Sentences with phrase «film focuses on characters»

Although the film focuses on characters, most of the attention is spent on their bigger sides.

The film focuses on the characters and plops them into mini-adventures that challenge them and entertain the audience.

Instead the film focuses on the characters as they weave in and out of the spotlight, all for the betterment of their team.

This may be the story of miserable, lovelorn people, but the film focuses on the characters» self - involvement to such an extent that it becomes almost absurd.

Each of the four segments of the film focuses on a character who Tom and Gerri care for in some way but the main character who features throughout the film is Gerri's work colleague and friend Mary (Lesley Manville).

Not exact matches

Black Panther is the first standalone film to focus on the titular character, the superhero alias of King T'Challa of the fictional country Wakanda, portrayed by actor Chadwick Boseman.

Groups of young friends who go to see some of the more death - focused horror films in vogue of late will routinely take bets on which stock character will face a grisly end soonest, as when viewing the Final Destination series» a film series that is, essentially, the apex of the set - piece disaster horror movie as orchestrated by MacGyver.

This list is limited to those that focus mainly on Jesus» life story as told in the Gospels; thus, it does not include films about characters who are only peripherally connected to Jesus, such as Ben - Hur (1925, 1959).

Such a strong reaction persuaded Pixar to avoid making uncannily realistic human characters — it has since focused its efforts on films about living toys, curious robots and talking cars to win Academy Awards and moviegoers» hearts.

X-Men: Apocalypse is a part of a new series of films that began with X-Men: First Class, and a large chunk of First Class focused on Mystique as a character.

The film's focus on clumsy, inept characters results in a series of jokes that are beyond lame; this is the sort of stuff even Three Stooges fans would have a hard time defending.

This time, focussing on the past to show how the character of Elise got to where the audience knows her from the first two films, there is much more emotion to be had here.

The book - like the film - focused much on the main characters.

In the end, this is again a very good horror comedy which needs to focus less on the main characters (lets face it, they are cliches and the interest of this whole movie is to the idea behind it) and more on the variety of monsters that were created for this film.

Nevertheless, despite the frequent confusion that accompanies the watching of these films, the long view reveals a series that has remained focused on characters, feeling and filmmaking craft, while often telling this classically inspired story with wit and nuance.

The 3:47 «Meet Katie» focuses on the story of the furry little yak who just steals her scenes in the film, as the creators talk about the development of the character from a background drawing to full - fledged cult hero.

«American Wedding» is more focused than the other films, centering mostly on the crowd favorites and leaving the other less notable characters in the dust.

It is a welcome surprise to see a lighthearted Western that places its importance more on the characters than on the famous real gunfight depicted - and the deep - focus shots are beautiful -, but still the film has trouble with maintaining the focus and pacing in the second act.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

The script is phoned in and rather than focus on the Autobots like in the cartoon the film focuses on the poorly written human characters who aren't that interesting.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

It was made before Philadelphia, focuses on characters that are almost entirely gay men, it covers the entirety of the 1980s, offers a very honest portrait of the AIDS crisis, is a better movie, but Philadelphia is heralded as the definitive film about this subject.

Very much a character study, with most of the focus mostly on Bjorn Borg (played by Sverrir Gudnason)-- notably, the film was titled Borg in Sweden — and his meticulous, robotlike preparation pitted against the wild - child spirit of John McEnroe, who was seemingly perfectly stunt cast with real - life powder keg Shia LaBeouf.

He was a pretty interesting character, why there wasn't more of a focus on Eric in the second half of the film, I don't know.

Its narrow timeframe and juddering shootout finale notwithstanding, in fact, «' 71» calls no film to mind so much as Roman Polanski's Holocaust drama «The Pianist» in its dramatic defamiliarization of urban space, and its tight focus on a single character's sensory experience of his surroundings amid broader conflict.

With an unhurried pace and a focus on character over action or plot, this film takes us into the mind and life of a hardened assassin and follows the story to its natural conclusion.

By focusing more on the characters, both good and bad, than on the explosion itself, the film is able to avoid becoming another disaster movie.

However, the characters the film does focus on get storylines that move them into new directions, something that even their solo films don't always accomplish.

Cold Weather is a low - budget indie film by Aaron Katz that firmly believes less is more, focusing often on subtle interactions between characters.

At a dinner held at the house Paul and his daughter Jenny (Ellen Page) share, we are introduced to all the characters that the film focuses on, each with different but strong personalities and each involved within the shift of energy and balance that occurs.

It has been a brilliant strategy to refrain from using any images of Batman in the trade ads for this film, focusing on Bruce Wayne throughout, ushering the story through further as a character piece, not a superhero extravaganza.

I can't stand his films (his recent few that I've seen), they are incredibly dry, extremely boring, and he focuses on these odd vapid character moments more than any meaningful interactions.

When the film is about the specific individual characters, it's still interesting, but it takes the focus away for a spell on the thematic material, even if it seeks to expose how immoral the propagators of foreclosures - for - profit have to be in order to maintain their businesses in the face of daily suffering for many families in their broken communities.

Final Verdict: Logan is a film that steps away from the action and focuses first and foremost on the incredible character it has been given, creating a memorable final venture that will stay with you for some time.

The parody elements are used far too little, and the the bland characters and predictable plot that the film chooses to focus on will likely bore older audiences.

While a number of the fairy - tale oriented characters are pretty funny, the main three characters that the film chooses to focus on (Shrek, Donkey and Princess Fiona), are an absolute bore, if not completely unlikable.

One of my biggest issues is that the last film forgot to focus on character development / relationships and these are some very cool comic book characters in the Lantern Corps., we just didn't get a chance to see this properly explored.

The Coen Brothers are executive producing the 10 - episode limited series that maintains the tone of the film, but focuses on a different crime involving different characters.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Written and directed by master filmmaker Jia Zhangke (The World, Still Life), «one of the best and most important directors in the world» (Richard Brody, The New Yorker), this daring, poetic and grand - scale film focuses on four characters, each living in different provinces, who are driven to violent ends.

I would have liked to know why a character's severed arm came to life and how the ship became possessed rather than focus on a monster attack that was better executed in the first Cloverfield film.

Both a film about filmmaking and a shrewdly understated character study, Italian writer / director Nanni Morettis Mia Madre focusses on middle - aged director Margherita (Margherita Buy), whose mother (Giulia Lazzarini) lies terminally ill in a Rome hospital.

Although the title suggests the possibility of an exercise in the pre-digested, pre-fab cynicism which seems to be a staple of contemporary American cinema, this action film focuses on its people as much as its action, and a good deal of its power comes from the way its sharply etched characters develop in various convincingly observed milieux.

The film is entitled Ex Machina and focuses on three characters who spend several days together in a secluded home.

By focusing on the aristocrats and ministers on the sidelines, Wright divorces his characters from the war they're discussing by design, which sometimes leaves the film unsatisfying.

The film focuses on a main trio of characters: rocker Mike (Roman Bilyk), his wife Natasha (Irina Starshenbaum), and newcomer Viktor (Teo Yoo).

Hoffman keeps his wintry film focused on those four earthy and very real characters.

Unfortunately, Stein appears so singularly focused on the film's slick visual look that he forgets to make his audience care about (or even understand) the characters.

The home video release of the film will also include 8 deleted scenes, a featurette chronicling the film's production, and a featurette focused on the real - world people that inspired its key characters.

The majority of the film is focused on the other three misguided characters, Wendel, Levi, and Sanja.