Sentences with phrase «film critics never»

Not exact matches

Pure Flix, the angelic film studio behind the God's Not Dead franchise, has never really been for the film critics.

Garbo, then thirty - six, said the critics — the Legion primus inter pares — «dug my grave,» and she never made another film.

Furthermore, she never does the irritating «feisty» or «sassy» or «uppity» shtick that endeared the all - female Ghostbusters reboot of 2016 to feminist film critics but to no one else.

I'm going to do something I've never done as a film critic, and will never do again.

(That's my read — one web critic says the film fails because Stone never had the guts to take any point of view.)

From the film critic's POV, some things never change — like Kingsley's astounding ability to bury his background deep inside his character.

It's a curious idea, but I've certainly never been invited into any secret meeting where the critics plot what films they want to take down.

Arranged and photographed in largely static but never dull fixed shots, the movie comes from Anna Muylaert, a former film critic turned writer - director.

As probably the most celebrated and beloved film critic around, a man whose work has appeared in the Chicago Sun - Times for 45 years, who co-hosted «At The Movies» with Gene Siskel for almost 25, and who was the first film critic to win the Pulitzer Prize, it's almost surprising that Roger Ebert has never been the subject of a movie himself.

It also received highly positive reviews with some critics lauding it for doing the near - impossible task of compressing more than a dozen superheroes in a film that while feeling overstuffed never overwhelms moviegoers with exposition.

Whereas Bazin never mentions Caravaggio in his essay on «The Ontology of the Photographic Image» (1945), the French critic refers to the baroque style as a proto - cinematic and pictorial term of reference: «The film delivers baroque art from its convulsive catalepsy.»

Fox announces their distrust of critics with this title by splaying «Property of 20th Century Fox Publicity Department» in huge letters across the screen for the duration of the film on both sides of the disc (the first time a major studio has done so since DreamWorks sent out advanced copies of the Gladiator Signature Selection in 2000 — which is why you never saw a review of it at FILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the imfilm on both sides of the disc (the first time a major studio has done so since DreamWorks sent out advanced copies of the Gladiator Signature Selection in 2000 — which is why you never saw a review of it at FILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the imFILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the image.

And I have never walked out of a movie, not in my ten - year career as a film critic, not before.

Critic Consensus: Imaginatively shot and edited, Metallica Through the Never is an electrifying, immersive concert film, though its fictional sequences are slightly less assured.

Never mind the Oscars — film critic Peter Travers hands out 2017's «Travers Awards,» celebrating the movies and actors that the Academy Awards forgot.

In Screen Daily's critic» scoreboard, «The Square» did not score as highly as «Loveless,» which topped the poll, or «You Were Never Really Here,» the runner - up, but it was solidly in the top rank of films.

Home Video Notes: The Breakfast Club Release Date: 2 January 2018 Criterion releases The Breakfast Club on home video (Blu - ray) with the following extras: - Audio commentary from 2015 featuring actors Anthony Michael Hall and Judd Nelson - New interviews with actors Molly Ringwald and Ally Sheedy - New video essay featuring director John Hughes's production notes, read by Nelson - Documentary from 2015 featuring interviews with cast and crew - 50 minutes of never - before - seen deleted and extended scenes - Rare promotional and archival interviews and footage - Excerpts from a 1985 American Film Institute seminar with Hughes 1999 radio interview with Hughes - Segment from a 1985 episode of NBC's Today show featuring the film's cast - Audio interview with Molly Ringwald from a 2014 episode of This American Life - Trailer - PLUS: An essay by critic David Kamp

Monitor film critic Peter Rainer called «Wind,» which was billed as Miyazaki's final film and the story of which is partly based on fighter plane designer Jiro Horikoshi's life, «visually as beautiful as anything he's ever done,» though he noted that «the collision between poetic fancifulness and grim reality, between peace and war, never falls into focus.»

As a film critic, you learn to keep your expectations to a minimum, because more often than not, the movie in question is never as good as you hoped.

After critics publish their annual best 10 lists, readers often complain: «I've never heard of half those films!»

Some critics dinged You Were Never Really Here for its ostensible feel - bad sensationalism after its Cannes debut last year, and the film could indeed be spun as «topical» in the midst of our #MeToo moment.

A new documentary explores the life and encroaching death of the famed film critic in a spirited style that's always moving yet never overly mournful.

Extras: «Night of Anubis,» a never - before - presented work - print edit of the film; new program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; never - before - seen 16 mm dailies reel; new piece featuring Russo about the commercial and industrial - film production company where key «Night of the Living Dead» filmmakers got their start; audio commentaries from 1994, featuring Romero, Russo, producer Karl Hardman, actor Judith O'Dea, and more; archival interviews with Romero and actors Duane Jones and Judith Ridley; new programs about the editing, the score, and directing ghouls; new interviews with Gary R. Streiner and Russel W. Streiner; trailer, radio spots, and TV spots; an essay by critic Stuart Klawans.

You never know when a wide - release will kill the positive buzz a film enjoys when only critics and festival - goers have seen it.

Never take pity on a film critic.

They continue often prompt walkouts, furry from critics, and audiences who are unfamiliar with his work, vowing to never see another one of his films.

