Sentences with phrase «film about the power»

This is a film about the power of sex, but also how there are other things out there.

But fundamentally, it's also a film about the power of showmanship, and the danger of believing your own hype.

The religious film about the power of prayer remained in the top five at the box office this weekend and has now earned a little less than 40 million.

Sliver was to be a film about the power of obsession, fetishism and the lust of watching.

Like its predecessor, it's a devastatingly beautiful film about the power of cinema, and its ability to testify to some aspect of human nature with a veracity and elegance that escapes other mediums.

In the 1980s, his ambitious films about power relations in the army and in prisons assembled large casts of collaborators.

An abstract performance film about the power of colour and the life it breathes into the subjects of the film.

Not exact matches

I wrote about the power of «no» earlier this year, when über - successful film star Tom Hanks expressed similar sentiments.

The series was produced by Jeff Skoll (of eBay fame) and his activist company Participant Media, And it serves to underscore once again the «you - are - there» power of VR — as opposed to the two - dimensional flat - screen experience of a film like An Inconvenient Truth — when it comes to getting out the message of urgency about climate change.

Molly's Game is packaged as a movie about gambling, but that's just the first layer of a film that digs into the ramifications of the abuse of power.

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

Though his film is an eloquent testimony to the power of a nun's religious faith, he himself is hesitant to speak about religion as anything more than an offshoot of secular morality.

Soon, Green's Bible blitz idea took on a different shape — in the form of a feature film about those 1956 events: «Instead of doing a 30 - second commercial,» says Green, «we ended up doing a two - hour movie about the power of God's Word.»

He proposes using thin plastic films to broaden the spectrum of 10 - PW laser pulses, then squeezing the pulses to as little as a couple of femtoseconds to boost their power to about 100 PW.

As Brian Zikmund - Fisher says in the film, stories about children being injured have the power to grab our attention, and people can be quick to believe that vaccines are to blame.

I strongly encourage you to watch the new documentary film Mercury Undercover, which exposes just how far those in power will go to prevent you from learning the truth about mercury contamination from dental amalgam — all in the name of money.

That film, about a doctor who uses the healing power of humor to help his patients was enough to encourage that young girl into becoming the accomplished ND that she is today.

The people featured in our film have the power to transform our ideas about aging and inspire us to live life to the fullest.

Without the baggage of having read the book, the synopsis or even the film's Wikipedia page, Fifty Shades of Grey unspools as a surprisingly engaging story about sexual naivety, concepts of consent and, ultimately, power.

It is the director's extraordinary intuition about the synchronicity of history, geography and the physical universe — a mysterious relationship that has nothing to do with cause and effect — that gives the film and its predecessor their undeniable power.

The films have all been about Harry growing in stature and skill as a boy wizard, but the finale is about something much more interesting: the willful forfeiture of power.

A film about mentorship, power and how to wield it, and positioning.

With that being said, the premise and star power for Free Fire looked enough to even out my immediate hesitation about watching another Wheatley film.

This is a film geared towards those who sing their fav rock songs at full volume in their shower or car, half dreaming about the adulation and power of becoming a rock god.

There are interesting ideas knocking about inside the film, including that electricity is also a form of magic and that sometimes the wisest thing to do with power is to reject it.

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.

Despite the efforts of a strong ensemble cast — featuring Bruce Dern, John Ortiz, Ellen Burstyn, Nick Offerman, Jon Hamm, Catherine Keener and Patton Oswalt — the film fails to drive home its point, about the power of the stuff we leave behind when we die, with the same emotional punch that the people on - screen seem to be telegraphing: grief, longing, regret, resentment and sundry other flavors of moroseness.

A film about the vital importance of speaking truth to power needn't be so concerned with dressing up its own frightful truths, but Nobody Speak still compels as an opening statement on journalism's dubious future.

Where plenty of more serious - minded modern films would try to build a relevant message into this plot about the dangers of unchecked corporate power, lax regulations, or genetic experiments, Rampage seems to consciously make the antagonists as shrill and unrealistic as possible, to avoid any unfortunate associations with reality.

