Sentences with phrase «film are they making here»

Just what kind of film are they making here?

Not exact matches

We should be just as proud of the games that are made here as we are of the music, television and films that are made here.»

So here was my stupid idea: Why not make a documentary film about it?

It is here that the title line of the film fits chronologically: but Welles chooses instead to flash - forward to this moment for the movie's opening, so we hear Falstaff say, «We have heard the chimes at midnight, Master Shallow,» before we know just why thinking of his youthful escapades makes him so heavy - hearted.

Here's the actual scoop, if you're not yet in the know: We are making a film of Much Ado About Nothing at our house over the next couple of weeks.

, the 2014 film from Spanish director Alberto Rodríguez which is still making the festival circuits here in the States, is a haunting combination of detective tale and truth - and - reconciliation case study.

Since almost all films seen in Canada are made in the United States, the approaches here will deal with the U.S. motion picture industry:

Both the film and the novel make much of God's strategic metamorphosis here, which is really the premise of the whole story.

A long weekend of eating tons of chocolate and watching films non stop (this is actually a normal weekend for me, only on this occasion it's more socially acceptable...) So here is one recipe I will be making again before the weekend, chocolate cake baked in egg shells!

There is a whole schpiel about Atlanta's oddball economy that goes here: we're the home of UPS, Delta, Home Depot and yes, Coca - Cola, but also the home of Adult Swim, the modern hip - hop - industrial complex and the pre-demolished look and convenient state tax credit that makes filming The Walking Dead here so plausible.

So the question here is whether Che: Part Two makes sense, as a self - contained film, for someone who has not seen its predecessor.

With this facility, with the filming that is happening here, we will create the jobs, we will make sure that local businesses benefit but more importantly, we will show the world that the Bronx is back.»

But it still filmed here, as did other productions — proving Nixon's point to the Buffalo News last month: «I don't think there's any real truth that that enormous expenditure of money is making a significant enough difference in production to justify it.»

The binder performs several tasks here: it not only makes the TCO nanoparticles adhere well on the film; it also increases the flexibility of the TCO coating: in this way, the conductivity is maintained even when the films are bent.

The binder performs several tasks here: it not only makes the TCO nanoparticles adhere well on the substrate; it also increases the flexibility of the TCO coating: in this way, the conductivity is maintained even when the films are bent.

I'll be using my film - making and editing skills to also create a video diary here.

Also here is Guinevere's dress from Camelot, a film which I never thought I'd want to see again till now I've seen a close - up of the most interesting wedding dress ever, made by hundreds of skilled cutters, embroiderers and seamstresses and sewn in with thousands of tiny, translucent shells and pumpkin seeds.

I must admit I don't have a clue how well this will go down but thought I would give it a go anyway, but it's harder than it looks Trying to explain things whilst concentrating on not messing up really can be difficult especially when you're new to filming, but when I feel ready to put the video up I will make sure to post it here first for you all to see.

Chanel # 14 Mystic Eyes is truly a beautiful eyeshadow quad and really worth checking it out, that's why I have decided to dedicate to it a few words here on my blog, and I have also filmed a quick make up tutorial for you, creating just one (of many!!!)

The kicker here is that he had planned to make a really psychological film where it was to be revelaed that everything was in Laurie's head and that it was her doing it, and only thinking it was Michael.

The film doesn't hold your hand, and while Cave may drop a first name here or there, or make mention of a band or hit single, there's nothing on screen spelling out for you a traditional Behind the Music - friendly history of Nick Cave.

There's no denying that when George Clooney wants to be an «artist,» he's more than capable of making some lovely art films, and that's clearly the case here, but there's no valid reason why he should spend his money producing a painstakingly slow travelogue set in the Italian countryside like this and allow it to be disguised as some sort of «thriller.»

Which is to say that the film's interpretation of apartheid may reflect most poorly on the film not because it's wrong but because it's intellectually lazy and, here's the real kicker, LESS INTERESTING than it would have been to show the aliens as not yet another oppressed minority (which has been done to death) but a mass suppressed by an elite group, made to feel like an «other» when, in fact, it's imprisoned in its own homeland.

Despite all that, there's more than enough here to make the film worthwhile.

it is funny in deed but, when their is someone to cover Sandler's movie their most likely gonna never make a film again Oh look see Denis Dugan and Frank Coraci BOOOOOO!!!!!!!!! you suck stop making adam sandler movies here is the problem they are directors who don't care about cinematography or shots of using the camera all they care is comedy!!!!!!! see Tyler Perry yeah their just like this big joke.

