Sentences with phrase «felt line in the film»

It's all too bad, especially considering that a man - in - black played by Jason Bateman resists the standard expectations of the role and ends up with the best, most felt line in the film («He introduced me to my wife»).

Not exact matches

At their most ungainly, the films feel like nothing more than a tie - in or brand extension meant to capitalize on a popular figure in a new way, like a toy or clothing line.

Russell pokes fun of his weight, makes ludicrous power plays to establish his dominance in prison, and invites a number of deeply uncomfortable jokes about his inevitable sexual abuse in prison — a line of comedy that feels even more unwelcome given that the film's cast includes an accused sexual assailant in T.J. Miller, who needlessly returns as Deadpool's best friend, Weasel, in a few throwaway scenes.

Along those lines, a slow - motion nightmare of war violence that plagues Georges in his sleep feels out of place compared to the understated calm that marks the rest of the film.

Attempts to delve beneath the surface of Hollywood's rampant narcissism and fascination with technology, but ultimately feels like just one more in the long line of films this year about the business of making movies.

And yet, however considerable the film's charms (it's first - rate children's entertainment, to be sure), there's something just the slightest bit disappointing in how pro-forma it all feels: Ghibli geniuses Isao Takahata and Hayao Miyazaki never clung to a house style, making films with wildly different looks and tones over the course of their careers, whereas Yonebayashi's first post-Ghibli effort colors well within the lines of stock Japanese animation.

In the Season 4 finale, as Hank awaits sentencing, the lines between his real life and the movie based on his life blur as the film's star hits on his ex-wife and he feels stirrings of passion for the actress hired to play Karen.

Ragnarok packs in as many jokes as it can muster, and these give the film a feel much more in line with the Guardians series

A cheeky line from the film «the comic is so much better than the film», puts in a pre-emptive strike against viewers who will feel the film doesn't live up to its graphic novel origins.

That prompts the most suggestive line in the film, as the voiceover reveals: «Inexplicably, she felt sullied in her love of Pierre.»

The last line of the film, in what should have been the capper of a gut - wrenching finale, is, «I don't feel a thing».

Adults and older teens (who aren't already anxious about flying) may feel just a tinge of unease as the plot line unfolds in this tightly edited film.

This may not be prime Tim Burton, but it feels more in line with the films he's best remembered for as opposed to the CGI and Johnny Depp heavy films that have made up the second half of his career.

The actor sometimes did more than 100 takes for one line, subtly revising to ensure each moment in the film feels as grounded and real as possible.

The humor may throw some off, but it feels more in line with the humor of the original trilogy that isn't always present in recent Star Wars films.

The fear in 1990 as reflected by the film is more along the lines of a surety that we were all going to kill ourselves, though its themes are so inconsistent and muddled, even down to the lore (do the zombies feel pain?

In its early sequences, and in the conflict between Luke and the sadistic chief played by Strother Martin that provided the film's most memorable line («What we've got here is failure to communicate»), the film feels like an unmistakable, generationally targeted indictment of police brutalitIn its early sequences, and in the conflict between Luke and the sadistic chief played by Strother Martin that provided the film's most memorable line («What we've got here is failure to communicate»), the film feels like an unmistakable, generationally targeted indictment of police brutalitin the conflict between Luke and the sadistic chief played by Strother Martin that provided the film's most memorable line («What we've got here is failure to communicate»), the film feels like an unmistakable, generationally targeted indictment of police brutality.

I, however, have feelings more in line with this far more critical look at the film from Andrew O'Hehir of Salon.

She was terrific in Silver Linings Playbook, a film that had Oscar wins written all over it, which made this victory feel like an easy lay - up despite the talented group of nominees that year.

In conclusion, Silver Linings Playbook is a feel good film and definitely is one of the year's best.

