Sentences with phrase «film feels at moments»

Because of the long takes, DP Valentin Vasyanovych's precise compositions (he also edited the film), and because of the absence of words, the film feels at moments like a comedy, although it isn't one.

Not exact matches

Also, the way in which the film goes from serious tones to tongue in cheek moments is not really handled well either — from the knife wielding belly dancer to one of Samuel L. Jackson's trademark monologue, it feels rather forced at times.

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.

Gone Girl is not Fincher's best film, nor is it the most conventionally satisfying of them, but it feels like this is a movie that represents the very best that Hollywood craft can offer at the moment.

Though it presents a captivating look at the nuts and bolts of high - stakes politicking, it suffers in such inevitable comparisons, in part because Roach's direction is so stifling that the film feels small at the very moments it should be grand.

Beautifully shot, like Rohrwacher's other features, on Super-16, this film, with its richly textured images, does indeed feel at times like a retrieved and rather miraculous relic from a lost era of cinema, which is not to say that it isn't of its own moment.

There are moments where he captures true instants between the men but at the same time the film feels a bit claustrophobic.

The film is at its best when it drops its focus from action beats, superb though they may be, and redirects itself towards quieter moments of clandestine favors and conversations between old contacts: of Zharkov and Cross drinking together and discussing the merits of Communism; of Zharkov's heart - felt talk with an Austrian contact whom he rescued decades ago from a Nazi concentration camp; of Cross and Scorpio confronting each other first in a midnight botanical gardens and then in a shadowy parking garage.

If there is a more deeply felt moment in film history than Ledger gently adjusting Gyllenhall's shirt at the end of the film, his eyes filled with tears, I don't know what it is.

Only when Huppert is onscreen does the film feel it could detonate at any moment.

Bill Skarsgard brought a wonderfully threatening physicality to Pennywise, making it feel as if he could rip the Losers Club kids to shreds at any time, but the film's best moments echo the ones from the book: spending time with a lovable group of misfits and being along for the ride as their bonds strengthen in the face of unimaginable terror.

Considering that Smith claims that he made this film for teen girls, not for one moment does Yoga Hosers feel like anything other than a mid-40s writer / director shaking his fist at a younger phone - desperate generation, making inside jokes for the adults in the audience and lambasting the critics that have wronged him in the past.

If 10 Cloverfield Lane was the only film hawking this particular narrative, I wouldn't be too concerned, but sometimes it feels as if that's the only story available at the moment.

It's a film that at moments can feel relentlessly corny — and a second later, painfully, horribly real.

Her appearance, to look down her nose at an investigating Lois Lane, feels like a moment that was debated in the editing room, but other reinserted pieces have the extraneous aura of being planned for a Blu - ray long before the film even hit theaters.

The film finds an easy rhythm in these small moments that feel a bit refreshing at times.

At times, I allow myself to sleep on a film, recollect and recall all the moments that I enjoyed to see if what I felt was in fact how I really feel.

Feeling a bit overwhelmed by the slew of serious Oscar films on at the moment?

Tangerine at its worst feels like shouting and Three Stooges slapstick with a nasty undercurrent of violence — it's hard not to think of a moment where Alexandra prepares to fight a would - be John by saying she has «a dick, too» when Sin - Dee spends the middle portion of the film savaging Chester's small, blonde paramour.

There's nothing particularly original here, and the script may be unsubtle at times (there are a couple of moments where it feels like the film is grabbing you by the shoulders and saying smugly, «See what we did there?»)

At this moment, I feel like it may be the Dardennes» best film to date.

There were very few times where I felt surprised or alarmed during the film, but those shining moments came at the hands of Boseman and Brown.

But reviving the film is not a bad idea from a sociohistorical perspective: Humbled by the previous decade's grotesque materialism, Nineties filmmakers generally felt like they were living down the Eighties and made a concerted effort to protect their product from dating itself *, but Reality Bites, with its Hughesian affectations, at least strives to be seminal — only Cameron Crowe's Singles, the Brady Bunch movies (which star Stiller's future wife, Christine Taylor), and the excrescent Empire Records so unabashedly embrace their pre-Internet moment.

Vic + Flo Saw A Bear is a very strange film, one that's fully realized yet feels like it can veer off into any direction at a moment's notice.

Though it's been offered that the lack of any actual conflict is a product of the picture's miniscule budget, it feels a lot more like an unwillingness to take a chance at the moment of crisis, despite the film's generally uncompromising attitude.

Just based on his work with Scorsese alone, Ballhaus could have earned a place in the pantheon of the great cinematographers of all time — «Goodfellas» has so many classic visual moments in it that it almost feels like a greatest hits reel of his work at times (ironic, considering that Ballhaus has admitted to having had misgivings about working on the film because of his aversion to screen violence).

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.

