Sentences with phrase «film by any stretch»

This isn't an ugly film by any stretch, but there's a bootlegged vibe to it, and even the best moments feel like they've been photocopied from a true original.

While it isn't a must - see film by any stretch, it delivers the entertainment and escapism you're likely seeking going in.

However, «Die Hard with a Vengeance» is the most underrated «Die Hard» film by some stretch, and a movie that has held up shockingly well.

Not really a good film by any stretch of the imagination, Corvette Summer has an oddly quaint charm at times, and an interesting cast of recognizable supporting characters, including Annie Potts (of TV's «Designing Women» and Ghostbusters), here in her feature film debut.

This is not a typical tent pole film by any stretch.

THE THIRD MURDER Not one of Kore - eda's most engaging films by any stretch, but it wasn't intended to be a humanistic take of family relationships.

It's not a perfect film by any stretch, and one area where I certainly agree with detractors is how problems, particularly the treatment of rape victims and police brutality against people of color, are treated in the abstract.

Monster Trucks isn't a bad film by any stretch, but nor is it a good film.

While not nearly as bad I thought it would be, it still isn't a great film by any stretch of the imagination.

Not exact matches

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«Throughout the irradiated films, we saw individual chains of defects created by the collisions between the incident ions and nucleus that broke the perfect atomic order, causing the lattice to locally compress or stretch out,» said coauthor Lijun Wu, a materials scientist at Brookhaven who led the microscopy work.

The elastic composites have a pronounced reddish colour that blue - shifts over the entire visible range as the film is stretched or compressed by up to a strain of 70 %.

In the last stretch of the film, Laura is led into the unknown in the same way she used to lead others, and Glazer flips her circumstances step - by - step, as she ventures into darkness, she crosses water, she comes to an ordinary - looking home, and so on.

Haneke's methods are clear from the opening: after a long, quiet stretch of simple credits, followed by an extended black screen as silent as the grave, the film smash - cuts into its first scene with a terrifying jolt.

The inclusion of an absurd yet thoroughly captivating celebrity cameo, which essentially stands as a high point within the entire series, perpetuates Night at the Museum: Secret of the Tomb's better - than - expected third - act atmosphere, although, unfortunately, director Shawn Levy ensures that the film concludes with a whimper by offering up an excessively sappy final stretch that just goes on and on - with this underwhelming climax confirming the movie's place as an almost passable concluding entry in a seriously forgettable trilogy.

It's only as the film inevitably segues into its mystery - oriented midsection that it slowly - but - surely becomes a seriously dull piece of work, as there's simply nothing interesting or intriguing about the gang's ongoing investigation into what happened - with the tediousness of this stretch exacerbated by the unpleasant and downright seedy nature of the movie's locale.

The inclusion of a handful of compelling moments within the film's second half - ie one of the soldiers moves higher and higher on the mountain to hopefully get a radio signal - are rendered moot by the otherwise uninvolving, bland atmosphere, while the needlessly padded - out final stretch, which just seems to go on forever, is sure to test the resolve of even the most patient viewer (and this is to say nothing of the seemingly endless closing credits).

Overall, I still find it to be a very entertaining and provocative film as well as one I really love, but I can't call it flawless by any stretch.

You can admire a movie like Steven Soderbergh's «Contagion» (2011), a realistic rendering of civil breakdown caused by a spreading pathogen, but the horror - film version of disaster in «World War Z» stretches the senses to take in more than you may expect.

Gillespie, working from a script by Steven Rogers, does an effective job of painting a somewhat less - than - flattering portrayal of the protagonist's hard - scrabble existence, with the strength of the film's opening stretch standing in sharp contrast to a middling midsection that grows less and less interesting as time progresses.

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.

This film isn't a bad comedy by any stretch of the imagination, but it does not deserve an 8.1 (this is what it was when i reviewed).

Still, fans of the first one will probably like this too, and at least the oodles of exposition that plagued the first film are replaced by a slightly more action - centric plot, even though the film frequently lapses into long stretches without much going on.

For the believer, its Blade Runner cyberpunk ultra-cool was an eye - opener, but to hold the film up as the standard for the medium means that a lot of people looking to it as their introduction believe that anime is a little excitement cordoned off by long stretches of confused, gravid exposition.

Horror still reigns in Park City Extending a tradition that's already stretched from The Babadook and The Witch to Get Out, Sundance proved a dependable launching pad for standout horror: This year's Hereditary — a nightmarish supernatural grief drama starring an unhinged Toni Collette — was the one film that came closest to a consensus favorite (if by favorite, we mean a movie that thoroughly traumatized all audiences).

