Sentences with phrase «film in a good direction»

Not exact matches

SEE ALSO: One Direction star lined up for lead role in Jamie Vardy film, but these five actors would be MUCH better!

One Direction star lined up for lead role in Jamie Vardy film, but these five actors would be MUCH better!

SEE MORE: One Direction star lined up for lead role in Jamie Vardy film, but these five actors would be MUCH better!

An image of the house, along with a film of Fuller's 1933 Dymaxion Car — a whalelike jet - propelled vehicle that could travel in any direction, in air or on land — appears in Best of Friends, a beautifully integrated exhibition that examines the friendship between Fuller and the sculptor Isamu Noguchi.

It twists and turns multiple times throughout its short running time, borrowing heavily from a variety of films in the horror genre (and other genres as well), but under the sure direction and

The cast here are well chosen in the parts they play and with effective direction, the film becomes a worthwhile viewing experience that is lots of fun from start to finish.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

Well, Koster's direction is far from consistently subtle, or at least graceful in its subtlety, for there are times in which thoughtfulness leads to a blandness that is among the last things a film this problematically written needs, but can not avoid, due to limp touches to the - you guessed it - writing, which I was expecting to be tighter in this ambitious epic of only about 135 minutes.

Terrible plot, lackluster effects, a trainwreck sense of direction, and an absolute lack of an epic scope that the first two delivered on so well makes Superman IV: The Quest for Peace not only the worst Superman film, but one of the worst comic book movies in general

But the film takes a nosedive into overbaked melodramatics when it dusts off the history books and veers in all directions to tell its crooked tale (blurring fact and fiction) of the iron - clad will of the strong monarch (voicing that the good fight was for God and country) and how she defeated the Spanish Armada and brought a long and fruitful time of peace and prosperity to her country.

I * do * find Bay's style interesting and I can hold both thoughts (not a good film, interesting direction) in my head at the same time.

For those who enjoyed Radnor's first effort, this is leaps and bounds better in writing and direction while still retaining what made his Audience Award Winning film from Sundance 2010 such a beloved festival film.

I wrote at the time that his music for Dawn of the Planet of the Apes — while a very fine film score — wasn't one of his most engaging albums, with its dark tone and great length; and while he uses that score as a springboard (and reprises some of its material), Giacchino takes War off in different directions and in doing so solves the problems that led to its predecessor being better within the film than without it.

The acting is top - notch, as is the assured direction by Frank Oz (Bowfinger, In & Out), making this one of the better films of 2001.

While the subject matter is the stuff that good films are made of, and the quality of the direction and acting are worthy of admiration, where The East fails is in the contrivances involved in the farfetched plotline and the unevenness in the thriller elements (such as a scene in which the cell dresses up to the nines to infiltrate a party for pharmaceutical bigwigs that would feel more at home in a Mission Impossible movie) that undermine what could have been a chilling and realistic story of corporations run amok.

Black Mass, while wearing the mask of a well - made gangster film (under the stylistic direction of Scott Cooper), fails to break the surface in the same way the gangster greats of the past have.

I have no doubt that this is the best that could be done with this film and that they are the best people for the task, it's just that it could not pan out in the direction that I would have liked.

But you never feel like you're watching a play on film: The way Morgan has opened up the proceedings in his screenplay feels organic under the direction of Ron Howard, who's crafted his finest film yet, and one of the year's best.

But the next two films (the third book has been cleaved in half for the movies) are in good hands; Lawrence's direction has scope as well as intimacy, and his action is well - directed.

It garnered seven Academy Award nominations, including Best Picture, Best Director, Best Actor (Walter Huston, recreating his earlier stage role, who should have won the Oscar with his sensitive portrayal against winner Paul Muni for The Story of Louis Pasteur (1936)-RRB-, Best Screenplay, Best Supporting Actress (Maria Ouspenskaya, reprising her role from the earlier stage production, and in her film debut), and Best Sound Recording, and won only one Oscar for Best Art Direction - Interior Decoration.

The story it tells is a good one but I thought the direction was too conventional and I was never surprised once at any moment in the film.

I will grant you that Sleeping Beauty is the most beautiful film in the Disney canon, but Hanz Zimmer's award winning score coupled with some fantastic direction makes «Lion King» the best.

Having said that, Rooney Mara and Jude Law both put in compelling performances and the direction of the film suits the subject matter well.

Instead, thanks to heartfelt direction from Destin Cretton as well as spectacular performances from the cast, it is exactly the opposite — a touching, genuine film that quietly leaves its mark in our hearts.

Very little footage of the film has been released, so watching a trailer should give us a good idea of what to expect from Ant - Man, and which direction the film will be going in.

Unfortunately Washington's direction (this is his third film as a director, after Antwone Fisher and The Great Debaters) tends to signpost the script's dramatic beats too anxiously in a way that can make the film feel emotionally as well as physically airless.

We don't know in which direction we want to head because so many of the films up for Best Picture tell us different...

