Sentences with phrase «feel of the other movies»

Because of this, the movie has the look and feel of the other movies, even though James Wan isn't directing this time around.

Not exact matches

Meanwhile, Leigh, who spends a majority of the movie covered in blood like some outlaw version of Carrie, sometimes feels like the villain and other times like the hero.

And they pull it off without having to give away the movies storyline or talk about everyone's resume and do a bunch of other boring things we feel like we've seen a million times now that crowd funding has been around for a while.

Mead offers a less compassionate portrayal of a freelance, multifaith minister who offers brides and grooms a smorgasbord of options for ceremonies, including the fabled «Apache Indian Prayer» («Now you will feel no rain / For each of you will be shelter to the other»)-- which originates not from Apache tradition but from a movie starring Jimmy Stewart — and a ceremony she concocted in which the bride and groom dab honey on each other's tongues.

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The first time I stepped into Ferrara Pan Fitness Factory I felt like I was walking into a state - of - the - art «Rocky» movie, only there were women, kids and professional athletes co-mingling and learning along side each other.

«It was almost as if they were a part of the movie — feeling touch, pain and other physical sensations that the characters were experiencing.»

«I guess I must be, because this film represents a lot of ideas and feelings I have as an artist,» he said, going on to highlight his movie's «environmental message and the idea that we are all connected to each other as human beings.»

The script is a mess and it feels like it's two different movies, where one is interesting and the other one is a waste of time.

Like ever other movie in the M: I series, the story demands your unedified attention at every beat, and one can't help but feel that some of the countless twists are frivolous considering the basic framework of the narrative.

The film lacks any kind of real «action», which makes it a departure from Mann's other work like Heat or Last of the Mohicans, but it still feels like an action movie because of the aggressive way in which Mann directs it.

Critics Consensus: Great visuals, but the story feels like a cut - and - paste job of other sci - fi movies.

Critic Consensus: Great visuals, but the story feels like a cut - and - paste job of other sci - fi movies.

true love and feelings of other wld definetly love this movie...

For all its sincere intentions, Kruishoop's script feels cobbled together from newspaper headlines and bits of other movies rather than real, lived experience.

Good: Starscream is a lot cooler in this movie, Best computer - graphics for any movie to date, Original Optimus voice, Bumblebee vs. Barricade scene was awesome, Decent story, but the Unicron story is a million times better Bad: No Hot Rod or Soundwave, Shia LeBeouf, Ending, Futile attempts to connect to classic scenes, lines and concepts, No Stan Bush soundtrack, Some immature humor ruined a lot of the movie for me, Poor dialogue I really expected a lot from this movie and am very critical about my feelings towards it - Overall Michael Bay made a good movie, but he made it appeal to the masses (immature jokes and a lot of action) and it gave up a lot of other crucial aspects to the story and quality of the Transformers franchise.

I wonder if Lawrence felt similarly indebted to her Hunger Games director Francis Lawrence to make this movie, which seems to exist for little purpose other than to show her naked in as many ways as contractually obligable, the result being a sort of Soviet fetish pin - up calendar.

However, the originality issues at the core of the first season, and the amateurish enthusiasm for other movies (something that felt more «Birdemic» than «Scream») were gone.

Indeed, the non-Marvel films in these franchises that have done best more recently are the ones that stood out from the crowd, like Wonder Woman (which rejected the dark tone of other DC movies), Logan (which felt like a grown - up standalone film), and Deadpool (which loudly razzed the idea of being linked to X-Men movies).

In other words, Black Panther is a sort of «feel - good» movie, «refreshing» because it focuses on the exploits of a monarch and his retinue and ignores the riff - raff below.

Cruise's performance feels like his performance in any of his other movies - he's the suave doll we expect him to be, and we feel like we've seen it all before.

Watching the movie feels as if you've sat down in someone's living room to hear tales of other legendary jazz musicians, such as Count Basie or Miles Davis.

There are powerful moments in «Unbroken,» to be sure, but it also feels like the kind of generically grand - scale movie that five other directors could have made in exactly the same way.

The movie's goal is to be a distraction from life but not to engross, to escape other thoughts and feelings but not to introduce any new ones, something to kill time with as you watch the plastic characters go through the motions of the soulless soap opera like plot.

The first hour of the movie is virtually unwatchable, with Braff oddly sprinkling in fantasy sci - fi sequences that are supposed to convey the character's inner - life, but never really add anything to the film other than make it feel alternately goofy and pretentious.

Some people says videogames are as much art as movies, those people are idiots, videogames are better than movies, Videogames can express art in another dimension, and monster hunter tri expands that dimension to the point of let you even wonder what a hunter is, what a monster is, it makes you forget you are playing, it instead makes you feel you are really chasing monsters and risking your life, you can cry with this game like with no other, heavy rain?

