Sentences with phrase «film feels different»

Much like the movie industry, when a particular director skips the sequel, the next film feels different — and not in a good way.

However, now that Bill hasn't dropped the huge news that The Bride's daughter is alive at the end of Volume 1, the whole film feels different.

However, the fact that this film feels different than the original is certainly a good thing.

The part that I believe makes the film feel different than most is that...

Not exact matches

Using iconic slasher films as examples, experts say that the feeling viewers get is no different from the emotions on screen.

As you watch a film about a family from a different culture, say, «I wonder how they feel.»

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.

When the connecting revelation comes, it's more incidental than elegant, and while its tale is compelling, it sometimes feels like it belongs in a different film.

Though in an entirely different time period (1910), the film shares that feeling of dread for the smallest citizens, unable to change what has gone on between their own kindred for generations.

There's a tonal dissonance here: The gangster - movie dialogue of these different groups, as well as a somewhat lame late movie shoot - out, feel far removed from the terse, beautifully choreographed pandemonium of the film's first act.

Thankfully, the voice talent gives it their all with Hill and Cross being particular standouts, but they are really livening up a script that at times feel like a draft or a number of plots from different films, piecemealed together.

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.

Annihilation does offer enough surreal horror within its visual spectacle to make it worth recommending to sci - fi fans, but for all the different interpretations the film is being afforded by other writers, I can't help but feel that it is fairly empty thematically.

Her considerable comic talents are impossible to find here in a film that feels like it's from a different era in a bad way.

This «lightness» is thanks to good dark comedy elements and the hopefulness you feel for a better future at different times during the film.

Despite the Hollywood cliche's and the Hollywood film making, at times this feels like a different movie.

This looks, sounds and feels strikingly different from any other film out there — comic book based, or not.

And yet, however considerable the film's charms (it's first - rate children's entertainment, to be sure), there's something just the slightest bit disappointing in how pro-forma it all feels: Ghibli geniuses Isao Takahata and Hayao Miyazaki never clung to a house style, making films with wildly different looks and tones over the course of their careers, whereas Yonebayashi's first post-Ghibli effort colors well within the lines of stock Japanese animation.

The gore is still there, but the general plotline came to be very predictable (especially the merging of different timelines and who the antagonist is), and the mysterious dark feel of the games we got to see in the previous films has been replaced by pointless narrowed - down bloodshed and, sometimes, humor.

Favreau used pretty much all of the gadgets and SFX from the first film so there was nothing here that felt unique and different — just more.

Perhaps one should buck at the perceivable hubris and tastelessness of Spielberg cloaking his most revealing film in SS garb, and there's no easy way to forgive that red coat, but rarely has Spielberg's narrative and visual ideas felt so unpredictable, so distinctly different, and of such a lilting melancholy.

Nicole Kidman has been brilliant in so many different roles but this film feels as if she were slumming.

These golden nuggets of cinematic genius are peppered throughout the films conservative eighty - four minute narrative, each presenting a different overall feel and visual tone to each scene, and it is this impressive variety along with the films pace and subtle humour that is key to its success.

The film expresses a longing that may strike a responsive chord with those who have ever felt the sting of being different.

Though it feels a lot like Jeff Nichols» Southern Gothic crime drama, «Mud» (which is ironic since Green reportedly cast youngster Tye Sheridan based on his work in that film), they're very different stories apart from the father - son dynamic between the two leads.

As such, like another second - tier Marvel title before it, Guardians of the Galaxy, that allows for some deviation from the core Avengers films in terms of how things will look and sound, giving us a movie that feels organically different in visual design than most we've seen before, even if it still retains the same formula structure of the rest of the MCU features.

Parts of it feel slapped together and the last 15 - 20 minutes seem like the last reel of a totally different film.

I'm always looking for films with a Christmas theme or backdrop that have a little different feel around this time of year, so it will be interesting to see if I ever return to All is Bright, but right now I'm not that eager.

