Sentences with phrase «film genre too»

The past stalks the crime film genre too: little has changed over the years, as plots are laid out before an audience increasingly well versed in connecting the dots.

Not exact matches

Backwoods would not be my first choice for a horror film festival, even for it's genre it is unbelievable and assumes it's audience will be too dumb to pick up on it.

, and the also - Oscar - snubbed Roger Ebert doc Life Itself) fall under its Magnolia Pictures brand, you can't blame all of the low scores on its Magnet Releasing genre label, as many of the company's very worst films were Magnolia - branded, too.

If the trend continues, too, Garland should be embraced with open arms, as his directed films avoid many of the studio genre traps and confront challenging topics head on — whether by droids or cancerous, world - eating prisms.

His revelations verge on going too far but by the end you realise that you've witnessed a film that crosses all sorts of genres; it's an introspective drama, a restrained chase movie and an imaginative Sci - Fi and it tackles all the tropes with a deftness and skill.

Pearce, meanwhile, pulls off a tricky hire - wire act of his own, keeping the film's whodunnit structure tightly screwed without lapsing too far into genre contrivance — with the many, varied screeches and squeaks of Jim Williams» terrifically rattling score lending a significant hand in this regard.

Occupying the director's chair is Nimrod Antal, a kindred spirit of Rodriguez's whose «Vacancy» and «Armored» were genre films that turned out better than a lot of their genre - mates do — which describes «Predators,» too.

Too often, films aim (and routinely fail) to excel in one capacity and one capacity alone - as an adequate genre film, or a diversionary star vehicle, or a thought - provoking character study, etc..

While I hate this genre of film, fans go to be grossed out, freaked out, and generally shocked by the characters behavior and Hangover Part III is far too tame.

However, while Warcraft looks like an epic, fantasy blockbuster, it just might be too niche of a genre film to appeal to a larger general audience who isn't familiar with the game.

Phase 2 has seen Marvel experiment with all number of genres for their films, stepping back from Phase 1's almost cookie cutter format without getting too far from the formula that made them successful.

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.

... and (different genre)-- while there are noticeably too many apocalyptic-esque film (s) out there; These Final Hours WAS also rather magnificent as well..

director Mike Mendez — that, while it has a charming sense of humor about itself, leans too heavily on CGI blood; The Girl With All The Gifts (B), a well - shot British zombie film that attempts to inject new life into a tired genre, and almost succeeds thanks to young star Sennia Nanua; and the disappointing Phantasm: Ravager (C --RRB-, a low - budget labor of love which, while it plays like a Phantasm fan film, ultimately undercuts the emotional closure it attempts to bring to the franchise by failing to resolve the central conflict between good and evil.

The film plays atmospherically on genre tropes, too: a close - up of a gun in darkness (which ends up playing no role whatsoever), the moody chiaroscuro interior of Jo's apartment, which a bulky early -»80s answering machine makes look like a whole recording studio.

While English comedies of this sort can go the way of cute and light Feel Good Brit Flick (an often way too saccharine genre), they can also produce generally winning films like «Billy Elliot» and «The Full Monty,» and production company Big Talk have an excellent track record, with «Shaun Of The Dead,» «Attack The Block» and «Sightseers» among their triumphs.

Coach Carter is yet another addition to the motivational sports movie with a message genre, that unfortunately is far too long and self - important to be a good film.

First - time film director Phyllida Lloyd, who also directed the original London show, creates constant visual distraction with swish pans and unmotivated zooms, but her reliance on too - frequent close - ups proves a fatal visual strategy in a genre that functions entirely through movement and spectacle.

The goofy, off - kilter riff on LA sleaze fits within a genre highlighted by better films like Paul Thomas Anderson's Thomas Pinchon adaptation, The Coen's The Big Lebowski or Robert Altman's The Long Goodbye (Renny Harlin's The Adventures of Ford Fairlane, too, but whether that was superior is a maybe).

The film tries to freshen up the genre by introducing Indigenous characters and themes but it still feels like a movie we've already seen a few too many times.

Directors Glenn Ficarra and John Requa (Crazy, Stupid, Love) breathe life into the genre with Focus, a frisky con film with plenty of flashy diversion, compliments of leads Will Smith and Margot Robbie keeping you from seeing too far beneath the surface.

The movie may peak there and too early and [insert any complaints about visual flexibility here] but I don't require perfection in film and especially not in any of the theatrical high - wire genres.

A genre movie from this director will certainly be a sugar - rush beginning to the festival, although perhaps he will turn out to be too subtlea film - maker to handle this sort of material.

