Sentences with phrase «film feel lived in»

It's something of a miracle that Outlander doesn't resemble a Sci - Fi Original, with credit going to McCain and his crew for their efforts to make the film feel lived in, and not just shot haphazardly in a generic Canadian backyard.

Not exact matches

Now, though, it's waving a hand in the air to select a movie on Xbox or flicking through the interface of a Windows 8 tablet that elicits the feeling of living in a sci - fi film.

Despite a real - life narrative stuffed with secrets and suspense, the film version quickly feels bloated as Stone treats us to scene after scene of Snowden struggling with his inner dilemma and, especially, with his devoted girlfriend, Lindsay, who is a major character in her own right.

In sum, it's an egregiously depressing story, and pointless beyond reminding us that life often feel pointlessly random, that only the Coens could get away with putting on film.

That's like watching a Fellini film on mute when Nino Rota's score is what illuminates it, intensifies it, and makes you feel like you're living in an Italian dream.

not really making the news, the atmosphere on last wednesday was really strange, silent, step by step to normal football, but you can't throw away your thoughts immediately, I just got a glimpse of Enkes personality during a film of him shown before the match, I can't realize how hard it must be for his wife to lose him, tomorrow the players of Germans first Bundesliga will wear a black ribbon again, but I think it won't affect the atmosphere like it has with the national team despite of Hannover of course, people will be enthousiastic again, but there is the idea of an «Enke donation» which I like, will keep his name alive, will take some positive emotions on this tragedy and a kind of appeal for everyone to reflect the important things of life and control your own behaviour, I hope so at least, and I hope his wife will cope with that situation, and again: it was really hard for the German nationl team to play under these circumstances, to lose someone close in this way is hard to deal with, on the other hand it causes a close solidarity feeling I think, but of course the world will not change, things are returning to the old soon, but nonetheless for me this tragedy is a kind of human wake - up call, at least a call and then you continue

To briefly sum up his thoughts, he described this film as a depiction of a middle - aged man who prefers to live in fantasy and who chases an unattainable ideal across the globe, only to realize this figment of happiness is a creation of his own feelings of cowardice and insecurity.

«Once I received the script and became engaged related to the subject matter that is a worldwide problem related to people of color, I felt compelled and appreciative to be a part of bringing to life a film about the epidemic of skin bleaching in both impoverished and wealthy nations,» said Vicker.

Tory grandee Nicholas Soames appeared to enjoy the film's portrayal of his grandfather, saying it showed «how Churchill made the British feel they were part of a life and death struggle in which all played a heroic part».

What was fascinating was how real they felt — these were people filmed in places where they live or work or hang out, often speaking to the camera as they would speak to a friend.

Who still import food from their homelands, who stick to their own languages books and films, and who feel like they can just carry on living in their own country, just in a different place.

I'm an honest woman, loving and looking for a man of good feeling that you like to enjoy all the pleasures of this life, I need to find my soulmate in this way, I love cooking, walking, reading, listening to music and watch films, also love dancing, dining out and shopping also.

Whereas Anderson's hyper - referential films have become dioramas of Pantone - perfect dream homes, Ayoade's stylized aesthetic feels more lived - in, and recognizably human.

(The film's staff - meeting sequences are an especially apt example of this, as such moments boast a lived - in, fly - on - the - wall feel that's nothing short of mesmerizing.)

But in living up to its marketing aphorism of «It All Ends,» and hurling as many familiar images and faces at us that it can muster, Deathly Hallows: Part 2 feels very self - aware as to its role as the conclusion of an eight - film journey.

Everything about this film moves at a very solid pace and you feel like it is giving you a slice of life at this moment in their lives.

It's true that the disorientation produced in the collision of Igorrr's frenetic style - mashing and Dumont's unadorned long - take aesthetic ensures that the film feels remarkably distinct from prior cinematic adaptations of Joan of Arc's life, but it's also hard not to wonder how this particular story might have played without the farfetched musical conceit grafted atop it.

British actor and revue comedian Frankie Howerd was generally suppressed in his film appearances (starting with Runaway Bus [1954]-RRB-, and most fans felt he was never quite at his best without a live audience.

But whereas Anderson's hyper - referential films have become dioramas of Pantone - perfect dream homes, Ayoade's stylized aesthetic feels more lived - in, and recognizably human.

But she also felt she had found a calling greater even than her earliest wish, to be the first black American woman to play classical piano at Carnegie Hall: «I could sing to help my people,» she says in the film, «and that became the mainstay of my life.»

The film works as supernatural horror at the same time as you feel the chaos and fear in everyday life during the Iran - Iraq War as experienced by people like the rest of us and not by presidents and kings.

(2004), an Americanized version of a popular feel - good Japanese movie from 1996, then portrayed the visionary film director Stanley Kubrik in the HBO biopic «The Life and Death of Peter Sellers» (2004).

Written by and starring a 14 - year - old girl, this film is a living, breathing snapshot of how it feels to be a teen in today's disconnected world.

The film will feature live performances by the lead actors and is rumored to have a documentary feel as it tracks one week in the life of the main character.

Even without these odd lapses in logic, Coco simply feels predictable, a factor exacerbated by its connections to other films — and I don't just mean Book of Life.

In the Season 4 finale, as Hank awaits sentencing, the lines between his real life and the movie based on his life blur as the film's star hits on his ex-wife and he feels stirrings of passion for the actress hired to play Karen.

