Sentences with phrase «film lacks a depth»

Sadly, the film lacks the depth in screenwriting to support them.

However, the entire film lacks a depth of character or story.

While there are a number of laugh out loud anecdotes from the likes of Jim Jefferies, Stephen Merchant and Christopher Guest, the quantity over quality approach of this film lacks the depth suggested by its title.

Not exact matches

If you consider Malick's The Thin Red Line, for example, you'll find a philosophical depth that's lacking from Gibson's film yet it would have benefited greatly from.

Good production values for a low budget film and good acting from the main characters and most of the cast and good pace but the story feels empty, cliché, flaw and lack of depth.

With a giant god like hand, Whedon destroys viewer expectation by carefully crafting the perfect satire film with a wit, intelligence and depth that is often lacking in the films it makes fun of.

Sadly, it's in service to a film that lacks in the way of suspense, depth or originality.

An obsessive perfectionist who methodically worked in virtual reclusion, director Stanley Kubrick was at once widely praised for his technical brilliance and scorned for his film's lack of emotional depth.

While it gives us a generally positive overview of the film, it lacks real depth.

While I can enjoy «life story» films, they tend to end up as little more than «greatest hits reels»; they zip through major events in a brisk, superficial way that usually lacks depth.

While the film is technically polished and visually breathtaking, it lacks depth and becomes little more than a lawless fairy tale packed with pretty people.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

The set designers are VERY indebted to classic films and the script is mostly weak, humourless and lacks anything called «character depth» or «story development».

The zany misadventures aren't enough to carry the film, and lacking depth of character creates a «holiday spirit» climax that is tough to care about.

Also featured is the extra «Analyzing Dark Water Sequences,» which takes an in - depth look at the creation of three specific scenes in the film, but the lack of any audio commentary by the director or the all - star cast is extremely upsetting.

Or it could become a snapshot of a particular cultural era for the archives, but, nah, this film is much too lacking in depth for that.

The latter infuse the film with bass, depth, and impact otherwise lacking.

Shame A divisive film in many ways, with some praising Fassbender and the film's style, while other were put off by its lack of depth.

Boyle and cinematographer Anthony Dod Mantle have shot the film on digital video, a controversial choice considering the format's grainy resolution and lack of depth, but I think it's the right choice.

A film that hold the audience's attention from start to finish and will play very well on both sides of the pond.The authenticity of the sets and period detail compliment the superb acting performances especially by Colin Firth.I previously thought Colin Firth lacked depth - how wrong I was!

Welcome to the Punch sets itself up as a rather conventional genre film, but where the writing may lack a depth of character or thematic weight it's more than made up for in terms of sensory - appealing thrills and a hyped up rhythm that keeps things moving along at an appropriately rapid pace.

The lower - budget visuals lack the power and depth of the first film, but offer plenty of appeal on their own.

As the film's second half leans progressively more on the mending of mother - daughter bonds and toward multiple syrupy reconciliations, the lack of weight and depth given to everyone besides Amy and Ruth begins taking its toll.

That flatness of thought, its lack of depth, renders the film fairly careless and almost offensive in its depiction of indoctrinated sexual assault.

With more of a sense of nostalgia rather than relevance, the film lacks a compelling narrative, and thus lacks the depth of many of Linklater's recent projects.

Unfortunately, the film is uneven and has not aged well as a result, with Michael Hirst's screenplay a good work, but lacking in some depth and memorable moments.

However, while the six - minute and 40 - second program lacks depth, it nonetheless provides a mildly entertaining look at the film.

Though not without some instances worthy of merit, the film unfortunately feels a bit hollow, lacking in any real emotional depth.

It's the latest effort from Laika studios, whose stop - motion wizardry previously gave us Coraline, and though ParaNorman lacks the psychological depth and sinister ingenuity of that Henry Selick film, it combines genre savviness and supernatural slapstick to mostly pleasing results....

Also, the fact that Elliot only seems to like Allison for her looks leads one to not really care whether or not he ultimately ends up with the woman he so desires, and the ending of the film only confirms this lack of emotional depth.

Unfortunately, this pulpy non-fiction lacks juice and as a result, we get a film with no fun, no humor, no depth, and finally, no point.

Squanto adds more depth to its favorable characters than other films, but the bad characters are noticeably lacking any redeeming values.

For what it's worth as regards The Incredible Hulk, I'll restate the fact that I've never been one to hop on the anti - sequel / anti-remake bandwagon (I'd rather see more double - bills of films like Capote and Infamous than «original» films lacking in soul or depth), and despite his many offenses (most of them relative in my book), nor will I take part in the seemingly mandatory pastime of kicking M. Night Shyamalan when he's down.

That would have stretched out the run time, but I would rather have a longer film than an incomplete one that ends up being shallow and lacking the depth that it should have.

I feel like so many films feature bad guys that lack depth but that isn't the case here.

Elba finds a depth of character not provided on the page of William Nicholson's screenplay, and his maturing characterization allows the film, which suffers from Cliffs Note - idis, a bit of depth it would otherwise lack.

The story is interesting enough but lacked any real depth and I don't really think it merited a film about it, certainly not so soon after the events.

That's not the story being told in this film, and it doesn't really comfortably fit in, but it gives some depth that would otherwise be lacking.

What the film lacks in personality and depth it tries to make up for in references and «easter eggs.»

The themes and settings are classic Williams, almost a pastiche, but the characters lack the full - blooded passion and depth of the great Williams characters and the film compounds the weaknesses with a recreation that feels more affectation than lived life.

Both cuts of the film sadly contain Franco's novice camerawork and total lack of depth in both character and story.