The movie's goal is to be a distraction from life but not to engross, to escape other thoughts and feelings but not to introduce any new ones, something to kill time with as you watch the plastic characters go through the motions of

The editing doesn't quite feel as sharp as other Tarantino films - almost certainly due to the unfortunate loss of his former editor Sally Menke in 2010 - but editor Fred Raskin must be doing something right, making this nearly three - hour movie feel like it runs half the length.

But Last Days works only when it deviates from this pattern, as it does in a hilarious scene depicting the rock star's friendly yet indifferent agreement to buy space in the yellow pages from a clueless door - to - door salesman (Thadeus A. Thomas, the movie's only perfectly cast actor), or when it focuses on other members of Blake's entourage, or when the camera retreats at a snail's pace from the mansion for what feels like eternity.

For some, it will be very bad news that Ritchie (who co-wrote King Arthur: The Legend of the Sword with Joby Harold and Lionel Wigram) stays in his lane with this film; if you didn't enjoy the look and pace and overall vibe of other Ritchie movies, such as Snatch or Sherlock Holmes, then you might feel that his often jarring and visually exhausting style could overpower the strong performances from a great cast.

Stone covers a lot of ground without turning it into a three or four hour opus like some of his other movies tend to feel like.

One of the many reasons why this movie works so well and sets it apart from others in this genre is the very realistic approach and feel it has to telling this story.

Nothing is off the table in this daringly unique exploration of what makes us tick and for a movie that stars a corpse, few other features felt as warm and alive this year.

Also, the story is able to draw on both Christian and traditionally Korean shamanistic traditions and combine them with the history of Japanese colonialism to create its morbid atmosphere, which has the ability to chill even without a belief in any of its superstitions.4 That said, the bludgeoning nature of the approach kept the movie from achieving the masterpiece status many other critics have assigned it.5 By contrast, Park Chan - wook's latest, Agassi (The Handmaiden), has received a mixed reception, but I feel it is his best since 2003's Oldboy.6

The «Star Wars» fandom will be enthralled by most of «Rogue One», but for me, this was a tough movie to get through — and others who aren't emotionally invested in the franchise may feel the same way.

Riley Keough feels especially shortchanged as the most haunted of Thomas's followers, and Jesse Plemons, as Thomas's other, less confrontational son, feels like he's mainly there to goose the plot along rather than to expand the movie's ideas.

Unlike other movies in similar genres, the war scenes never feel gratuitous or extravagant for the sake of showing off.

In the movie's early scenes, the queasy feeling that these two don't even like each other is so palpable it leaves a residue of sourness that extends through the rest of the film.

New director David Leitch sticks to the formula of raunchy humor and low blows to other superhero movies for a film that succeeds in feeling new and hilarious enough to keep this franchise going.

And Rebecca Ferguson and Keala Settle, playing songbirds of distinctly different class strata and mustache capacity, make the most of their supporting roles; in two of the movie's best scenes, each explores the psychic pain of a lifetime spent feeling like the Other in almost every room they enter.

Unfortunately, even though of course we recognize the bravery and selfless heroism of the men on that train who risked their lives to save others, and even though there are a few pulse - quickening moments in «The 15:17 to Paris,» the movie is slow - paced and feels padded, even with that running time of just over an hour and a half.

That doesn't bug me with Iron Man becuase that is Tony Stark in a nutshell, but otherwise there's not a whole lot of other superhero movies where it feels like anyone actually gives much of a shit about each other.

As a result, the movie feels cinematic at times and downright cartoonish at others but of course the dazzling 1950s animation is never even challenged, let alone rivaled.

So, it felt like we were all finding our footing on the first movie and getting to know each other and what kind of story we wanted to tell in our version of Spider - Man.

I truly can not think of a movie that I've seen that was so blatantly torn to shreds in post-production in the editing room, to a point where it feels like no single scene belongs in the same movie as any other one, and that no one working on the film even realized they were working on the same one as all of these other people involved.

Other movies just don't look like Merchant Ivory movies, they don't move like them or feel like them, and that's because of the tremendous care Ivory spent on them.

It's baffling that Affleck continues to play the least interesting character in movies he chooses to direct, and yet throughout Live by Night, he's surrounded by other characters that feel far more deserving of our attention.

I wasn't too surprised to be let down but this movie, it was actually worst than the first and that was a bad movie, the second on the other hand has more of a story and feels like a genuinely longer movie (as well as more closer to the 2nd / 3d game plot).

He's one of the greats, so for me, it's a privilege to have him on the movie and to give him sequences, and like Daniel says, you're making four movies and every section of the film feels so distinct from the other, feels so alive, it kind of regenerates in front of your eyes really, the film.

Even if the story is derivative, much of that old detective feel has been excised for a more modern approach in the movie adaptation, leaving it virtually indistinguishable from many other films in current release.