Sentences with phrase «film as a favor»

MacFarlane has himself a fun and talented cast many of whom are probably his friends in real life that signed on to this film as a favor.

Apparently Bruce Willis appeared in the film as a favor to his brother David Willis, who was a producer on the film.

Not exact matches

That can work in the Red's favor if a director wants an edgy, harsher look, as appears to have been the case for Soderbergh's recent anxiety - soaked Side Effects or Robert Zemeckis's hard - hitting Flight — both filmed with Red cameras.

Moviegoers are finally about to get a break from all of the big - budget summer blockbusters and superhero action movies, as studios move away from large - scale spectacles in favor of award - season prestige films.

Do yourself a favor by ignoring the film's trailers and onslaught of ad spots that inadvertently paint Megamind as just another tighted candidate looking for a free ride.

However, I think, by the end of the film, the balance tips in favor of pathos arguments, as the film attempts to get us more outraged.

But this film would have worked either way: It's a celebration of a tough woman's rise from her role as a powerful man's spouse, and it's a case for why reporting should never be beholden to the whims of the White House (as the Supreme Court ruling in favor of the Times put it, the role of the press is to serve «the governed, not the governors»).

I think it would be a great idea to have more diversity of content in this site (an early review of Beloved was a pleasant surprise some weeks ago) but right now the balance is definitely in favor of sci - fi, fantasy, horror, action, and some crime films created for a demographic probably best described as «geek».

Coming just a few short months after the release of Paul Greengrass» 9/11 film United 93, World Trade Center immediately establishes itself as a completely different animal than its counterpart - as director Oliver Stone eschews the jittery authenticity of United 93 in favor of a far more traditional, thoroughly cinematic sort of vibe.

Yet the film favors the types of talky extended scenes that don't translate as well from the material's stagebound roots, no matter how creepy they become.

The Second Mother also eases the tone to make its events less caustic and bruising to those involved, meaning the film's initial, impending sense of dread is eventually discarded in favor of peppier resolutions, even though its economic concerns haven't been so much resolved as temporarily brushed aside to provide an illusory, optimistic capper.

That doesn't mean the movie escapes the intersectional nature of this universe of movies: There's a cameo from one superhero (kind of a favor, since Thor appeared after the end credits of that hero's solo film), and the Hulk, as well as his scientist counterpart Bruce Banner (Mark Ruffalo), has a supporting role.

A last - minute effort to block the film failed Wednesday, as a Paris court ruled in favor of the Cannes festival and rejected a lawsuit by Portuguese producer Paulo Branco.

Unfortunately, by ditching the high ground in favor of not - especially - convincing theatrics, the potency of the film becomes diluted to the point where we're viewing the infiltration of these secret cell groups as a fantasy, and therefore don't buy many of their tactics and plausible enough to keep us on the same edge we'd be teetering on if we felt the authenticity through and through.

As far as the film categories go, there were absolutely no surprises this evening, as all five categories went to those who were heavily - favored to wiAs far as the film categories go, there were absolutely no surprises this evening, as all five categories went to those who were heavily - favored to wias the film categories go, there were absolutely no surprises this evening, as all five categories went to those who were heavily - favored to wias all five categories went to those who were heavily - favored to win.

Thankfully, amidst the glamour and spectacle that frequently serve as distraction during film festivals, the atmosphere at TIFF remains unmistakably Canadian, by avoiding competition in favor of admiration and by featuring an assortment of Canadian filmmakers within its program.

The first half of Michael Almereyda's film is devoted to this landmark study, and for a brief, thrilling while, it appears as though the movie will ignore the researcher's life in favor of his fascinating work.

Working, however, in an even softer register than that already lightweight film, «The Young Victoria» plays down court intrigue in favor of dewy - eyed first love; if «Elizabeth's» populist coup was restyling royal history as political thriller, this lands squarely in rom - com territory, with Rupert Friend's Prince Albert the dreamy yet ever - deferred suitor.

Although the leader of this new incarnation of these iconic characters does remain on board as producer, he quickly departed the director's seat in favor of that other epic space saga (the one he not so secretly always favored), and was replaced by Justin Lin, who is most known for directing four of the Fast & Furious films.

She briefly came out of retirement to appear in the 2001 dramedy The Anniversary Party, as a favor to her friend and former Fast Times co-star, Jennifer Jason Leigh, who wrote and directed the film.

Though the data tells us that women are interested in genres favored by Hollywood, female filmmakers encounter significant obstacles as they attempt to move from independent to more commercial filmmaking, and face deep - rooted presumptions from the film industry about their creative qualifications, sensibilities, tendencies, and ambitions.

Instead, there are some twists that reduce the terror in favor of character tension, which in a thriller would work fine, but in this film come off as gimmicky and distracting.

Recent years have favored films released earlier in the season, and as a general rule of thumb films shown (at least somewhere on the globe) more than a week or two after the Toronto International Film Festival are disadvantaged.

While I made a concerted effort to see as many films as I could where the odds of making an appearance at the Oscars in February were very much in their favor, I wasn't entirely successful and therefore I can't comment on every lead performance that's been nominated.