Even the films I like from this year I do nt have clear memories of (I saw Women in Love when I was way too young for it in the 1980s), don't truly love (big Altman fan but MASH, is more of a «like»), or I love them more for their historical value or genre personality than for actual quality (Boys in the Band, Aristocrats, Bloody Mama, On a Clear Day You Can See Forever).

Verdict: Kelly Reichardt wasn't the only director to take a shift into genre territory: French - Canadian wunderkind Xavier Dolan «s fourth film, «Tom At The Farm,» based on the play by Michel Marc Bouchard, is a taut, fascinating thriller that borrows a little something from the work of Patricia Highsmith, but has its own thing going on too.

a genre film, Trier and Vogt prevent us from identifying too closely with events or prematurely taking sides.

British director Ben Wheatley is too smart to make nice little genre films — and his scattershot yet monotonous latest, Free Fire, is worse than that.

Even though this is an extremely well - made film, it's difficult to know who will enjoy it, as it's far too arty for horror genre fans and much too grisly for arthouse moviegoers.

Not too many films, particularly in this genre, delve into the mature topics we get here, such as a child's feelings about family, security and the fear of daring to break out of one's own box and become somebody.

But the filmmakers adhere too prominently to the tropes of the sports genre, all leading up to the big, dramatic encounter at the end, whereas tonally it felt the film may have benefited from avoiding such an approach — for while a necessity Billie Jean King took place in the match, the entire endeavour was more about putting Bobby Riggs in his place rather than to prove herself as an athlete.

A great comedy with A great cast.the Broken Lizard group is too good and funny, as always.this would definetaly be one of the funniest films i have ever seen.Broken Lizard delievers again with this super comedy.many people don't like dumb comedy, but you'll love this dub comedy.not only can this film do new things to the genre, but it creates something better: A comedy with actually lovabe characters.

Too often that obsession with bypassing convention plays a little like convention; over the course of eleven films, it has defined a disquieting genre all its own.

Garland doesn't sound too confident about a third film ever seeing the light of day, which is a total shame for genre fans.

It took way too long but the brothers are back with the stylish, original «Daybreakers,» a vampire film that injects new life into an often - dead genre.

The main problem with the film is that it too often plays like a rote genre piece and I know that Antal is capable of much more audacious work.

Director Sen, previously known for social realist films, and writer, cinematographer, editor and composer here too, shows masterful command of genre.

It is clear, however, that the people who made Your Highness looked at all that wooden dialogue, all those terrible special effects, and all of those bare - breasted women and said, «Y ’ know, it's been too long since someone made a film in this genre.»

It's a very well shot and well paced ghost story that at times can be a bit too generic, but overall I found the film to be a nice little indie genre film well worth a watch.

Given Stoltz's experience grasping the genre back in the 80s, he adapts such a beloved narrative and makes this film an all too familiar teenaged tale of love and friendship, but for this generation — so minus the tomboy drummer and working class mechanic with the foggy lens of 80s rom - coms.

-RRB- directorial debut easily could have buckled for trying to mash too many genres into one film.

Jordan Peele's (Keanu) directorial debut easily could have buckled for trying to mash too many genres into one film.

I don't think one can make a Western his first film because they're just far too logistically difficult, and I think any self - respecting American director will want to make a film in such a vaunted genre.

In a film culture where genre storytelling all too often boils down to the stock gimmicks used over and over again with special effects or high concept twists to hide the familiarity, this is so refreshingly old school smart that it feels almost new.

It just puts monsters on display like zoo animals, then mostly looks away when it's time to turn them loose in either a sad (and failed) attempt to win a PG - 13 rating or more likely an attempt to pander to every audience except the horror audience that would see right through it, and instantly, as another slam on genre films by a larded gentry too delicate to see them first.

Where so many other recent genre films have impressed me right up until the final act, when too many can't seem to come up with a fitting ending, Honeyspider thankfully does not fall into this trap, as the climax is both unexpected and fully satisfying.

It was pretty clear that Hopkins was attempting to blur the lines between genres and try to mix and match tones, but the film went from way too cutesy and light - hearted to way too serious.

The film executes all the drills of the genre to completion, but the end result is too familiar and unsatisfying.

The way the Americans look and talk is a kind of uncanny simulation of American - ness, reminiscent of the way Italian genre films of the 1970s and 1980s that were set in the United States (such as Lucio Fulci's The New York Ripper or Antonio Margheriti's Cannibal Apocalypse) sometimes seemed too American.

As an exercise in subversion Deadpool 2 doesn't quite achieve the same level of success as the first film, opting too often to undermine its genre staples by prefacing them with glib one - liners.

Here Jordan plays Erik Killmonger, the chief antagonist in the film who tangles with the Black Panther in a couple of perfectly choreographed fight sequences that, unlike most films of this genre, do not drag on too long.