Sentences with phrase «film feels nothing»

OK, here's the low - down for all of you Kevin Smith fans: Jersey Girl may contain some familiar faces from the View Askewniverse, but the majority of this film feels nothing like any of Smith's other films.

Not exact matches

because I believe there is nothing quite like hearing and seeing your family, and the feelings that come from films.

The second ending feels like the film had realised it had nothing to say, and so the writers threw in a bunch of vaguely existential dialogue to compensate.

Nothing feels stock about his films.

(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.)

The film is nothing but loud noises, people screaming at each other at the top of their lungs, brutally revolting in its graphic depictions of dismemberment and gruesome murders, and will leave you needing a shower to wash away the icky and nauseous feeling at attempting to view what some idiot (Peter Berg, The Rundown) had the audacity to think would be grand entertainment.

At their most ungainly, the films feel like nothing more than a tie - in or brand extension meant to capitalize on a popular figure in a new way, like a toy or clothing line.

Without a discernible plot or goal in mind, some viewers may feel like this is a film about nobodies who do nothing for the duration.

Though it feels a bit like an upgrade of John Singleton's Higher Learning, which, by contrast, seems highly reticent in how it probes sociopolitical questions, the film holds nothing back in presenting Spike Lee as its strongest influence.

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.

From the start, the film really does feel like old friends reuniting; nothing in «The Intervention» ever feels overly written.

Depressing, cliche, and quite unwatchable at times, Dear John really doesn't have an interesting story to tell, and despite it being in the romantic genre, the film makes the viewer feel nothing more than annoyance.

Of course, it is nothing out of the ordinary, but it is a really decent feel - good film that is both unusual yet strangely charming.

Jessica Lange brings so much energy and personal involvement to her portrayal of Frances Farmer that you can't help but feel sorry for her; nothing else in the film remotely matches her talent and dedication, and she seems alone — and even slightly absurd — in her feverish creativity.

Francesco De Masi's score does nothing to hide his Italian background and occasionally gives the film a spaghetti western feel (some have noticed a striking similarity between De Masi's work here and Ennio Morricone's Once Upon a Time in the West music).

My only objection to Tapley's review of the film is this: «nothing feels as promising as it might have previously felt on paper.

Unfortunately this script feels like nothing more than a vehicle for Black who cavorts, chatters and cracks jokes through the biggest chunk of this film — as well as exposing some of his posterior.

The first two «Expendables» films were nothing more than elaborate teases, but «Escape Plan» feels like the actual dream team - up that action fans were hoping for when Schwarzenegger announced his retirement from politics.

It feels like a detached exercise rather than a project which the director was passionate about, a chance for him to develop his skillset in another genre and while there is certainly nothing wrong with a stripped down action film too often Haywire feels diffuse and perfunctory.

No critic, no bad review, nothing could take away the feeling of seeing our first real action role model in film.

The idea of shooting an intimate human drama in 3D is interesting but ends up adding nothing, bar making Benoit Debie «s photography feel muddier and dimmer in a film already rendered in a low - contrast palette of browns and greys.

These misses narratively combined with other elements of Deadpool 2 make it feel like a backwards step or at the very least of a stalling of the series from the first, there's a sense here that everything's a little auto - pilot, the action too taking a backwards step from the imaginative sequences of the first film and while perfectly entertaining, this is an experience filled with nothing that would suggest Deadpool 2 is going to be a film you'll be going back to anytime soon.

There is nothing conspicuously revolutionary about the «The Kids Are All Right», a sleek, smart, enormously entertaining film about a middle - aged lesbian couple (played by Annette Bening and Julianne Moore) whose teenage kids seek out the sperm donor who is their biological father (Mark Ruffalo); it has big - name actors, a sun - dappled Los Angeles setting, and the feel of a classic Hollywood comedy at its snappiest.

With her holding down the lead role, Jasper's film becomes the sort of triumphant, feel - good crowd - pleaser that serves as an antidote to the all - too - frequent lack of originality at the box office — to say nothing of the downbeat nature of today's headlines.

This is nothing you haven't seen before, but Flanagan brings real panache and visual energy to a film that could have easily felt redundant in the hands of a lesser filmmaker.

