Sentences with phrase «film end of love»

Not exact matches

If this is the penultimate ending of the Marvel universe and the characters we love, then I can't (maybe don't) want to see what the final Avengers film will bring.

Hence at the end of the Asda film we see mum finally get to sit down with a glass of wine after 2 months» graft, as dad delivers the final, inevitable punchline: «What's for tea, love?».

And of course all the couples in the film reboot their love and deepen their connection by the film's end.

If you haven't seen the film, in brief, the 20 - something Vicky and Cristina are friends spending the summer in Barcelona with Vicky's parent's friends, Judy and Mark, and end up in a complicated love triangle of sorts with a seductive artist, Juan Antonio, complicated even further when his former wife, Maria Elena — a talented and tempestuous artist whose passion excites and destroys — reappears.

However, Mr Barnbrook, a former teacher, denied the suggestion that HMS Discovery: A Love Story had a specifically gay focus, saying: «It's an art film, end of story.

However, his film - star status and love of humans were to bring to an end his stint in the wild.

The film, which hits theaters February 16, is a modern twist on a romantic comedy (boy and girl meet, fall in love, but then break up, and are suddenly reunited, ending up in that awkward stage where they have to debate whether to wave hello while taking out the trash), but it's also a particularly female spin on the coming of age story, the likes of which we're only beginning to see onscreen as more women carve out a place for themselves in writer's rooms and director's chairs.

All in all, though, we don't fall in love with any of these characters, we don't root for the film's one «couple» (who we think all along will unrealistically be granted a predictable Hollywood ending), we can't remember the jokes after the fact and, most important, we aren't consistently entertained.

This is beautiful film, and a terrible one: devastating to stick out, and yet one of the most remarkable romances ever made, for it takes The Movies» pursuit of love straight through to the very end, through its most profound expression of adoration.

It is the love scenes, played beneath shimmering apple blossoms in lyrical soft focus, that stick in the memory, ironically turning what is now the film's ending into one of the director's most bitterly pessimistic scenes.

In particular, Chaplin's impassioned speech at the end of the film about war, love and peace.

Set at the end of the 19th century, the film stars Kodi Smit - McPhee as Jay Cavendish, a 16 - year - old boy on a journey across the American frontier in search of the woman he loves (Caren Pistorius).

To the extent that the Fifty Shades movies have been about the redemption of Christian Grey (Jamie Dornan) by his love of Anastasia Steele (Dakota Johnson), the transformation was completed at the end of the second film, Fifty Shades Darker.

Sure, this film's subtlety lapses are limited in quantity, and even when they're at their very worst, a descent into just plain corny is never made, or at least very rarely made («I thought I was gonna die from your love»...), but this drama can only go on for so long before slipping out of relative consistency in bonafide resonance, which isn't to say that unevenness ends there.

I love the concept of an end of the world film that doesn't involve a rescue mission to try and save the planet.

THE ENGLISH PATIENT is a genuine and beautiful film about the enduring power of love, proving how circumstances lead us to places we never thought we would end up.

Margot Robbie, aka Suicide Squad's Harley Quinn, reveals that she joined the DC Comics film because of her love of David Ayer's End Of Watcof her love of David Ayer's End Of Watcof David Ayer's End Of WatcOf Watch.

I loved a lot of films at Sundance this year, but almost none of them ended up winning an award.

One of the greatest films of the last 15 years, Jane Campion's Bright Star is a nearly understated tragedy about a couple so physically chaste by emotionally vulnerability and pulsing with love that the ending nearly bowls the viewer over.

The Face of an Angel centers on a director (Bruhl), who is hired to make a film about a murder trial in Italy, but ends up finding love with a young bartender in the process.

I don't know if I truly want to hold the ending against the film because prior to this scene I was always invested and loved every moment of my time with Nancy.

In the end, I would agree with the Russo brothers, the love that both Steve and Bucky have for each other is the primary focus of this film.

Made at the end of the»70s, it is a film about that transition between the era of support and love and the Me Generation of the»80s.

Michael Haneke's stunning requiem of love and death made its mark on a packed cinema at the IFI to such an extent that there was a palpable feeing of raw emotion as the film's credits rose in silence at the end.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

What I'm not so fond of is the cop - out ultimately taken by the filmmakers, who can't seem to follow through on their promisingly metaphysical premise (let alone the theme of obsessive love), electing instead to eliminate all ambiguity — now would be the time to dig up that gift - wrapped box I told you about earlier — which reduces the film, in the end, to little more than a cheap, if rather expensive - looking, joke.

Animated feature «The Croods» «Despicable Me 2» WINNER: «Frozen» «Monsters University» «The Wind Rises» Action movie «The Hunger Games: Catching Fire» «Iron Man 3» WINNER: «Lone Survivor» «Rush» «Star Trek Into Darkness» Actor in an action movie Henry Cavill — «Man of Steel» Robert Downey Jr. — «Iron Man 3» Brad Pitt — «World War Z» WINNER: Mark Wahlberg — «Lone Survivor» Actress in an action movie WINNER: Sandra Bullock — «Gravity» Jennifer Lawrence — «The Hunger Games: Catching Fire» Evangeline Lilly — «The Hobbit: The Desolation of Smaug» Gwyneth Paltrow — «Iron Man 3» Comedy WINNER: «American Hustle» «Enough Said» «The Heat» «This Is the End» «The Way Way Back» «The World's End» Actor in a comedy Christian Bale — «American Hustle» WINNER: Leonardo DiCaprio — «The Wolf of Wall Street» James Gandolfini — «Enough Said» Simon Pegg — «The World's End» Sam Rockwell — «The Way Way Back» Actress in a comedy WINNER: Amy Adams — «American Hustle» Sandra Bullock — «The Heat» Greta Gerwig — «Frances Ha» Julia Louis - Dreyfus — «Enough Said» Melissa McCarthy — «The Heat» Sci - fi / horror movie «The Conjuring» WINNER: «Gravity» «Star Trek Into Darkness» «World War Z» Foreign language film WINNER: «Blue Is the Warmest Color» «The Great Beauty» «The Hunt» «The Past» «Wadjda» Documentary feature «The Act of Killing» «Blackfish» «Stories We Tell» «Tim's Vermeer» WINNER: «20 Feet from Stardom» Song «Atlas» — Coldplay — «The Hunger Games: Catching Fire» «Happy» — Pharrell Williams — «Despicable Me 2» WINNER: «Let It Go» — Robert Lopez and Kristen Anderson - Lopez — «Frozen» «Ordinary Love» — U2 — «Mandela: Long Walk to Freedom» «Please Mr. Kennedy» — Justin Timberlake, Oscar Isaac and Adam Driver — «Inside Llewyn Davis» «Young and Beautiful» — Lana Del Rey — «The Great Gatsby» Score WINNER: Steven Price — «Gravity» Arcade Fire — «Her» Thomas Newman — «Saving Mr. Banks» Hans Zimmer — «12 Years a Slave»