The name Terrence Malick above the title on «The New World» in 2006 certainly brought with it a certain group of expectations for those of us who loved «Badlands,» «Days of Heaven» and «The Thin Red Line,» but a decade later, released by Criterion this week in a gorgeous three - disc Blu - ray set, the film now feels almost like a bridge between those early works and his recent trio of introspective, deeply philosophical films: «Tree of Life,» «To the Wonder» and «Knight of Cups.»

BD: In terms of the tone, are you staying in line with the largely comedic tone of Army of Darkness, or do you plan on reverting to the more horror - oriented feel of the first two filmIn terms of the tone, are you staying in line with the largely comedic tone of Army of Darkness, or do you plan on reverting to the more horror - oriented feel of the first two filmin line with the largely comedic tone of Army of Darkness, or do you plan on reverting to the more horror - oriented feel of the first two films?

As well, the first half of the film is stronger than the second, as a cross-desert car race feels more like Smokey & The Bandit and less in line with the story that was so well plotted in the set - up

But while those are obvious comparisons, they aren't inaccurate; the film, with it's super small cast and minute - by - minute struggle, really feels in line with the very first episode of The Walking Dead, which featured primarily one man coming to grips with his harrowing reality.

Despite it, the story feels like small potatoes in comparison to other war epics to grace the silver screen, more a personal quest to solve a mystery and redeem the family name, and along those lines, the film does work so long as you see it as a simple tale of valor.

In an entertainment era when the line between film and TV in particular feels like it's getting ever blurrier, it makes complete sense that the Academy would want to highlight and celebrate films that highlight and celebrate filmmaking, and all the things filmmaking is capable of that other media are noIn an entertainment era when the line between film and TV in particular feels like it's getting ever blurrier, it makes complete sense that the Academy would want to highlight and celebrate films that highlight and celebrate filmmaking, and all the things filmmaking is capable of that other media are noin particular feels like it's getting ever blurrier, it makes complete sense that the Academy would want to highlight and celebrate films that highlight and celebrate filmmaking, and all the things filmmaking is capable of that other media are not.

At first, Jafari seems primarily concerned with exonerating herself from the guilt of causing a suicide; with time, however, a newfound responsibility takes shape, and «Three Faces» feels more in line with the canny feminist leanings of Panahi's earlier films, from «The Mirror» to «Offside.»

It's ultimately hard not to feel a twinge of disappointment at Reservation Road's decidedly less - than - compelling vibe, as the film features a premise that should've resulted in an electrifying, thoroughly compelling piece of work (somewhere along the lines of thematically - similar efforts 21 Grams and In the Bedroomin an electrifying, thoroughly compelling piece of work (somewhere along the lines of thematically - similar efforts 21 Grams and In the BedroomIn the Bedroom).

But considering the vibrant 2K transfer that Code Unknown received in 2015, and that 4K technology exists to offer top - of - the - line scans of contemporary films, one can't help but feel somewhat shortchanged here.

Tonally it feels more in line with the TV shows than the core Skywalker films, specifically in the way it introduces colorful new characters you immediately believe have been in the sidelines all this time.

It is hard to choose a standout performer within the film as each one embodies their character to a fascinating degree, their essence felt in every line, quip and insult that gets spattered throughout this hellish middle - class gathering.

The film is exceptionally written — every line of dialogue sounds like something a person might actually say and, as someone who was a high school senior in 2002, it felt so authentic that I thought I was watching a documentary about my generation's coming - of - age instead of a comedy - drama from the co-writer of Frances Ha and Mistress America.

Even the best bits of humor in the previous films held back from that line; they took themselves seriously — maybe too seriously — but it's a tonal change here that's quite jarring evokes the feeling of watching a TV show instead of an epic feature.

Even though I did like The Squid and the Whale I definitely didn't fall in love with it and therein lies my belief that fans of the director will probably line up to want to slap me silly for my feelings on this film.

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, this felt more along the lines of the James Cameron Terminator films than either of the last two outings.

But bottom line: it's not the most thrilling sequence in a film that too often feels more fitting for cable TV.

Though characters from the first film reappear in this one, no plot lines are continued, which means newcomers shouldn't feel lost.