An energetic and curiously faithful remake of the 1984 film of the same name starring Kevin Bacon, writer - director Craig Brewer's Footloose is a virtual cinematic poison pill to anyone irrevocably divorced from any trace memories of adolescent feeling, and further proof that in life but especially art feeling is stronger than thought.

For anyone who finds films about affairs boring, We Don't Live Here Anymorecould feel like being stuck in a bad marriage - for all the wrong reasons.

While the film doesn't span decades, but instead concentrates on a moretightly prescribed patch of time in Darwin's life, it still proves true an old maxim regarding cinematic postscripts: the more you feel it necessary to say in pre-end credit crawl text, the less you've probably said during the entire rest of your movie's running time.

The first hour of the movie is virtually unwatchable, with Braff oddly sprinkling in fantasy sci - fi sequences that are supposed to convey the character's inner - life, but never really add anything to the film other than make it feel alternately goofy and pretentious.

The film definitely tries to cover as much ground as it can (It begins when Charlie is 5 in a London music hall and plows through the rest of his life, ending shortly before his death in Vevey, Switzerland, on Christmas Day 1977, at the age of 88) but in doing so abandons depth and development — so much so that the film inevitably feels like a bunch of glossy broad strokes.

They always say «write what you know», and although I have no knowledge of Colangelo's background, either she lived in a place like this or she has the greatest imagination any filmmaker has ever had, because this film feels like a true story dripping with drama.

Though Strouse reportedly based his screenplay on his own difficulties making a name for himself as a playwright early in his career, the film's look into the life of struggling artist Jessica James (Jessica Williams) feels familiar at best.

Whenever I return home, it feels like I've turned over a new chapter in my film life.

The film could have easily looked sparse and lonely, but despite being set in Manchuria, the film feels warmer and more comfortable to be with than A BITTERSWEET LIFE, which was set in the bustling city of Seoul.

The film feels lived - in despite its glaringly mannered dialogue and charmingly eccentric characterizations.

Though much of the film finds them in a state of disconnect — they communicate with each other through a very clinical intercom system in the house — we get these small moments of levity that make their relationship feel very lived in despite their tensions.

His latest hot tip is that director Rob Reiner is looking for someone to be in his film, and Dickie becomes obsessed with scoring the role, and while Reiner feels he would be perfect for the part, he also thinks he doesn't have the experiences of a normal person to truly deliver a genuinely truthful performance, never really having a typical life.

A cheeky line from the film «the comic is so much better than the film», puts in a pre-emptive strike against viewers who will feel the film doesn't live up to its graphic novel origins.

Because the film sticks so closely to Megan's perspective, we see the Iraqis, whose lives the U.S. military upended through their invasion of the country, as little more than Others, giving off the feeling that they're merely supporting players in this one American woman's emotional journey.

Following the events of the first film, «Silent Hill: Revelation 3D» starts with Sharon (Adelaide Clemens), a teenager who recently moved but feels like something is missing in her life.

However, I felt in this film we really got an honest emotional look into the child that it seems is forced into this life of darkness.

A living, breathing celluloid invasion flick led by a breathless ensemble of off - the - grid, in - over-their-head rockers who sell the shit hitting the fan with every quaking splinter of their being, Jeremy Saulnier's grimy, nasty, punk exploitation film is a 12 - gauge blast of ultraviolence that doesn't stop to ask about your feelings as its slashing you up the middle.

Nichols has said that Take Shelter was born from a desire to capture an anxiety he felt in the air in the first years of the 21st century, and a certain intangible dread permeates the film — a feeling of Old Testament hellfire and brimstone marbled with the realities of life in today's America: a moribund economy, healthcare woes, lives surrendered to credit.

But while the two films share a few design and musical elements in common, Book of Life has none of the lived - in, realistic feel of Miguel's Santa Cecilia family.

Suspenseful and hilarious, despondent and optimistic, I Don't Feel at Home in This World Anymore is a masterful genre film, one that immerses itself in the small, painful indignities of everyday life, and then casts the battle against those wrongs as a serio - comic odyssey of sleuthing, heavy metal, and nunchakus.

The zombie genre will (un) live on beyond Life After Beth, a film that feels like a Halloween entry of a Saturday Night Live routine that may have been funny in a short sketch, but can't survive being stretched out over 90 minulive on beyond Life After Beth, a film that feels like a Halloween entry of a Saturday Night Live routine that may have been funny in a short sketch, but can't survive being stretched out over 90 minuLive routine that may have been funny in a short sketch, but can't survive being stretched out over 90 minutes.

In the mid-century, «the problem that has no name» described by Betty Friedan had not yet led to the women's movement, and women in film and in real life often felt invisible, as though all women cared about was keeping the house clean and the children happIn the mid-century, «the problem that has no name» described by Betty Friedan had not yet led to the women's movement, and women in film and in real life often felt invisible, as though all women cared about was keeping the house clean and the children happin film and in real life often felt invisible, as though all women cared about was keeping the house clean and the children happin real life often felt invisible, as though all women cared about was keeping the house clean and the children happy.

While the film doesn't span decades, but instead concentrates on a more tightly prescribed patch of time in Darwin's life, it still proves true an old maxim regarding cinematic postscripts: the more you feel it necessary to say in pre-end credit crawl text, the less you've probably said during the entire rest of your movie's running time.

The key visual precursor here is Mamoru Oshii's 1995 animation Ghost in the Shell, and Mann's film often feels like a live - action reimagining of that classic of cerebral melancholy.