The latest case in point is «Love Actually,» which is returning as a short film as part of Red Nose Day, a charity event aimed at ending child poverty.

For this third film, the trio ended up in Greece, where they crafted a story about the stage of a romantic relationship that has moved far past the first blooms of love.

In the vein of Haggis» Oscar - winning 2004 drama Crash, the film follows three intersecting stories set in Paris, New York, and Rome, «with each storyline following a different stage of a love relationship from the beginning, middle, and the end.»

Refn clearly has a love for the likes of Walter Hill and John Carpenter, as well as cult classics like Silent Running and Logan's Run, a film he was looking to remake for some time; von Trier has grander aspirations as a filmmaker, a compulsive need to make the audience feel something, anything, at the end of his works.

The one redeeming moment of Down with Love is a monologue by Zellweger near the end of the film where everything comes out into the open.

Terence Nance's semi-autobiographical film is amusing and heartfelt as well as a visually and narratively imaginative exploration of the vagaries of love in all its angst and pleasure — especially during the uncertainty when flirtation has no clear end.

He even calls it a rape the next day, but has fallen in love with her by the end of the film.

The original film told the story of a city kid who loves dancing that ends living in a place where dancing and rock & roll have been outlawed.

The division, part of billionaire Haim Saban's media empire, racked up five total by the end of the festival: the Gerard Butler psychological thriller «Keepers,» Keanu Reeves» romantic thriller «Siberia,» «Berlin, I Love You» with Kiera Knightley and Helen Mirren, Nicolas Cage's «Between Worlds» and the historical action film «Viking Destiny.»

The original film told the story of a city kid who loves dancing that ends living in a place where dancing and rock &...

And there were two films, Barrier and Le Départ, from the Polish director Jerzy Skolimowski, whose Deep End has become a much - loved repertory pick (and whose Four Nights with Anna screened in the 2008 edition of NYFF).

Unless of course you read some sort of rave review or end - of - year love letter and expected a different type of film, like perhaps, erm, Slumdog Millionaire?

While at the Toronto International Film Festival for the North American premiere of Happy End, which opens this week in New York, Haneke sat down with me to talk about his early experiences falling in love with cinema and the films that have shaped his singular aesthetic.

(For the record I actually LOVE Cameron's The Terminator...) Also, that time travel movie argument at the end of the film was actually improvised by Ian and David, I can't claim credit for how funny that moment is at all.

Richard Curtis» Love Actually, which strikes me as the British counterpart to this film, played out as an ongoing series of happy endings, the kind every romantic comedy eventually provides.

Detailing the remarkable true story of Dido Elizabeth Belle (Gugu Mbatha - Raw), born to an aristocratic father and slave mother in 19th century England, and telling a Jane Austen - ish love story against the backdrop of a legal case that was crucial in ending slavery in Britain, it might not be the most formally adventurous film of any director on this list (though it is undeniably Well Made in a classical sense), but that almost feels deliberate.

«Endless Love» is a serviceable enough romantic drama which largely follows the path of Franco Zeffirelli's 1981 film of the same name, though the some aspects have been changed for a more Hollywood ending.

The film that follows, however, is a flawless exploration of male identity (one of the novitiates is gay, and so are two of the camp's allotted «caregivers»), featuring some standout performances, a tense love - triangle and a brutal, if horribly inevitable, ending.

Way back in January, plenty of laughs and joy arrived in the form of Ass Backwards, a wacky comedy from writers Casey Wilson («Happy Endings») and June Diane Raphael («Burning Love»), who also star in the film as a ditzy, clueless duo reminiscent of Dumb & Dumber and Romy & Michele's High School Reunion.

Also according to this featurette, the film's original ending had Mrs. Reno and Cathy sadly sitting at the dinner table after returning from Clint's grave, which depressed the test audiences so much that they changed it to the more gimmicky ending of Elvis singing «Love Me Tender.»

While there is that element of teenagers meeting due to cancer or leukemia, the comparisons between the two films end there, as there is no love story here.

Certainly it isn't because it's a fitting ending to the journey of Bilbo, as he's not even involved in the majority of this film, instead taking a back seat to a host of characters that are either greatly beefed up from their small supporting roles in the original Tolkien work, or, as in the case of lovelorn wood elf Tauriel (Lilly, The Long Weekend) and handsome dwarf Kili (Turner, The Mortal Instruments), complete fabrications injected to put in a love story for, presumably, the young female set.

Both threads entwine in a mutual affection for the life of the cinema, which, by film's end, serves as the ends and the means by which their respective love stories are resolved.