While the plot is stretched out to within an inch of it's life, the film is saved by gripping and intense set pieces, wonderful direction and stunning cinematography.

At once genre movie and psychodrama, Nichols's film unfolds in a stretch of rural Ohio where a blue - collar husband and father (brilliantly played by Michael Shannon) finds himself suddenly plagued by visions of the rapture: strange clouds darkening the sky, acid rain sheeting down from the heavens, flocks of birds in panicked flight.

Likewise, Danny Huston — not my favorite actor by any stretch of the imagination — is a lot stronger here than in some of his previous films (like Birth), playing Justin's co-worker who has his own sleazy interests in Tessa, something she uses to get information from him about the British government's dealings in Africa.

But the ensuing suspense and the enveloping paranoia and spookiness - stretched out by the exhaustive length of the film here - mean that this film really sucks you in.

The Princess Bride is not a masterpiece by any stretch of the imagination, but it is certainly an enjoyable film that is worth watching.

It isn't a good film by any conventional stretch, but doesn't disappoint because, given the type of story that it is, it could have been far worse.

The film was shot by the great Roger Deakins, surely one of the top cinematographers of the last half a century, with American composer Alaric Jans continuing his collaboration with Mamet that would ultimately stretch to four feature films.

The intentional changing or at least ignoring of it in casting the role of MCU lynchpin Nick Fury and producing a Black Panther film for 2018 and a Luke Cage television series for later this year doesn't bestow upon them immunity by any stretch of the imagination, but the Marvel Cinematic Universe seems relatively inclusive if at the same time mostly faithful to the mostly mid-20th Century created comic book origins - depictions of their headline characters.

Though the shooting itself is found - footage by - the - numbers, Brice includes a few terrific structural surprises that whisk the film in new directions, even though they lead to a sequence of events down the stretch that rely on suspect decision - making.

Other oddities: how Jackson sets up each segment in a very overdramatic way, how the other commenting celebrities appear in a moving parchment of sorts, how some of the questions are either no - brainers or a stretch in relating to the movie, how the ordinary kids are strangely posed and filmed, and how the whole thing is both bordered by oak and letterboxed.

This film ends up becoming a little soft by whole stretches that do neither.

Our reviewer pointed out that the film's flaws — namely, some credulity - stretching contrivances — are almost wholly redeemed by how they lead to scenes of interplay between these two actresses.

In many ways, the notion of truth was what drew both Cruz and Bardem to Farhadi, the Iranian director whose last three films include two Oscar winners in the Best Foreign Language Film category: 2011's «A Separation» and 2015's «The Salesman,» both studies of families stretched to the breaking point by secrets and class and societal tensions.

The dramatised contents of the novel contain what is sure to be the film's principal talking point: a nightmarish encounter on a remote stretch of Texas freeway during which Tony and his wife and daughter are forced off the road by some local thugs who have no intention of listening to reason.

It's just one puzzle in an altogether puzzling film — one that has Patrick Swayze playing Charlie Sheen's older brother (and Jennifer Grey the sister of Lea Thompson in an even greater genetic stretch) and C. Thomas Howell as a remorseless, psychopathic nihilist who takes his dose of glory by Rambo'ing up against a Russian attack helicopter.

Winning best actor, best director and Palme D'Or at Cannes in 1993, Naked won the critic's award at the Toronto International Film Festival, and both the New York and London Film Critic Circles considered it best film of the year, so maybe I am stretching what is meant by Hidden Treasure, but given a chance I will praise this film shamelessly.

Although there are occasional stretches of the film free of nightmare grain, the relative clarity is compromised by a blurriness to the colours that is probably more the fault of the animation than of the transfer.

Not because they are great films (they aren't, even by the most generous stretch of the imagination) but because they are entertaining pieces from a distinctive period of B - movie filmmaking, as weirdly fun and perversely creative in their own exploitative way as kindred films from the forties and fifties and sixties.

Even by the film's conclusion, it's hard to decipher if those in charge support Julian's cause or just can't stand him — an amazing feat for a movie that stretches well over two - hours.

This is the third high profile film from Writer / Director M. Night Shyamalan, and one with both high expectations, plus a likely need on the part of Shyamalan to prove himself capable to stretching out in new directions - but likely also tempered by the studio's desire to bank on what has already proved successful with this insightful talent.

The film does, at least, recover for a sweet and satisfying final stretch that ensures one leaves the proceedings on a decidedly positive note, and it's ultimately clear that How to Be Single stands as a fairly run - of - the - mill romantic comedy that's elevated by an appreciatively energetic approach.

With a story that barely exists (unless you count a tour and a stretched out guilt trip a story), the film sustains itself only by the great over-the-top performances by the three leads.