of Zorro (its story also written by Elliott and Rossio), though Verbinski's film goes far more over the top in the action department, and far less in terms of humorous panache.