Sentences with phrase «film about a little girl»

Not exact matches

As for Darrow, he was greeted on his arrival in Dayton by a crowd about as large and friendly as the one that had greeted Bryan — not, as Drummond is, by a little girl screaming «Devil» in the play or a scowling mountaineer in the film.

Throw in Myrna Loy and you have a very fun movie with 3 actors at the top of their game.The film is about a test pilot (Gable) and his trusty mechanic (Tracy) who meet a girl (Loy) and how the strain of a test pilot's life affects them all.The film is a little long, but the action is well done.The acting is the main reason to watch this film, and if your are a fan of the big three, then you will have a good time.

Little Women» is a moving film about the making of a sensitive writer and the maturation of a small - town girl who transcends her milieu and at the same time retains its heritage.

The film opens on the island of Themyscira, a paradise island created by the god Zeus and hidden from the real world by a protective shield, and the film stays there for a while as we follow Diana from curious little girl to fully trained warrior princess but once Steve Trevor's fighter plane crashes there and Diana realises there is a war being fought in world she does not know of that is not too far away then we swiftly get brought into London in 1918 and this shift from fantasy into a «real world» scenario gives the film a greater sense of depth, and when combined with characters that you actually care about then Wonder Woman is head and shoulders above all of the other DCEU movies on the strength of that alone.

Gabrielle's impressive film credits include the critically - acclaimed «Cadillac Records,» «The Perfect Holiday,» «Tyler Perry's Daddy's Little Girls,»» «Bad Boys II,» «Breakin» All the Rules,» «Deliver Us From Eva,» «Bring It On,» «Two Can Play That Game,» «Love & Basketball,» «Cradle to the Grave,» «Ten Things I Hate About You,» «The Brothers,» «The Honeymooners,» «Meet Dave» and «She's All That.»

He talks about how this film is a fairytale and how he loves the little girl he cast and how honest she is in her complete inability to be anything other than herself (and, damnably, how much he let her ad lib her dialogue and thus alter his film).

In this film publicity image released by Universal Pictures, Gru, voiced by Steve Carell, tells his minions about their new mission to steal the moon in the 3 - D CGI feature, «Despicable Me,» about a villain who meets his match in three little girls.

We all went a little nuts over this charming little Swedish film about a trio of teenage girls who form a punk band in 1982 Stockholm.

Similarly an early scene in which Adèle fantasizes about the blue - haired girl while masturbating is a little anomalous to the rest of the film, again, not thematically, but stylistically as we see what she's thinking in a way we never do again.

It says a lot about the film's conscientiousness — hardly a word one normally applies to a slasher flick — that Mr. Harrison is acknowledged at the finale, struggling to stand up on knees reduced to jelly by confirmation that his little girl is dead; there's a reason the French chose to call this Tragic Christmas.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

Few complained that the 1982 film itself drew much of its plotting from a 1962 Twilight Zone episode called «Little Girl Lost» (about a child who has slipped into -LRB-...)

Sevigny recently made her directorial debut on the shirt film Kitty, about a little girl who dreams of being a kitten, which preemed to good notices at Cannes earlier this year.

Then 2017 DGA Outstanding Directorial Achievement in Movies for Television and Mini-Series Award nominees: Kyra Sedgwick (Story of a Girl) and Jean - Marc Vallée (Big Little Lies) spoke about the making of their films in a conversation moderated by DGA Movies for Television Committee Chair Mike Robe.

Considering screenwriter Mike White had films like Campus Man and Orange County on his resume, I was a little hesitant about whether or not The Good Girl might actually be worth watching.

This unfortunately little - seen film about a young girl in rural Uganda who becomes an unlikely chess champion was loved by those who did see it.

But first he did this little - known film, his first in the United States, about a teenage girl who runs away to be part of a group of hippies, and her parents trying to find her.

Slow, not terribly interested in lore or internal logic, and fatally hamstrung by the choice of actors like Billy Crystal and a zombified Emily Mortimer to voice its American dub, it's a regression for Miyazaki from his last two films (Princess Mononoke and Spirited Away) in almost every sense, starting with his decision to have a lonely young woman as the central character in place of the prepubescent little girls front and centre in most of his masterpieces (the last two films, Kiki's Delivery Service, Nausicaä of the Valley of the Wind, and My Neighbor Totoro) and ending with a gross simplification of his usually complex themes of confidence and actualization into a colourless, flavourless drone about the hard - to - dispute badness of war.

Wonder Woman (Patty Jenkins, 2017), because it's the most powerful popular feminist statement in mainstream cinema thus far, inspiring countless young women and girls to dare to succeed; because Patty Jenkins more than deserved it after languishing in the wilderness of episodic television after her masterful film Monster (2003), when any male director would have gone on to direct four of five features on the strength of that one film; because it's about damned time that a female comic book feature got made; because Jenkins still had to fight to get a fair payday to direct WW 2 — enduring months of fight - to - the - death negotiations to get a directorial fee comparable to that of Zack Snyder or J.J. Abrams for the sequel; and finally because she's better than either of those two directors, who are overrated hacks with little or no vision at all.

This really is a film about innocence, about little girls who are nothing more than little girls, and you can hardly blame the director if some viewers attach a sexual connotation to the film which she hasn't intended.

Eighty - three years after this occasion, which incidentally inspired the 1985 Dennis Potter and Gavin Millar film, Dreamchild (starring Coral Browne, Ian Holm, Jane Asher), we are still nuts about Alice in Wonderland and the story behind the story; especially the little girl, Alice Pleasance Liddell, who inspired the author to write the story down for her.

I wanted the film to be called Ramona Quimby or Ramona Q, because it's about a little girl, but the movie people were very concerned about their teenage audience and made Beezus older.