If film critics were as powerful as the Ranger team claims, they'd be the richest people on the planet, and the rest of us could all go home, because movies would never suck, and they'd all make a billion dollars.

I have never heard of this critic, though I think its interesting that someone pointed out that he'll rush to the defense of films made by black filmmakers, regardless of quality, and its probably true.

Released to scathing reviews, the film ultimately limped at the box office, Mike Myers had a supporting actor nomination rescinded by the New York Film Critics Circle (at least according to the director) and was likely never thought much of since.

At the end of the year, said critics will often pen a few words about how Pixar can never get any love at the big races at the Oscars, even when their films win big critics prizes (as did WALL - E).

The L.A. Times disputed this account, stating that Disney had never asked for a correction, and said its critics would continue to cover the studio's films after viewing them at a public screening.

It's a directorial choice that some critics have questioned, but Attah never feels less than honest in those moments, even when high on drugs and hallucinating while part of a marauding band laying waste to a village; or when the exact nature of his and The Commandant's (Idris Elba) relationship is sickeningly revealed; or even in the quiet, tiny moments at the film's end when by the merest flicker across his face we understand how much the war outside has been internalized.

I've been meaning to post something about 11 - year - old film critic Jackson Murphy (aka Lights Camera Jackson) for a while now, but for whatever reason I just never got around to it.

Avengers: Infinity War also received highly positive reviews with some critics lauding it for accomplishing the near - impossible task of compressing more than a dozen superheroes in a film that while feeling overstuffed never overwhelms moviegoers with exposition.

One of the numerous problems I always had with the late critic Pauline Kael was the pride she took in seeing a film only once before reviewing it, and in maintaining that she would never go back and revise an opinion later.

The last time the critics» awards converged on one film to such an extent was in 1997, when they rallied behind «LA Confidential» as the discerning voter's alternative to «Titanic» — it didn't work that time, of course, but let it never be said that critics aren't as collectively calculating as the savviest Hollywood publicists.

That premiere never happened, the public did not see the film and its fate was forever changed; a few critics were able to attend a makeup screening in a little 20 - seat theater.

While there are some things to admire, I found this one to be a boring display of what I like to call «critic bait»: a movie targeted at film journalists who will believe anything put onscreen from these two is worthy of never - ending praise.

Like, say, if your film critic friends have been telling you for months now that The Florida Project was the best movie of 2017, but you just never quite made your way to theaters to see it; Amazon has your...

Other critics have praised Mockingjay — Part 2 for delivering an unconventional ending (http://www.vox.com/culture/2015/11/20/9768210/hunger-games-mockingjay-part-2-review-final-movie), claiming the film makes a statement about the never - ending nature of warfare and the dangers of perpetual tyranny.

Hoberman («emerges from the mists of time... as a career - capping epic tragedy») to the New Yorker's Anthony Lane («lovers of cinema should reach for their fedoras, turn up the collars of their coats, and sneak to this picture through a mist of rain») to Newsweek's David Ansen («the best foreign film of the year»), critics from across the spectrum, who almost never agreed, rallied around Melville's neglected masterpiece.

The original film which was released in 2003 surprised critics and audiences alike but studios oddly enough never tried to make other films like it.

I look forward to the day when we get to see Bond just go on an assignment that only exists for one film rather than make every movie a sequel to the previous installment to appease grumpy critics and audiences who never liked the first 50 years of the franchise in the first place.

The film premiered at the Berlin International Film Festival in February, where our critic called it a «slow - ass» movie that never «cracks a joke and potentially melodramatic moments (a fairground ride collapse, the initial accident, a suicide attempt) are so painstakingly crafted to avoid splashiness that any momentum is killed.»

Though the press book tries to get one to ignore this, it pairs Frears with a codirector, Mike Dibb, and a cowriter, critic Charles Barr, both of whom are credited first; so maybe Frears — a good director of actors who's never shown much aptitude for or interest in film aesthetics — was too busy with Mary Reilly to do much more on this than chew the fat with four colleagues and add a few pithy voice - overs.

2017 would see nineteen competition films, and from Day 3 and never giving up the lead, Robin Campillo's BPM held onto its lead to win our Cannes Critics» Panel derby with an average of 3.8.

References to Dunkirk come across as gratuitous considering that awful film's recent engagement to a plethora of fawning critics who seem to have never seen a competent war film in their lives.

In an ordinary year, Three Billboards, which won the Toronto audience award, the Globes, the SAG, and just won the London Film Critics is looked down upon by the film critics for its lack of political attention to police brutality — which is a serious subject, even though the film's main thrust is about broken, fucked up people fumbling towards some kind of redemption (which they neverCritics is looked down upon by the film critics for its lack of political attention to police brutality — which is a serious subject, even though the film's main thrust is about broken, fucked up people fumbling towards some kind of redemption (which they nevercritics for its lack of political attention to police brutality — which is a serious subject, even though the film's main thrust is about broken, fucked up people fumbling towards some kind of redemption (which they never find).

As a critic, I have the privilege to see films earlier than the general public on most occasions, which allows me to avoid the never - ending hype train that can sway opinion whether intended or not.

I came late to Lynch because I never had a film - obsessed companion to insist that my life wasn't complete until I'd seen Blue Velvet or The Elephant Man, which seems to be how most burgeoning film critics are drawn into his peculiar universe.