Sentences with phrase «film feel real»

He's the one who makes the film feel real.

I appreciated much of the emphasis on minority brutality because it emphasized the time period in which the film was taking place which made the film feel real.

The dialogue between the characters however is actually quite good, the relationships built in the film feel real which says a lot in a film that is absent a coherent story.

From costumes to hair to makeup, the whole film feels REAL, almost like a documentary, but with better shots.

Laurent, McGregor, and Plummer especially, are all great and this film feels real and genuine even if it does have certain moments where it seems to over-bearing with its quirky style, but it still works well for this material.

Altogether, the film feels real, yet otherworldly.

It's Ozu's unique way of bringing realism to a film that allows for such speculations: despite his unusual editing style, tatami - level camera placement and generally fixed camera (though it moves more here than in any Ozu I can recall), everything in an Ozu film feels real: people talk like normal people about normal human issues.

Not exact matches

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.

Yes, he can intellectually understand the concept of the Gospel, but it's the emotional distance that he feels from his own terrible past and grace found in Christ that provide the film's real tension.

Packaging for the seasonal Captain Morgan Jack - O - Blast limited - edition pumpkin spiced rum bottle looks and feels like a real pumpkin from the skin - tight orange shrink - film wrap to the rough - textured stem - like over-the-cap port

I feel Jackson already has a better grasp of the little things on film (meaning he does them in a real game situations) while Allen is currently learning them now (and even though he learns what he is suppossed to do he may not).

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.

We are huge fans of film photography because it can bring a unique depth and feel to the day, kind of more real and authentic in a way.

We had such a good time filming these - they are real conversations that we've been having off camera, so they really are authentic to how we feel and how we actually speak about these things.

Black and white brogues have a real feel of the 20s — look to films such as The Great Gatsby for your inspiration when looking to wear black and white wingtips.

But the truth is that like those «80s films many of us grew up on, and which we watched a million times over on home video and cable television, «Real Steel» feels destined to become a staple in the libraries of kids in this generation.

For all of its complex exposition and brimming biographical detail, it feels more like a cheaply shot film - class project than a real movie.

The film lacks any kind of real «action», which makes it a departure from Mann's other work like Heat or Last of the Mohicans, but it still feels like an action movie because of the aggressive way in which Mann directs it.

What surprises me the most about Real Steel is the way this film featuring robots evoked such sentimental feelings in me — similar to the way I reacted to WALL * E, that marvelous animated movie about a trash - collecting robot.

Although Levy does a great job integrating the special effects into the story in an unobtrusive and even seamless way, he remains unable to lend a film a discernible personality beyond what exists in the script, and at best «Real Steel» feels like a convincing argument that he's eminently capable of handling generic mainstream blockbusters.

Which is to say that the film's interpretation of apartheid may reflect most poorly on the film not because it's wrong but because it's intellectually lazy and, here's the real kicker, LESS INTERESTING than it would have been to show the aliens as not yet another oppressed minority (which has been done to death) but a mass suppressed by an elite group, made to feel like an «other» when, in fact, it's imprisoned in its own homeland.

For Shawn Levy and Real Steel, I felt like I had seen the film countless times before, just with other sports at the center of it all.

Not only are the special effects immaculate (and often quite beautiful), but they exist in a way that feels completely real within the world of the film.

When the penguins (a clever blend of real birds and CG) aren't on screen, the rest is a predictable tale of a man learning to appreciate family and feelings once more, anchored by Carrey in a performance that thankfully never overwhelms the film.

Usually, a real film aficionado can spot dozens of these quotes / homages, but they are woven into his films in such a way that the change of context makes them feel not like rip - offs, but fresh, integral parts of a completely new story.

I still feel a real sense that the film is writing a bunch of checks its sequel can never cash.

What makes the film different is its substance, it feels real, awkward, and doesn't conform to other counselling routine, they have real trouble speaking to each other, they are certainly devoted, but empty.

Similarly, THR's Harry Windsor claims the film is «certainly never boring, and Maringouin makes the madness feel queasily real.»

The relationship between Greg and Tommy feels real, if uncommon, and is the source of the film's soul; while they are polar opposites in many ways, they complement each other and ultimately support each other, though there may be missteps along the way.

It's in these scenes where I felt the film became a real movie.

There's no real sense of momentum at work here; Constantine feels more like a series of vignettes loosely strung together (some far more effective than others) than a linear, cohesive film.

A film that does a good job at showing the potential real life of a teenager, but struggles to get a good feel for the characters.

With just the right amount of characterization, the cast in this film pull off performances that feel more real than anything.

The only draw of the film was the dancing talent that was shown, which, as I feel that anyone else in that theater can support me on, would be better seen at a REAL dance studio today.

When the film begins it feels like the real pulse of the film is this job that Travis gets at the beginning, but as the film continues it becomes apparent that the job serves more as a way to feed Travis» psyche and give him a reason to believe and do the things he does.

Nobody has ever seen anything like «Black Panther» — not just an entire civilization built from the metal stuff inside Captain America's shield, and not even just a massive superhero movie populated almost entirely by black people, but also a Marvel film that actually feels like it takes place in the real world.

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.

The film never makes it terribly clear if Rupert believes these ideas or if he touts them to get a charge out of people, though it feels like he sees real merit in them.

Put together, REBEL IN THE RYE feels more like an HBO film that a real, big - screen feature - not that there's anything particularly wrong with that.

Where there was a real, personal feel to Iron Man's battle with Obadiah Stane's Iron Monger in the first film, the battle royale here is simply not as emotionally involving — even when Vanko steps in, it doesn't really work.

Cinematographer Lachlan Milne's sweeping, colorful panoramas and a chapter - based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm - hearted dynamic between Ricky and Hec, even the film's most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own.

It's really the direction, along with breathtaking cinematography from Erik Wilson, that takes what might be a fan video and makes it feel like a real feature film.

By cleverly tying the film in with real world events, like the nuclear testing at Bikini Atoll in the 50s, the film feels a teensy bit more believable than any of the other Godzilla films, aside from maybe the original Gojira.

Far from the «poverty porn» glorification of which it's been accused, this is a film whose characters all feel painfully real and human, in their capacity for nastiness and violence as much as for joy and love.

The film feels incredibly personal to Webber as nearly everyone in the cast goes by their real name and his son in the film is played be his actual child.

One should mention that Chazelle uses a lot of up close shots to really make the film feel personal and real.

That's harder said than done, resulting in a relationship that not only feels more real than most of the films this year, but plays a big part in its success as a romantic dramedy and an enchanting piece of science fiction.

The look and feel of Slow West stuck me as incredibly real and authentic, unlike many of the more romanticised recreations we often see in Hollywood films.

Those looking to be inspired by a feel - good drama based on real - life events may find it, while those looking for a good story without the manufactured situations usually injected into these sorts of films may not.

The only real negative is that the film feels a bit hollow.