What I thought was a good film, to many will be a great film, but if nothing else, you wont feel like you wasted your time or money by renting this and giving it a try.

Nothing feels contrived or at odds with itself, a tribute to both the indigenous customs that comprise the heart of the film and the impeccable work done by everyone involved — especially the animators.

The return of Bryan Singer to the franchise and the very genre he helped popularise 14 years ago showed promise, but I had this niggling feeling that the film would be nothing more than an excuse to start afresh, à la Star Trek 2009.

Concussion ultimately isn't a film that will leave you with much more than a shrug (and likely a yawn as its meandering final act makes it feel every minute of its bloated 123 - minute runtime), but if nothing else it holds the promise that Smith still has the capacity to be the best of both worlds the way that he's always been.

The film's most successful elements felt cribbed from the first film and the pacing left me more than a little bit sleepy; I also felt legitimately bad for Rose Byrne, who is basically given nothing to do aside from trip over baby toys and get smacked in the head a lot.

Even for Mike Leigh, this film feels like a rather subdued slice - of - life in which nothing much really happens.

The transfer is good but nothing spectacualr for the age of the film it looks ok but feels a little bit muted to me.

Perhaps I shouldn't use so many air travel clichés in my review, but I feel it's only appropriate for me to do so in a film that is nothing but clichés from beginning to end.

Jane Got a Gun is a film whose troubled production was so studiously documented in the press that its actual release at this point feels like nothing more than an afterthought.

The film suffers from the curious problem of feeling didactic about nothing in particular.

Like those films, Haley grapples with familiar tropes related to kidnapping and organized crime, although nothing happens to feel very menacing in Criminal Activities, beginning with its rather vague catch - all of a title.

You think of all those French New Wave films by Truffaut and Godard, they were all dime - store novel adaptations that felt nothing like the source.

These are meant to be revealing — «character beats,» in screenwriting - instructor speak — but just like the revelations of the weirdos Garlin interviews, they feel arbitrary, relaying nothing about Garlin's character except that he is a dad who likes baseball, two traits that the film already established by virtue of its existence.

Again, I don't want to give anything away, but I just felt the ending was a cheap way someone with nothing interesting to say would chose to end his film so people would think he was «artistic».

While faint praise, it should be said that this does feel like a case of colorblind (and genderblind) casting; nothing about his character specifies his race, and Roberts» character was a man in the original film.

The score from Alexandre Desplat has a timeless feeling to it; it's endlessly charming when it needs to charm, electrifying when we're required on the edge of our seat; Paul D. Austerberry's production design is aces, the film drowns in this ocean blue, soaking wet aesthetic that emanates this sensual but creepy world; and the creature design is nothing short of righteous, a perfect throwback to the era of practical effects reigning supreme that uses just the right intermitted splashes of CGI.

I actually felt sorry for Director Sidney J. Furie (Iron Eagle), who had nothing budget - or story-wise to work with to make the film successful.

While there is nothing wrong with being ambitious and diversified in one's approach, the problem here is that oftentimes the film feels simply like it is trying to hit as many targets as it can, hoping something sticks.

My familiarity with The Man From U.N.C.L.E. television series is non-existent (I was born in 1989 dammit) but I feel pretty confident in assuring viewers that this film reboot is nothing like the series from the 60s.

From synthetic hazes to fungus - induced crazes, psychedelic drug use on film has attempted to capture exactly what it feels like to freak out and lose all control amidst sensory overload, which, as we've learned from the ten following flicks, can be life - changing or, in some cases, nothing short of terrifying.

It's rare for a film in any genre to valorize writing poetry and literacy, and rarer still for a film essentially about nothing to sport so many moments of genuinely fruitful observation in its interpersonal interactions, which makes the picture's flights of fancy feel the more unnecessary.

Touching and sad, anyone with a family history can find a reason to relate to this beautiful little film, which takes us on a painful journey with Alma (Anna Castillo), who wants nothing more than to take back something that matters to her, even though it often feels impossible.

Writer - director Mike Mills («Beginners») creates feelings and moments, and in turn, he and his cast conjure a film that's as much about nothing as it is about everything.

This is the fourth consecutive film Allen shot mostly outside the United States, and it feels like nothing else he's ever made.

There is nothing about this film that feels fresh and original.