Sentences with phrase «film loses its sense»

Not exact matches

This polemic against the American healthcare system benefited from a far more focused approach than his previous films, which covered so much ground they sometimes lost any sense of narrative or coherence.

But even in this film, the hero loses a sense of his own identity, something that happens very rarely in real life.

But though his film assignments were fewer and farther between in the 1940s and 1950s, and serious illness began eroding his physical strength, Caesar never lost his sense of humor.

Maybe the most surprising element of Cobra Kai is how funny it is without losing the original film's sense of heart.

But what makes Haneke's film so intensely moving is the sense she provides of the character's remarkable mind and strength of character, making us grieve for what's gradually lost.

The film's unusual sense of Midwestern ennui may have been lost on some audiences, but it's the element that makes Napoleon Dynamite more than just a Comedy Central weekend afternoon feature.

That said, the film begins to lose its sense of fun with a romance that doesn't seem very authentic from a 14 - year - old's point of view.

Transfixing images accumulate as we get gently dragged deeper into Drift — and that's before the film's turning point, when the soundscape slowly slips from the diegetic into electronic abstraction and the sea wrests control of the helm and we really start to lose our sense of time and space.

Neither film is lost in a literal, vanished - and - gone sense — both are available on video, are occasionally screened in theaters, and are highly regarded by film critics (four stars apiece in Leonard Maltin's Movie & Video Guide, for example).

But behind the gathering storm is the sense of humanity being lost, a tragedy in three acts, the vanishing connection tethering two men to society; perhaps it plays like a horror film because it's almost like a vampire picture without vampires.

Ketchum and O'Rourke come off as goons for being impressed by this, particularly when O'Rourke follows up her observation by comparing The Lost to The Sixth Sense (which she says was directed by «that guy whose last name everybody always mispronounces») as one of those films where you pick up stuff that the filmmaker has hidden in plain sight the second and third time you see it.

In a nutshell, I'd say that director Amy Berg tells the story of three murdered kids (and the teens accused of ritually mutilating them) more cleanly than the Paradise Losts, but without the sense of character or place that made the first Berlinger / Sinofsky film in particular such a landmark documentary.

But even as the revelations pile up and the screws tighten and you start to sense that terror and violence are inevitable, the movie never loses grip on what it's about; this is a rare commercial film in which every scene, sequence, composition and line deepens the screenplay's themes — which means that when the bloody ending arrives, it seems less predictable than inevitable and right, as in myths, legends and Bible stories.

Although this isn't a serious film, it bounces off serious coming - of - age issues (like losing your virginity, the perfect analog to the vampire mythos) in ways that make sense and add to the gathering doom that ties all the tautly - paced, beautifully - staged set - pieces together.

When one character gets killed, the film never fully recovers and loses all sense of hope.

The film explores the theory that astronauts who spend long periods of time in space lose their sense of reality when they come back home.

To gauge a sense of Kael's influence: her first book, I Lost It at the Movies, sold around 150,000 copies, an unimaginable success for a work of film criticism.

The film follows Hader as Georg, who goes bonkers and starts wandering around Vienna trying to make sense of his life after losing the job that kept him focused for so long.

As brutally violent as the film gets, Saulnier never loses his grip on its sense of levity, making Green Room a prime candidate for fans of midnight movies.

There is always this sense of loss throughout the film, especially with Bale's character, and it shows wonderfully and very dramatically what happens when someone feels they have nothing left to lose.

He used to be known for edgy 90's romantic comedies like Pretty Woman or The Other Sister, but 81 - year - old Marshall has lost all sense of what makes a good film.

It means that much of the film will make no sense at all if you haven't recently read the novel — and even then you'll be lost some of the time.

Other extras include audio commentaries on their respective films by The Abominable Dr. Phibes director Robert Fuest and Witchfinder General producer Philip Waddilove and co-star Ian Ogilvy; an hour - long interview with Price that was conducted in 1987; a rare prologue for The Pit and the Pendulum that makes no sense in the context of the film (is there also a long - lost epilogue that ties it all together?)

It is disheartening that the films I grew up with that made tons of money (Star Wars, Raiders of the Lost Ark, E.T.) were entertaining and strove to fill you with a sense of wonder.

The films he made between these animated efforts — Moonrise Kingdom (2012) and The Grand Budapest Hotel (2014)-- were among his better works, as the former evinced a real sense of poignant feeling that sometimes gets lost in his penchant for irony and pastiche, while the latter was a marvelous screwball farce with a fantastic central performance by Ralph Fiennes.

his clearest take on the mid-life crisis age of Generation X. Much of the conflict of the film comes from the sense that they are somewhat of a lost generation, sandwiched between the can - do hard working Baby Boomer attitude of those who came before (Grodin's character) and the less traditionalist, blunter millennial hipster culture (Driver's character).

For the most part, Baubach has aged alongside his protagonists, making While We're Young his clearest take on the mid-life crisis age of Generation X. Much of the conflict of the film comes from the sense that they are somewhat of a lost generation, sandwiched between the can - do hard working Baby Boomer attitude of those who came before (Grodin's character) and the less traditionalist, blunter millennial hipster culture (Driver's character).

Everyone Else writer - director Maren Ade is underway on Toni Erdmann, another film about a strained relationship, this time focusing on woman whose father believes she has lost her sense of humor and proceeds to bombard her with jokes... John Travolta and Ethan Hawke will team with Ti West on In a Valley of Violence, «a revenge Western film set in the 1890s.»

There was a feeling that the film — I realised as events were unfolding — had a slightly prescient sense of what can go so very, very wrong when people lose touch with their principles.»

The lack of focus by director Paul McGuigan (Gangster No. 1, The Acid House) causes the film to meander, losing any sense of drama and tension that was intended.

Director Pollack (Tootsie, The Firm) gets the story, but at the same time, big name stars and corny comedy do impede the overall message, and whatever sense of weight the film might have had is mostly lost behind predictable romance and silly car chases.

There is a palpable sense, especially in British film circles, that the trademarks of Roeg's best work — the intricate use of flashback, the unapologetic use of jump cuts and zooms, the far - flung settings, and the obsessive characters — have lost their power to astonish and have shown distinct signs of self - parody.

Just as her film's protagonist literally loses his hand, he loses what connection he had to the socially - imposed prison of an assumed identity, mistaken for his sense of personal purpose.

Both are extremely different films in tone and material, but both have a unique sense of flow and free - ness to their use of editing and structuring that's easy to get lost in.

The film might lose that sense of immediacy, but it's still more or less a successful tale of trial by fire and survival by resourcefulness.

Spoiler - heavy trailers tend to put me off watching movies altogether because they lose some of their magic, they lose that wonderful sense of discovery, and so I'll usually just get the film later when it arrives on Blu - ray and the price drops a bit and I've forgotten some of the details.