The subject and reasons behind it aren't problematic and there are a few smirks, but it all feels tedious and dull, as if they have been lifted from a different film altogether (a Lifetime film, perhaps), slowing the film to a crawl despite the sight of Morgan Freeman's and his rousing talents.

Emily Blunt delivers an extraordinary performance in the lead role (rather than simply acting drunk, she plays Rachel as an alcoholic desperately trying to look sober), but it feels like she's in a different film — one that isn't marred by soapy plot turns and Taylor's messy direction.

Both of these things have a heavy influence on Star Trek Beyond, and both tie in to the way that the film takes a more grounded, less spectacle - driven approach that feels different from what Abrams had done with the series, while still very much within the same spirit.

Winter's Tale feels as if the two star - crossed lovers are in different films.

Despite the elaborately mannered physical affections of Eddie Redmayne's performance, the film never successfully evokes how it might feel to have another person, of a gender different from your biological assignment, emerging inside you.

When we saw Hayao Miyazaki «s «The Wind Rises» the next day, we were unaware that the director was about to announce that it would be his final film, but even then, it felt like a fitting career summation; a very different, and highly personal piece of work delivered in traditionally gorgeous Ghibli - stylings.

Structurally speaking, it's very familiar to those that came before it — rape and revenge are its main ingredients after all — yet Fargeat's film feels like something entirely different.

Jonathan Mostow: It's true that we did apply a heavy style to underline the oddness of the world and give the film a different, arresting feel — but I'll leave the comparisons to others.

I do feel that the film redeems itself in its finale, but even on second viewing, the tonal shift creates a rift in our protagonist's character that feels more suited to a film of a different genre.

This feels like a Cliff's Notes production, with pieces of six different — and sadly better — films cobbled together into a single story.

We wanted it to feel different and represent what's unique about the film.

What was striking to me about Amour was how much it looks like other Haneke films — with the same macguffins, the same uneasy tracking shots — and yet how different it feels.

The A.V. Club: You have these two very different films coming out back - to - back as a result of the legal issues involved in The Green Inferno, but Knock Knock actually feels like an inverted companion piece.

Although I'm slightly embarrassed to admit this, I feel it's important to note that if, like me, you've never read Wolfe's novels, you won't be at a disadvantage; the point of the film is how much the two men needed each other in very different ways.

The overall feel and tone of the film seems to be in constant flux, often making it feel as though you are watching several different movies all at the same time.

Although the film finds a few clever ways, there are only so many different ways you can skill someone with swords so by the end it felt monotonous.

Hong Sang - soo has built a career out of incrementally modulating the same core story over and over, and it's surprising how often this approach yields films that feel markedly different to his previous ones.

«Marty's new film is so tonally different from what he last put out it made me feel like I was atoning for all those good times I had with Jordan Belfort and company in his Wall Street - based bacchanalian.

Both About Time and Ruby Sparks are about manipulation, but where Kazan makes sure to consider the dark side of it all, Curtis revels in About Time's Britishness and charm, confronting these themes through a completely different lens that further marginalizes McAdams» character and then skips off into the sunset with the sort of weepy feel good climax you expect from a film with Richard Curtis» name on it.

Left with a similar feeling after the last Spiderman film i.e. I've just paid good money to see the say film again but with different actors....

Release: Friday, July 10, 2015 (limited)[Netflix] Written by: Sean Baker; Chris Bergoch Directed by: Sean Baker How I felt when I first tucked into indie dramedy Tangerine — yes, that film, the one shot entirely on the iPhone 5s — and how I felt when the last scene faded to black couldn't have been more radically different... Continue reading Tangerine

,» «Tree's Final Walk of Shame,» «Worst Birthday Ever» with the filmmakers and cast discussing the challenges of executing the time - loop concept at the center of the film, including how to make each day feel different despite the fact it's being repeated, «Behind the Mask: The Suspects,» «The Many Deaths of Tree.»