Sentences with phrase «film have a better shot»

Or do you just feel the other two songs you mentioned from the film have a better shot?

Not exact matches

Only in the past few years have a large percentage of films been shot digitally, and shooting on celluloid is still alive and well.

He has also produced two other feature films as well as helped shoot the renowned documentary comedy, Winnebago Man.

And when Keith Smart had finished scoring 12 of his team's last 15 points, including the winning 16 - foot jump shot from the left side with five seconds remaining under massive pressure, most of Indiana didn't even care that the film Hoosiers» Dennis Hopper hadn't won the Oscar for best supporting actor just so long as this real - life Hoosier named Smart had.

The union representing state university and park police as well as forest rangers and EnCon officers has joined the protest against film director Quentin Tarantino's remarks last month in which he characterized officers involved in a police shooting as murderers.

But it's good to know that I'm not alone in my horror: Director Luke Gilford has skewered the extreme ends of «wellness» in his new short film Connected, starring Pam Anderson as Jackie, a lonely spinning instructor who wants to feel more, well, connected — so she joins a wellness cult and gets wifi shot into her brain so that Jane Fonda (no, really, she does a voiceover cameo) can tell her how «limitless» she is all the time.

I am writing this post sitting on the sofa here in Doha with my best friend while watching the film LOLITA, one of my favourite films that inspired me for this shooting where I am wearing a super soft pink fur vest.

And the film is just beautifully shot and it has the best visual effects I have seen in a long time.

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.

The basics have been well - publicized: The film, shot in black and white, is about a German Nazi who took over a factory in Poland during World War II and talked his powerful acquaintances into allowing him to use cheap labor, in the form of Jewish workers.

It does have a few holes story wise, but the performances from Granger and Walker alone make this worthy of a view, and it is not hard to fall in love with how Hitchcock shoots his films, as well as the music he selects to raise the hair on the back of your neck at the precise, appropriate time.

Hands down one of the best films of the year, Sebastian Schipper has directed a one - shot film that is truly a captivating cinematic experience.

The film was shot in two anamorphic 35 mm 2.35 X 1 scope formats: Panavision and Technovision, the latter an Italian format that has a good look.

For all of its simplemindedness and deck stacking, the film is distressingly well made — Pollack is no artist, but he has a glistening technique (there aren't many American directors left who know how to plan their shots for such smooth cutting) and a strong sense of how to hold, cajole, and gratify an audience.

Well - intentioned, competently shot and put together, solidly acted, especially by tomorrow's superstar Jacob Lofland (who we'd call a revelation if he hadn't already impressed us so much as Neckbone in Jeff Nichols» «Mud»), and unafraid to swim in the traditionally shark - infested thematic waters of the American class system, the film nonetheless can't quite slip the «seen it before» noose.

I know I have said this before but 1926's Faust has got to be one of the most well shot and put together silent films.

The film is decently well shot, and does have it's occasional rousing moments, but in the end, I personally prefer John Singleton's Four Brothers.

While it would be easy to shoot an entire film like this on a sound stage and use visual effects to complete the scenery, director Baltasar Kormakur (2 Guns, Contraband) wanted the cast to experience the elements firsthand by shooting on location in Nepal on the foothills of Everest, as well as the Italian Alps.

A murky, brain - dead stab - a-thon packed with so many inane chases, laughable special effects, and mismatched stock footage shots that it begs to be made into a drinking game, London Has Fallen is one of those rare films that is good at absolutely nothing.

I've pretty much described what happens for most of the runtime of the film, the discussion now moves to how freaking gorgeous and well shot the film is.

I guess I still have to fall back on Crank and Shoot Em Up if I want some actual good testosterone films.

Since his film was only screened for the Hollywood Foreign Press he wasn't able to earn SAG or Critics» Choice nominations but now that the film has been seen and Plummer is all over it (with just nine days of shooting and as many days of post-production) this may be the easiest and best way for the Academy to recognize the efforts and ability of director Ridley Scott (if they don't give him a Best Director nomination, that best way for the Academy to recognize the efforts and ability of director Ridley Scott (if they don't give him a Best Director nomination, that Best Director nomination, that is).

The youth and comparative inexperience of the «Social Network» ensemble would make it an atypical winner in the category — but at the same time, counting out Jesse Eisenberg's long - shot Best Actor bid, this is the only place where voters can acknowledge the most acclaimed and awarded film in the race.

But the truth is that the film is beautifully shot, making good use of location shooting in Houston and capturing Winona Ryder's Gen - X goddess status better than any film ever would.

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.

If the original film were not so well - known, if every shot and plot device hadn't already been stolen by countless films, this may have worked.