The use of clips from the past films to demonstrate things we as viewers might've missed or that suddenly make sense when explained or elaborated on here is tremendously helpful.

Burton's pop vitality and his ability to make the world over in surreal cartoon terms could have been predicted from «Pee - wee's Big Adventure» and «Beetlejuice,» but nowhere in those films is there a sign of the muscularity and emotion he shows here.

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

Other than Graham, who doesn't really have much to do here, there's a surprising lack of women in the movie, which might make this as much of a guys» film as «Old School.»

It's here that the thriller aspect really takes hold, and it's incredible in that you'll notice in the thirty - plus years since the events of ARGO, things still haven't improved between the Middle East and the West, making this a relevant, but also balanced film.

In The Sword in the Stone it was possible to forgive this, since the film was funny enough to make the rough edges feel charming, but here it's so obvious that it dents our ability to suspend disbelief.

«Here is a sentence I did not expect to write: The film's portrayal of the otherworldly Mrs. Ws — Mrs. Whatsit, Mrs.. Who and Mrs. Which — makes the depiction of the Holy Trinity in The Shack profound and numinous by comparison.»

Getting short - shrift in all of this is Kevin (Thomas Ian Nicholas, The Rules of Attraction), who is pushed mostly to the side here — although that may be intended irony, since his character was the most sexually experienced in the original film, making him the guy most likely to have had his glory day in high school, only to go downhill from there.

After being cast as Lorene Rogers in a TV remake of From Here to Eternity (a role she reprised in a subsequent series based upon the film), Basinger finally made her way to the big screen in the low - budget drama Hard Country.

Petit's story isn't as inspirational here as the film believes it to be, but Zemeckis» ability to convey the experience of Petit's accomplishment more than makes up for it.

This is once again Hitch making a film that's a mix of romance and thrills, although here the focus is more on the romance.

The fact that all characters here are grey and even the rather good people make questionable decisions may put off some viewers, but it makes the film a lot more realistic.

The film's sleek moodiness and visual sophistication are so effective that there's even a scene here that makes Detroit look like the most romantic city in the world.

Carried over from the TV version was director Sidney Lumet, here making his feature - film debut.

The characters make the film here, as they're well drawn, yet difficult to sympathize with as this reveals the darker side of the decisions that sparked the 2008 financial crisis.

The film's leading lady was former silent star and future cult - figure Louise Brooks, the hauntingly beautiful leading lady of G.W. Pabst's Diary of a Lost Girl and Pandora's Box, here making her last film appearance.

There's nothing new here, and not much that's funny, but it's fluffy enough to make for a decent date film.

The overwhelming English sadness of Ian McEwan's novella On Chesil Beach has been transferred to the movie screen, adapted by the author and directed with scrupulous sensitivity and care by Dominic Cooke, known for his stage work and making his feature film debut here.

With stunning performances from its cast, the film occur during the First World War, and it shows us the chaos, and considering the fact that this was made in 1930, it's an impressive feat in filmmaking, as what we have here is a picture that captures the fear and agony of combat, and it's a well made movie for its time, and it still looks great after all these years.

True to that mission, director Hiromasa Yonebayashi delivers a family - friendly treasure every bit as enchanting as his two previous films, «Arriety» and «When Marnie Was Here» (both made at Ghibli), with this tale of a clumsy redheaded girl who's mysteriously granted access to an exclusive Hogwarts - like school for witches.

The film is a well made, and there some exciting bits here and there, unfortunately, the material presented here is something we've seen many times before.

Cummings may have taken the easy way out here and there, but she largely delivers a film that kinda sorta makes you think, which isn't a characteristic the genre is known for.

Although Douglas was again praised for her work — here portraying a Carole King - like singer / songwriter — the film did poorly among critics and at the box office.The actress went on to do a number of made - for - TV films, including the satirical Weapons of Mass Distraction in 1997.

There's some very candid, fascinating footage here capturing the process of making the film (in, for a surprise revelation, not a real Parisian flat but a studio - built apartment replica surrounded by green screens, not at all dissimilar to David Cronenberg's use of similar magic for A Dangerous Method, not that you can tell in either film in its finished form, where the technology is seamless and unobtrusive), with Haneke working with the actors in a rigorous, nitty - gritty way that lets us see what infinitesimal precision he's looking for in performance, in movement, in blocking, and in composition.

Here's why not: When you make something, whether a highbrow literary novel or a shoot - em - up video game or a film comedy, you should try to do as good a job as possible.