As a depression - prone war photographer whose death has sent her husband and two sons into decidedly separate states of emotional denial, she's a dangerous open wound of a character even from the confines of flashback; at one point Trier closes in on her silent, trembling, feeling - flushed face for what feels like a full exquisite minute, and it's the most riveting moment in the entire film.

At times, the film plays the emotional strings a little too hard, hitting a few moments the feel a bit on the repetitive side.

The attempts at levity, like the dance scene that for some bewildering reason features Nick Cave and the Bad Seeds» «O Children» as its soundtrack, generally feel awkward, like the film is pacing time toward the ending moments so it can feel like it earned its two - part status.

Amour means love, and this film could easily have been titled Love and Misery, as strong and indescribable feelings mount when a life partner begins the inevitable slide downhill... a trip which often starts with something as bland as a few moments of blankness at the breakfast table.

At moments, it feels like Tarantino is really trying to say something about the bizarre, angry jigsaw of people who help make this country the polarized mess it remains today, but once the film shifts into an expected cacophony of violence, whatever that might be slips through his gore - stained fingers.

I felt his scenes at work, where he was designing a plane with his co-worker, Ben (Sean Gunn), were a good way to add drama and moments of comedy, without feeling forced, but the romance which comes to focus a little further into the film feels unnecessary and takes away from the main focus of the film — the relationship between Po and his father.

Arriving in cinemas when it does, at a time of growing intolerance, much of del Toro's film feels like it is very much a movie of it's moment and time, and maybe this is largely because we need a movie that is this wonderfully romantic and this unusually lustful like we need an inoculation against the toxic news - cycle of the day and the easily upsetting parameters therein.

Lincoln mostly feels like one of Spielberg's straight - faced historical films with a couple of key moments reminding audiences just how good Spielberg is at coaxing an emotional response from the audience with cinematic spectacle.

The film shares their intimate stories with touching candor, and in doing so reveals basic truths about all parents and all children, truths of acceptance and love that feel especially urgent at this historic moment.

Director Hugh Wilson also attempts to add some seriousness to the proceedings, throwing in moments where the music grows more somber and the audience is cued to «feel» for the lead characters; these moments are at odds with the majority of the film, which often asks the viewer to not just laugh with, but at, the over-the-top heroines.

The Vietnam War is never truly over (and at times it will feel to a viewer like «The Vietnam War» is never over, either), but, as Bao Ninh, a writer who fought for the communist North Vietnamese army, thoughtfully observes in the film's opening moments: «It has been 40 years. . . .

At times the film has a Coen Brothers or Wes Anderson feel, while at various other moments it recalls the Keystone Cops, Chocolat, a spaghetti western and a spoof of... well it's difficult to say whether it's a spoof or homage to numerous genreAt times the film has a Coen Brothers or Wes Anderson feel, while at various other moments it recalls the Keystone Cops, Chocolat, a spaghetti western and a spoof of... well it's difficult to say whether it's a spoof or homage to numerous genreat various other moments it recalls the Keystone Cops, Chocolat, a spaghetti western and a spoof of... well it's difficult to say whether it's a spoof or homage to numerous genres.

Even off - kilter films like Guardians of the Galaxy and Ant - Man were filled with expanded universe moments which, at this point, feel mandatory for any new Marvel film.

The film's depictions of and attitudes toward Malkina's sexual appetites, from her teasing of a Catholic priest (Edgar Ramirez) in a confession booth to the film's infamous car windshield moment, feel old - fashioned or outright confused, if not at points bordering on misogynistic.

The rest of the cast gets their moments to shine, particularly Willem Dafoe's creepy hitman and Jeff Goldblum's verbose lawyer, but the film starts to feel bloated at cameo after useless cameo of Anderson staples.

It's a film in which characters often say exactly what they're thinking and feeling and needing at any given moment.

I don't think it's wrong at all to see Antonioni's career - defining trilogy out of its intended order I do feel, however, that this particular moment in film history needs to be seen by any self - respecting cinephile, so jump in wherever you can.

RoboCop succeeds on many levels, but the one I'm most impressed with is in making us actually feel something for the cyborg at the heart of the film, with moments of surprising emotion at the core of what could have been a throwaway Terminator knock - off.

Even the extras give the film a feel of authenticity, as if danger could erupt at any moment, in any neighborhood, from anyone.

If it looks film noir it's just because I was playing with the lighting and what felt right at that moment.

If you're going into Atomic Blonde wanting a simple action film, I can guarantee you at least one moment of ass - kicking amazement that will make the whole film feel like it was worth seeing.

At a running time of 153 minutes it may have been a subplot that was left on the cutting room floor, but the film never feels long and a few moments of life with Loki are sorely missed.

Episode # 099: Filmed at her home and studio in New Mexico, artist Susan Rothenberg explains how she transforms personal experiences and feelings into works that can become an «emotional moment»...