Sentences with phrase «film benefits»

That said, we're always prepared to give new takes on great films the benefit of the doubt.

This fairly quiet film benefits from Carter Burwell's intriguing score, which is nicely presented.

Jeremy Saulnier's film benefits greatly from subverting familiar tropes, as Dwight very quickly finds his target and dispenses with justice swiftly.

Mexican filmmaker Alfonso Cuaron is set to be honoured by officials at New York City's Museum of Modern Art at an annual film benefit gala next month...

Every animated film benefits from such a look at the people behind the personalities, but this loses points for being entirely about selling the movie and for oddly excluding Brad Pitt.

And he still has his mojo working: «Jerry Maguire» shares with his earlier films the benefits of an exceptionally well - used, tuneful pop score.

THE DISCS: Few films benefit from the Blu - ray treatment as well as Prometheus.

The former film benefits from Christopher Lee as its bad guy, and the latter ranks as the best of the seven Moore films, thanks to its perky sense of humor and outstanding ski - jump stunt during the opening teaser.

Foxcatcher: Director Bennett Miller's understated true crime film benefits from seriously unusual casting.

While bulky on time, Jackson's film benefited from a streamlined cast.

Martin Scorsese, Graydon Carter, Cindy Sherman and others pay tribute to the actress at the Museum of Modern Art's annual film benefit.

It's clear, then, that the film benefits substantially from the inclusion of several unexpectedly engrossing robot - on - robot fight sequences, as such moments - which are, in the wake of Michael Bay's disastrous Transformers trilogy, refreshingly coherent - generally compensate for the melodramatic silliness that's been hard - wired into the narrative.

Almost everything that Sam Rockwell is in, whether or not it is good or bad, is always elevated by his performance, and I truly believe that this film benefitted from that in a very big way.

There's similarly little doubt that the film benefits substantially from the above - average efforts of its various stars, with Hemsworth and Brühl's stand - out work complemented by a supporting cast that includes, among others, Stephen Mangan, Christian McKay, and Olivia Wilde.

In The Hangover they are both, and the film benefits on that score from them being relatively unknown.

Director Stanley Kubrick, working from a script cowritten with Calder Willingham and Jim Thompson, kicks Paths of Glory off with an admittedly less - than - engrossing stretch, as the movie boasts (or suffers from) a somewhat talky first act that doesn't contain much in the way of compelling elements - although, by that same token, it's clear that the film benefits substantially from Kubrick's stellar directorial choices and a host of above - average performances.

Katja is not a corrective, per se, though the film benefits from a sympathetic and telegenic woman at its center.

More pertinently to this film, he shot Amores Perros, and the film benefits from his gritty use of handheld cameras and claustrophobic lighting choices.

The film benefits from solid performances by its four stars, but it is overly didactic and drawn - out as its comic tone grows darker and darker.

The film benefits enormously from having the luminous Rebecca Hall as its lead.

I believe the film benefited a lot from that.

The film benefited from a stellar cast, but did not have much else going for it.

Beyond all the archival material, the film benefits mightily from the many eloquent talking heads, whose words, incredibly, are always electrifying and revealing.

(For the record, I've seen it twice — and my Reel Faith co-host David DiCerto has seen it four times — and we've both found that the film benefits from repeat viewings... which is a good thing.)

Sure, every film benefits, but it's not that much of a stretch to say vast pieces like Lawrence of Arabia get more out of a big screen presentation than, say, a James Brooks movie, is it?

But now, Rian Johnson takes over the helm of The Last Jedi, and what transpires is a far more mature piece of cinema, far more concerned with the narrative and the characters that inhabit it; and the film benefits greatly as a result.

A slightly more serious take on the rom - com, this film benefits hugely from its likeable cast even though the script lets frequently them down.

As much as «American Ultra» works as a stoner action - comedy, the film benefits from its excellent end - of - summer timing.

Both films benefit from the extraordinary access Poitras had to her subjects, but there are significant differences between them as well.

The film benefited by the group's additional comedy categories where Keaton was able to pick up his two acting awards.

The film benefits from a series of inspired cameos in fleshing out these subsidiary characters, all of whom contribute to the film's resolutely grim depiction of adult relationships.

The film's commitment to Cormac McCarthy's dark vision may prove too unyielding for some, but the film benefits from hauntingly powerful performances - including Theron, whose memory comforts a man on a mission of survival.

Even though it's not greatly different from the likes of Project X, this film benefits from having much more likable lead characters.

The film benefits from a first - rate soundtrack filled not with songs of the late Noughties but from all eras so long as they have great holding power.

Acutely capturing the milieu of Pacific Northwest egos and granola ideologies in lush tones, the film benefits from its organic sense of community that it depicts, as well as the filmmakers» artistic collaboration.

A terrific true story, clearly elevated to mythical proportions, this film benefits hugely from the lucid fight direction by the master Sammo Hung, which gives the film a remarkable resonance by letting us see the...

Less of a sequel and more of a remake to «Night Of The Living Dead ``, this film benefits from an ingenious and very memorable conceit; four people barricaded in a huge shopping mall while the undead lurk and prey outside.

But for all the drama, the film benefits most from the home life stuff, and what's going on with Sally — her ride into town, or her attempt to masturbate, or a trip to see The Beatles creates one of the show's best tensions.

The film benefits from the multi-channel remix, nicely balancing the full - blown music video numbers to more subtle background noise.

Those films benefited from having Robert Downey Jr. or featured superhero team - ups.

The film benefits especially from Rebecca Hall as Elizabeth, effortlessly in period, swigging bootleg hooch out of a science - lab beaker and delivering a withering glare like no one else.

The film benefits immeasurably from its performers.

The film benefits from being made in modern times in that it gets to toy with it's self - aware silent self, unlike the era of films it pays tribute to, with occasional sounds here and there.

I'm not blown away by the trailer, but I'm willing to give the film the benefit of the doubt.

Hoffman replacing Wes Bentley's perfectly curated beard (there's also something about someone naming Plutarch replacing someone named Seneca that I can't quite put my finger on) is certainly a step in the right direction, but the film benefits just as much from the rule change to the Games, as it allows them to drop some established actors into the arena alongside the young ones.

Stylish, subtle and restrained, the film benefits immensely from Demme's wonderful direction.

The film benefits from some wonderful comedic timing on the part of Larson, and a great set of movie parents essayed by Bradly Whitford and Joan Cusack.

The film benefits from its attractive and adept cast who flesh out their respective characters with richly defined subtlety.