Sentences with phrase «film gives the story»

Using film gives the story an aged look as well.

Not exact matches

«The amount of success the film enjoyed just gave me final cut, gave me the chance to tell my own stories.»

There are all sorts of stories told about Facebook, some of them on film, that really give a sense of a place where it's immature not only in terms of the jokes you choose but also in how you value your relationships.

In Tangled, the Walt Disney Company's new animated, feature - length, 3 - D adaptation of «Rapunzel,» critic Armond White finds, sadly, that the story of the girl with the very long locks not only «has been amped up from the morality tale told by the Brothers Grimm into a typically overactive Disney concoction of cute humans, comic animals, and one - dimensional villains,» but also that the film's «hyped - up story line... gives evidence that cultural standards have undergone a drastic change» in the decades since Walt Disney first set out to charm both children and adults with his animated retellings of fairy tales.

Even after The Disaster Artist gave his own story and his cult - classic indie film The Room — largely regarded as the worst movie ever made — new prominence, little is known about where he comes from or who he truly is.

The film follows the life of the lead singer - songwriter of MercyMe, Bart Millard, who wrote a memoir to accompany the movie to give viewers the full story.

In this film, even the worst people imaginable are given story arcs that transcend political correctness, or even a sense of justice, focusing on the challenges of sorrow, anger, and other seemingly unbearable emotions.

For their prizes, each was given a branded VFL Ghana bag containing; an android kiddy tablet, 10 exercise books, an Ewe — English Dictionary, Epistles to my Bubune (collections of letters), The Bloody Ingrate (story book), Nsempiisms (A collection of poetry, storytelling and satire), Love brewed in the African Pot (Africa's sensational film hit — Now a comic strip), This is Ghana (Tourism book), a food flask, a cutlery set, a portable radio set and a watch.

A decade ago it was unimaginable to make a film without major financing, but now given the nature of new media and available technology, independent filmmakers can tell their stories with a limited budget.

Throughout the film you will be given stories and evidence of what these personalities can do in the human brain, concluding that all of these personalities can merge into one super human being.

The film tells the story of speed dating addict James Van Der Bexton as Description: A hot busty brunette goes to a speed dating place to see if she can catch a good - looking guy that can give her the attention she deserves.

Steven Spielberg crafted his landmark Holocaust story Schindler's List to look like a documentary, using black - and - white film to give it a newsreel authenticity and employing Steven Zaillian's straight - forward screenplay as a template that consistently rejects melodrama and lets the barbarity speak for itself.

It's a stunning story, dark and comical in equal turns, and the film relays the events in splendid fashion as well as giving us a star - making turn by Australian actress Margot Robbie as the eponymous character.

On the other hand, the pause between the two films» release would have given Tarantino ample time to address some of the criticisms that were made of Volume 1 - its episodic story, lack of three - dimensional characters, needless editing gimmicks and so on.

The film changes a few bits from the book, including making Jo - Jo the shirker into the Mayor's son, giving the film a deeper emotional center, serving as an additional relationship to go with the bond between Horton and the mayor, but most of the rest of the story is still in place, held together by Charles Osgood's narration, which has just the right effect.

That gave me a chance early in the course to let them know that all films do not have to tell stories.

Casting light on the inherent contradictions between the public claims of Scientology as an applied philosophy and its actual practices, the film gives voice to these peoples» stories by inserting them as recurring reference points throughout the film, from its opening credits to its closing shot.

Because the two films had been created by splitting an existing work in half, rather than it being a direct successor, or the two being filmed back to back like The Matrix sequels, they argued that it would be unwise to write off Volume 1 until Volume 2 had been given the chance to finish the story.

Joss Whedon, the creator of Firefly and Buffy gives his input into the story as well as the director of Cloverfield and countless Lost episodes, Drew Goddard, both make this film worth watching.

I actually loved watching this film at times, given the terrific performances all around and a story that is worth exploring, but it is without question that the film feels about 20 - 30 minutes too long.

The emotional closing stretch, at the very least, ensures that the film ends on an admittedly affecting note, and yet it's ultimately impossible not to wish that the remainder of Deepwater Horizon had been similarly engrossing (particularly given the seemingly electrifying nature of the story's true - life origins).

The story sometimes slips into soapy territory, but when you think the schmaltz is going to ruin it, Yamada gives it just enough of a twist to make you realize this is not your regular romantic film.

Of course, in hindsight it's hardly a stretch to make that assumption when just two years later the director gave us his magnum opus with the crushingly heartfelt Holocaust story «Schindler's List,» a film that many consider to be one of the best movies ever made about this dark hour in world history.

Given the fact that the story of Imitation General is motivated by the «passing of a torch», it's ironic that the film's first network showing in November of 1963 was postponed by the JFK assassination.

Aside from this being a lot less interesting than the original stories, it also gives us a film with more characters than the story has any use for, and that in turn makes what there is of a story feel baggy and drawn out.