Such shortcomings speak loudly in a film that's certainly honest about how power works but is nonetheless steeped in self - congratulation.

The film opens with Rav Krushka, the beloved leader of an Orthodox Jewish congregation in London, delivering a sermon about the tricky place human beings occupy in the world, torn between the forces of spiritual good and darkness, but provided by HaShem (God) with free will — i.e., «the power to disobey.»

No new acting ground is broken here, as the main comedy of the film comes about as the sleazy Pratt adapts to any view that keeps him in power.

It may try to force too much information into too little time if you don't know about the history and technology of film, but this documentary romanticizes the art with such passion and finesse that it stands as a reaffirmation of the power of movies and the importance of understanding their history and possible future.

In the «Star Wars» universe, Jedi can be singular or plural, something CBR's Tom Bondurant addressed in his recent speculation about the meaning of the film's title: «[I] n «A New Hope» Obi - Wan Kenobi tells Luke Skywalker that «the Force is what gives a Jedi his power»; while Grand Moff Tarkin reminds Darth Vader that «[t] he Jedi are all extinct.

Several films have been made about the bizarre incident, but few of them possess the queasy power of this one, which does a plausible job of depicting just how, exactly, things escalated as they did.

Lucy, the new film from the writer and director of Léon and The Fifth Element, is about a drug mule who gains incredible powers - including clairvoyance, telekinesis and the ability to completely block out emotion and pain - after a drug she is supposed to be transporting accidentally enters her system.

In his new film Isle of Dogs, it seems that Wes Anderson has spun a similarly wistful yarn about about the strangely transcendent power of canine companionship.

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.

Directed by Paul Mercier, the film is a modern take on the legend of Diarmuid and Gráinne — a contemporary myth about the pursuit of power, class, love and the chance to start again.

A film adaptation of Morgan's own stage play that was itself very much about the powers of television, the relationship between text, medium and audience has shifted in ways I'm not sure the film's makers have fully accounted for.

Green Room, a film about a punk band trapped in a hostile environment when they stumble across a white power group and their crimes, is one of the most realistic cinematic visions of the punk underground since Penelope Spheeris's Suburbia in 1983.

A film about a lot of things, it draws its power from the Gordian complexity of crafting a legacy through the belief — when every other system and bedrock is filthy with rot and cynicism — in the ability to forget.

The film contains strong messages about the ability of art to speak truth to power, the importance of standing up to oppression and the subversive nature of laughter.

I'm not a massive fan of superhero films they are usually just Power Rangers for adults taking themselves incredibly seriously about a ludicrously named star punching something for half hour.

Having a film depicting homemade collagen injections and the destructive power of the father for an opening night film was a brave move, one which had everyone talking about it for weeks afterwards, which (coupled with the moving standing ovation at the conclusion of the film) I believe is the sign of a successful opening night film.

Far more of a hyperactive fantasy film than anything remotely historic or realistic, Prince of Persia is about the quest by the adopted prince Dastan to clear his name and stop a mystical dagger, which has the power to turn back time, from falling into the wrong hands.

It is always impressive to see how Haneke can be so subtle and forceful as with this magnificent and devastating oeuvre about aging, devotion, love and death - a film that surprises us for its deep tenderness and honesty while striking us with an overwhelming emotional power.

All the original music for the film was written by Hawkes, and I instantly wanted to pair the movie into a double feature with Zoe Lister - Jones» «Band Aid» from last year (another terrific movie about the healing power of music).

As you watch film about the Attica prison riots, which may have been touched off by a racial incident, the segment goes on way too long and seems to stray from the notion of a Black Power movement.

One of the most striking elements about this film was the way it was shot, which gave it a voyeuristic sensibility reminiscent of North by Northwest (1959) in particular — especially in terms of the way the character of Héctor 1 was set - up and the power dynamic between the multiple Héctor sequels and the young girl.