Also, with the recent success of Javier Bardem as he gains American favor and recognition (No Country for Old Men, Vicky Christina Barcelona) and a best actor win from Cannes this year, I see no reason why the film can't do very well over here.

The first film tracked the development of their friendship as their own high school experience was flipped upside down: Schmidt, the lonely geek, found himself in favor, while Jenko, the popular jock, found himself on the outside looking in.

While most observant viewers will already have formed opinions as to the worthiness of the U.S. invasion of Iraq and the complicit role that the media plays in sidestepping confrontation with government officials in favor of pleasing target demographics, these aren't the overriding themes of the film.

But Skarsgård makes little impression as a creature that's supposed to be the embodiment of all fear — and the film does him no favors by slotting him into scene after scene of computer - generated nonsense.

Further, the new Knight Rider discards the vigilante Western mood of the Reagan - era original in favor of fashionably careering through the world of surveillance as presented by Alias, 24, and the Bourne films.

Despite serving as the film's helmsman, Donner tends to be shunted to the side in favor of Mel Gibson, Danny Glover, and Shane Black whenever the subject of Lethal Weapon is broached among movie geeks.

While most people are predicting Moonlight to win (as I am) the film is the second lowest box office grosser of the bunch and this is a category that favors two things: the Best Picture frontrunner or a populist hit.

Mashing - up different film stock, lenses, video and in - camera effects with quick jump cuts and forced continuity, both directors seemed hell - bent on ignoring the source material as much as possible in favor of creating over-cranked «ecstasy trips» on screen.

And the film even has the perfect bittersweet conclusion, which it then, unfortunately, ignores in favor of a completely unbelievable and illogical happy ending that feels as it had been mandated by studio test - screenings where the audience was unhappy with the original outcome.

I recently changed the Endy rules to only allow one film per person per nomination, as I felt the results were unfairly favoring directors like Johnnie To and Hong Sangsoo who make multiple films per year.

That uniqueness ends up working in its favor, however, as Derrickson has basically made a psychedelic kung fu / fantasy movie that is without question the most visually stunning film that Marvel has ever produced.

The odds, as they say, were already in this film's favor.

Spielberg instantly plugs into the sugar - rush milieu of the source material, eliding exposition, character, and setting in favor of a quick succession of «Hey, I recognize them» cameos, as though the entire film were cast from a Funko figurine catalog.

This pedigree definitely works in the film's favor, as sublimely silly moments accent the film without ever derailing the plot.

As the film proceeds, the favoring of mainstream movie references extends to Bertolucci's own oeuvre: the Paris flat reminds me of settings in The Conformist, the incest evokes Before the Revolution and Luna, Theo's Maoist baggage takes us back to The Last Emperor, a desert tent in the siblings» flat alludes to The Sheltering Sky, and Matthew's espousal of nonviolence suggests Little Buddha.

This is just one of many lazy story developments in the film, as Stenders (working from a script by James McFarland) is quick to throw all logic out the door in favor of more twists and betrayals.

If you think there's wiggle room here, take note: Because Colin Firth and Morgan Freeman are still solidly in this race, even though Tom Ford's embarrassing impersonation of Wong Kar - wai throughout A Single Man and Clint Eastwood's dully exploitative pushing of a Mandela - as - Obama message in his elegantly composed Afterschool Special Invictus didn't do either actor any favors, it's probably unlikely that Viggo Mortensen will sneak in for The Road, which has unfairly gotten less love this award season than those two films.

It's too early in the game, in my opinion, to think this film won't be a player, as recent history points in favor of Tarantino's bloodiest work.

As allegations about Kevin Spacey's history of sexual assault and predation began to mount, Scott took the unprecedented step of recasting his part and reshooting key portions of the film; ironically, that meant giving the role of tycoon J. Paul Getty to Scott's first choice, Christopher Plummer, who had been passed over by the studio in favor of the more «bankable» Spacey.

One more thing that may make the film a bit of a disappointment to some, perhaps, is that with each successive critical success under the belt of Alexander Payne, the more we expect as an audience, and that doesn't exactly bode in Nebraska's favor.

But it's immediately clear from the outset that Zama's wait will be in vain, and that as he wearily seeks a series of favors — from a local minister or a teasing noblewoman (Lola Dueñas, a regular of Pedro Almodóvar, one of the film's co-producers)-- we will observe the stagnation and rot of the colonialist experiment firsthand.

was less than universally loved, and while the critics who favored it were outspoken, the ones who did not were just as adamant in their opinions, but even louder, making the film less of a coming out party than an odd blip in the filmography of an already conflicted performer looking to break free from the constraints of Hollywood's well - defined image of her.

The film's two - week period has at least a year's worth of drama crammed into it, as characters all simultaneously melt down, but The Last Kiss forgoes gut - level impact in favor mostly of bow - tied denouements for each character.

And against a backdrop of American indie film that has of late favored tone and mood over more finely honed narrative, it marks Dunham as a fresh new voice and unique multi-hyphenate.

In any other film, I'd probably feel cheated, but the short running time is perhaps the only thing worth commending the makers of this film for, even if they weren't doing it as a favor.

At the 2017 edition, he returned the favor, not only introducing a series of short film programs at the festival as he has for years, but also by presenting another rising filmmaker to the world.