The film's plot is similar to the story in the Biblical Book of Ruth, and the film's title was derived from Deuteronomy 11:21 («That your days may be multiplied, and the days of your children, in the land which the Lord swore unto your fathers to give them, as the days of heaven upon the earth.»)

The Cabin in the Woods WOW it was a great film the actors and actresses are great the writers the directors, producers and everyone who was involved, The film has a understanding story im not going to give it away for anyone who has not seen it.

What used to be fresh and witty in the first two films gives place to a stupid slapstick humor full of fart and poop jokes, lacking most of the cleverness of the previous stories.

Given the quality of the first two films (Before Sunrise 77, Before Sunset 90), expectations are high for this third chapter in the Jesse and Celine story, which premieres this weekend at Sundance.

The Extras The Franco brothers and screenwriters Scott Neustadter and Michael H. Weber join Wiseau and Sestero (appearing via telephone) for an audio commentary, which exists for two main reasons: Wiseau giving the true story about things that happen in the film and Franco pressing Wiseau for more behind - the - scenes information about himself and The Room.

These contrasting elements all serve a single purpose, to give a film truthful to JLG and Anne that's almost entirely a lie, a mixup of legends and half - remembered stories that nonetheless feel nearly documentary - like.

That's an impressive feat, given that these aren't Disney, Pixar, or Lego movies, that they're instead indie films that attempt to present sophisticated story lines to young audiences through hand - drawn animation.

The film gives Harding partial control of her own, jaw - dropping story, from her early days in thrall to an abusive mother, to the domino - chain of associations which led to her rival Nancy Kerrigan being clubbed in the knee, when she left her Detroit practice rink in January of that Winter Olympics year.

Inventively structured, the documentary alternates between her early adulthood and her final months, her sad demise casting a shadow over the story and giving the film an air of classical tragedy.

Her approach is analytical, poetic and, when one of the subject tells the story that gives the film its name, unexpectedly emotional.

I don't have a problem with that if the film does build up to that moment well and they, eventually, give you a satisfying payoff to this and the story.

Despite this film being based on a true story, it's both the script's and Travolta's fault for not spending more time on why this character changed so suddenly and gave up so much.

While the film touches upon its various political and cultural issues (In addition to the give - and - take relationships between reporters and politicians, there's a lot about the overt and subtle sexism that Kat receives as the first and, at the time, only woman serving a newspaper publisher), the film plays mostly and best as a race - against - the - clock thriller of sorts, in which the obstacles are as imposing as the might of the U.S. government and as low - key as deadlines or being beaten to a story by a rival paper.

Coogler ups the intrigue as the film plays, with each new piece of the puzzle put together to deliver impact, and to change what we know about these characters in ways that give the entire story a surprising amount of nuance, given the amount of characters to follow, as well as the wider scope of the international politics.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

However, Martyn Conterio of CineVue finds the story (based on real events) «horrifyingly captivating,» and Peter Bradshaw of The Guardian gives this «heartfelt, forthright and muscular» film four out of five stars, praising its «powerful, forceful story.»

Yonebayashi gives Arrietty an excellent sense of balance, with the adventure aspects of the story, which feel legitimately dangerous providing well - paced contrast the film's more placid moments.

Not only are these scenes a lot longer and more expository than they need to be, but they give the sense of a film crew fighting against the material; the camera chases after the story, rather than grabbing it by the scruff of the neck like a proper adaptation would.

Director of photography Larkin Seiple (Swiss Army Man) uses a lot of contre - jour and low - sun shots that give the frequently unsavory proceedings a majestic, deceivingly peaceful glow, while the film's versatile score is key in helping to calibrate all of the story's tricky transitions in mood and atmosphere.

Hooper gives Hathaway the appropriate context for all her theater - kid stuff, and she reigns supreme for much of the film as the story's most emotionally engaging presence.

All of the structural, if superficial aspects of the story are in place, but the film fails to dig deeper, giving talented veteran actors very little to work with.

Though both stars are sometimes eclipsed when the film strains for big action episodes, Mr. Duchovny sustains enough cool, deadpan intellect and suppressed passion to give the story a center.

A trip to Wikipedia reveals that the novel, written by Michel Faber, actually gives lots of information the film wilfully withholds, such as the name of Johansson's character or the story of her race or the reason why they're mulching men or the story behind the mysterious men on motorcycles who pop up occasionally to help out / hunt Johansson down.

The film is given an opportunity to shrewdly poke fun at cable news, specifically Fox News (their new home is run by a cocky Aussie), as Ron uncannily becomes a purveyor of sensationalist non-news stories like car chases and cute animals while Veronica can't make an interview with Yasser Arafat grab anyone's attention.

The Playlist gives the «largely harmless and tame, but also shallow and uninvolving» film a «C» grade, and Indiewire seconds that, claiming «The story comes across like a quest to turn history into entertainment, and as a result it lacks any lasting value.»