What Sightseers gets right where Seven Psychopaths (out today and reviewed here) gets it wrong is that this film does not try to admonish itself for including violence, and incidentally is much less indulgent in the violence, along with having a much more coherent plot with better direction, writing, acting, and presumably better catering too.

For Best Actor, it would be nice to see the award go to Andrew Garfield in Under the Silver Lake, as his manic energy and stoned confusion is in more rhythmic lockstep with the irreverent shaddy - dog narrative of the film than David Robert Mitchell's direction.

If so, that would be an interesting direction for the film that focuses on one of Marvel's most prominent royal families, as well as pave the way for Angela Bassett's Ramonda to have a key role in the film.

Between Refn's direction and Ryan Gosling's performance in the lead, it is one of the oddest good films of the year.

Christopher Wheeldon's adaptation of the classic 1951 Oscar - winning Hollywood film musical earned mentions for Best Musical, Direction, Choreography, and Best Lead Actor in a Musical.

The best advice I can give going into this film, accept that not everything you want answered will be and that a story going in unexpected directions is a good thing.

Granted, that means going from cinematic immortality to merely a pretty good film, but it's still a move in the wrong direction.

Soderbergh's direction is different than what he's done before, as is his custom, and shows how much of a master of all trades he is when he can make such a good film in a genre he hasn't done before, especially if you consider what a complex piece he has chosen start off with.

A mess of a film this one.Plot lines confused and blurred.It seems to have been made up as they filmed.All the American cliques are there.Ugly brutal men in a one horse town, yet the place is full of emotionally wounded gorgeous women.The men are macho and the women inconsequential.The acting is rather uneven, veering from impressive, going down to Benny Hill.This is Cages best role thus far, but his normal low standards means his acting is still below par.The plots descends into a quagmire of nuttiness and by the end is daft romantic nonsense.A tighter script was needed, the director needed to be replaced to stop the film's plot wandering off in all directions and finally someone with greater gravitas was needed to take on Nicholas Cage's part...

It's a new era for James Bond, the debut of Daniel Craig in the starring role, and on nearly every level, it's a real step in the right direction for this hit - and - miss franchise, perhaps the best Bond film since the 1960s (some might say since Goldfinger, but I also have a fondness for On Her Majesty's Secret Service).

Sadly, hurricane Hooper begins to ravage the good ship «Les Misérables» with direction that works to put the audience in the most awkward position to view the film, with odd camera angles, extreme jump cutting and swift passages through time.

Starting with 1988's «Beetlejuice,» director Tim Burton has had a hand in a series of popularly accessible and critically acclaimed horror - skewed films, including the Johnny Depp vehicles «Sleepy Hollow» and «Sweeney Todd: The Demon Barber of Fleet Street,» both of which won Oscars for Best Art Direction, reflecting Burton's dark, twisted style.

First things first, Moonlight was the best film of the year; a deserving Best Picture winner at the Oscars (albeit in farcical circumstances) and hopefully a landmark in the direction filmmaking is due to hbest film of the year; a deserving Best Picture winner at the Oscars (albeit in farcical circumstances) and hopefully a landmark in the direction filmmaking is due to hBest Picture winner at the Oscars (albeit in farcical circumstances) and hopefully a landmark in the direction filmmaking is due to head.

With solid direction, strong writing, and some of the best acting of any film so far in 2015, Grandma is a legitimately great flick.

Although it may not live up to the very best of his work, there is no question that the film is a step in the right direction for the prolific director.

Instead, under the direction of Peter Sohn working from a script from Meg LeFauve, «The Good Dinosaur» is antic and unexpected as well as homiletic, rife with subversive elements, wacky critters and some of the most beautiful landscapes ever seen in a computer animated film.

While I wouldn't say that May in the Summer is a film that is ground - breaking by any means, it is definitely a quiet little indie flick with good acting, a decent although predictable story, and some beautiful direction from the film's star, writer, and director Cherien Dabis.

And now, we've been handed a film that spins the sci - fi / supernatural thriller in another, otherworldly direction as well.

He's been heading in that direction for years, with well - received supporting roles and ensemble performances, plus an unusually lucrative stand - up comedy film.

Also Worthy and Worthwhile «Keep The Lights On,» «Neighboring Sounds,» «A Royal Affair» (Mikkel Boe Følsgaard guy should have also been in our Breakout Performances of 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisin our Breakout Performances of 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisIn New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisIn Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisin many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisin a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisin a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisin our 11 Films You May Not Have Seen list.

It's arguably the best directed film here, with video - artist - turned - feature - filmmaker Steve McQueen along with DoP Sean Bobbitt never wasting a frame, never shifting the composition of a single frame in the wrong direction.

Still, it's good to see Jason Reitman tackling such tonal range in his still - young filmography — though I could have stood a little more of the loose, spiky texture that characterized his still - undervalued direction of «Juno,» a film less cannily written and cleverly assembled than «Up in the Air,» but one that moved me more directly on first viewing.

Personal Shopper goes in many directions before its (admittedly a little flat) finale, but Kristen Stewart is so good (her second excellent performance in an Assayas film following Clouds of Sils Maria) that the film is undeniably enchanting in its own strange way.