It's rare for the cinematography prize to go to a film not nominated for best picture — not that Deakins hasn't had more shots on goal than many of his contemporaries; five of his 14 notices have come for best picture nominees, and one of them, «No Country for Old Men,» won the big prize.

It's sociopathic focus will make sure it doesn't win... it may win best screenplay, but that's still a long shot, I have a hard time seeing the Academy old timers seeing the relevance of this particular film.

Often times, the well - shot and well - constructed picture (which features some of the best cinematography of any film so far this year; the soundtrack and score is equally ace) just tries to say it all at once, posing questions about whether that grass is actually greener, or whether it grows verdant only after we've shat all over it.

The film will most likely do well, mainly because of the mammoth ad campaign that has bombarded us over the past few weeks, but it is a pale imitation of such greats as Hot Shots or Scary Movie.

Having gone from one of the few actors in Hollywood whose association with a film would guarantee it box office success to being in a string of high - profile disasters, Arnold Schwarzenegger's career (political and thespian) needed a shot in the arm, and what better way than by resurrecting his most popular character for one more outing.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Not that her long shots serve her well, either: in one, a chorus line of guys waddle like ducks to «Lay All Your Love on Me,» the film's most unintentionally hilarious bit of choreography; a later shot of Streep running up a hillside to «The Winner Takes It All,» her pink shawl flowing behind her, has all the pathos of a perfume ad.

The colors look very good, as director Lisa Cholodenko has shot the film in a very naturalistic style.

But it still has the power to leave audiences disoriented, just as Hellman's best films Ride in the Whirlwind, The Shooting, Two - Lane Blacktop, and Cockfighter once did.

If one film has a legitimate gripe of being left out of the 10 Best Picture nominees this year, it's Affleck's taut bank - robbing thriller, Maybe he'll have a better shot with his next project, which we're hearing might be «Argo.»

EXTRAS: The two - disc set doesn't have much for a movie its size, but there are three production featurettes — on location shooting, filming the train chase sequence and cowboy boot camp — as well as a deleted scene and blooper reel.

It also has some footage you haven't seen before, a digitally - altered version of a shot from the film (above, with extra details added to the painting) and a little bit of the awesome Can song «Vitamin C» that is used to good effect in the film's opening.

From what we've seen so far, it's the most well shot film of the year.

Loving is the film that has the best shot in the Oscar race, but Midnight Special should not be forgotten just because it doesn't.

This film is everything you'd dread seeing in celluloid / digital form - badly written, not well acted, not particularly well shot, and unimaginative - these last two totally unforgivable given the film's supposed to be set in Hawaii.

If you wish that The First 48 had better production values, or that explosions in action films were a tad grittier, then great news: A new thriller is underway that will reportedly be shot in real time.

The Tale of the Princess Kaguya: Isao Takahata's film, likely the last production by Studio Ghibli's two masters (Hayao Miyazaki's The Wind Rises lost to Frozen last year), probably has no shot at Best Animated Feature (How to Train Your Dragon 2 is the heavy favorite), but if it did somehow get the prize, no win on Oscar night would make us happier.

It works just well enough not to ruin most of the jokes, but one can't help but notice that more effort seems to have been put into the end - credits typography than into any shot in the film.

The film has a shot at Best Score, too.

and this disappointed me Although Gosling gave it his best shot, I think it's his performance (although he's probably only doing what the director has told him to do) which pushes the film into parody at times and not KST's mother character as suggested by others.

Without nagging time - lapse problems, a few sloppy matching shots, central questions glossed (Gandalf's resurrection — without a reading of The Silmarillion, of course — is obscure at best), and a few story conveniences (Cate Blanchett's Galadriel makes a lame cameo, the abovementioned gauzy Arwen love scenes), the film would be something of a masterpiece (and even with its problems, it's among the best fantasies ever made).

As card - carrying members of the Cuarón fan club («Y Tu Mama Tambien» was a blistering revitalization of his career; «Prisoner of Azkaban «was the best Harry Potter film by a country mile; and «Children of Men» is one of the finest films of its decade), we've been following the tortuous progress of «Gravity» for what feels like forever, as Cuarón had a bitch of a time financing this 3D - shot, effects - driven film, and suffered several casting knock backs as A-listers signed on and then off the project (Robert Downey Jr., Angelina Jolie, among others).

The film is shot in Greengrass» signature documentary - like style that puts the audience right in the middle of the action, and he brings shades of grey to a story that could have — in the hands of a lesser director — been a straight good guys / bad guys /» hooray USA» story.

In a way, you almost need to have very good charts and maps on the walls, so you know - because you're shooting out of order, because you're shooting at a rate of knots - what you have planned before the film starts.