Sentences with phrase «film moments feel»

But even the tensest late - film moments feel staged, even borrowed.

Not exact matches

Soderbergh was very open about feeling that he had lost the plot with those films, but they're still highly fascinating documents of a frustrating moment in global politics, featuring a stellar performance by Benicio Del Toro.

Beneath the otherwise hackneyed moral parallels of También la Lluvia, the courageous words of Montesino uneasily occupy the dramatic summit: that moment when the Spanish colonists (and their foils, the Spanish film cast) have to choose whether they will feel, or numb themselves to, the plight of the indigenous.

When the film premiered in Boston in 1984, Chasnoff recalls in the DVD interview, «It was one of those moments where you felt like something major just shifted in the world.»

It's one of the most intense moments in the film, and will stir up feelings for anyone who understands what it's like to feel threatened for simply asking for your fair share of respect.

There are moments where Django Unchained feels like Quentin Tarantino's take on Blazing Saddles, for example, particularly a sequence involving the KKK that plays far funnier than the rest of the tone of the film.

Also, the way in which the film goes from serious tones to tongue in cheek moments is not really handled well either — from the knife wielding belly dancer to one of Samuel L. Jackson's trademark monologue, it feels rather forced at times.

It's clear almost immediately that filmmaker Shawn Levy just doesn't have the right sensibility for this material, as the director, known for his fluffy, decidedly comedic offerings, has infused This Is Where I Leave You with a terminally lightweight feel that grows more and more problematic as time progresses - as the absence of authentically heartfelt moments ultimately proves disastrous (ie the film possesses the feel of a glorified sitcom, for the most part).

(The film's staff - meeting sequences are an especially apt example of this, as such moments boast a lived - in, fly - on - the - wall feel that's nothing short of mesmerizing.)

Manages to deliver a decent film with some strong scares, yet certain moments will feel like a haunted trip you've already taken one too many times before.

Everything about this film moves at a very solid pace and you feel like it is giving you a slice of life at this moment in their lives.

I also found the finale a little underwhelming, with the rest of the film feeling so narratively tight and full of ideas, the final moments appear a little unfocused and somewhat emotionally soppy.

Similarly, the idea of a potential rebirth sees Noxon leave the almost documentary - like reality of the rest of the film behind for a moment, but this major tonal shift would've felt more organic and tethered to Ellen's whole journey if it had been more clearly foreshadowed.

In a less well - written film, Cody and Reitman could have lost their way with the path the film takes, and while it feels like a bit of a jarring bait and switch in the moment, it never cheapens anything.

Yet in the moment I deliver that unstinting endorsement, I feel compelled to add that this is a very special film for a certain, inevitably rather limited audience.

And in looking further, the recent interviews have a sort of washed out feeling to them, the news video looks appropriated aged, but the in the moment film looks fine.

It's a stirring sequence that's heightened by Holbrook's engaging, downright poignant performance, with the film's compulsively watchable atmosphere perpetuated by the initial scenes set within the past - as Lawrence does a nice job of infusing such moments with a melodramatic and suitably old - fashioned feel that proves impossible to resist.

I wonder how people will feel about the final moment of the film.

While there are moments of humour, the film doesn't take the characters forward from where we left them in Shrek 2, feeling more like the next instalment of an episodic TV series than a genuinely worthwhile sequel.

These moments feel gratuitous and doesn't work as well as they should; I'd have preferred the film to wrap up earlier and not show us what we know will happen anyway.

This isn't an ugly film by any stretch, but there's a bootlegged vibe to it, and even the best moments feel like they've been photocopied from a true original.

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.

A decent little romantic film, although labeled a Rom - com most of the time it feels more of a drama with a lot of light hearted moments than truly laugh out loud scenes.

Gone Girl is not Fincher's best film, nor is it the most conventionally satisfying of them, but it feels like this is a movie that represents the very best that Hollywood craft can offer at the moment.

Though it presents a captivating look at the nuts and bolts of high - stakes politicking, it suffers in such inevitable comparisons, in part because Roach's direction is so stifling that the film feels small at the very moments it should be grand.

A handful of the Marvel movies have been quite good but «Black Panther» is the first one that feels like a passion project; it can be felt in just about every moment of the film.

The inclusion of several extraordinarily melodramatic sequences within the film's second act only cements this feeling, to the extent that one can't help but wish that such moments had been excised from the final product.

Cinematographer Lachlan Milne's sweeping, colorful panoramas and a chapter - based narrative structure gives Hunt for the Wilderpeople the feel of a storybook fable, but thanks to the warm - hearted dynamic between Ricky and Hec, even the film's most whimsical moments carry a sense of real underlying pain: Both of these characters are outsiders ultimately looking for a home to call their own.

Beautifully shot, like Rohrwacher's other features, on Super-16, this film, with its richly textured images, does indeed feel at times like a retrieved and rather miraculous relic from a lost era of cinema, which is not to say that it isn't of its own moment.

With excellent performances by the actors really making you feel even more connected with them, great diversity in planets and enviroments, and memorable moments teeming in all over the film, there's a reason

There are moments where he captures true instants between the men but at the same time the film feels a bit claustrophobic.

The film is at its best when it drops its focus from action beats, superb though they may be, and redirects itself towards quieter moments of clandestine favors and conversations between old contacts: of Zharkov and Cross drinking together and discussing the merits of Communism; of Zharkov's heart - felt talk with an Austrian contact whom he rescued decades ago from a Nazi concentration camp; of Cross and Scorpio confronting each other first in a midnight botanical gardens and then in a shadowy parking garage.

If there is a more deeply felt moment in film history than Ledger gently adjusting Gyllenhall's shirt at the end of the film, his eyes filled with tears, I don't know what it is.

Last Flag Flying may feel like a film out of time in the present moment, but it's a terrifically funny, deeply moving picture whose time will surely come.

Though much of the film finds them in a state of disconnect — they communicate with each other through a very clinical intercom system in the house — we get these small moments of levity that make their relationship feel very lived in despite their tensions.

Often moments freeze in time, as if the characters were posing for an unseen painter — the whole film feels as if Derek Jarman and Peter Greenaway had raised a demented child together.

Nichols isn't a director who tends to indulge in grand, melodramatic moments; even Midnight Special feels restrained compared to the Amblin films that obviously inspired it.

This is a remarkable, triumphant, and confident picture by Aster, who gives the film an almost meditative - like sensation, as you feel every space you're in, every emotion, every moment of grief.

It has become a horribly familiar feeling: watching a film starring an actor who died during production, and waiting for the moment when their absence is felt.

There have been moments to love from «The Royal Tenenbaums» to «The Darjeeling Limited,» but it felt like the emotion became more and more dishonest, and the worlds more and more airless over time, to the extent that «Darjeeling» and its eye - rolling baggage metaphor felt like a parody of an Anderson film.

It's a pity, because for all the wonderful moments of the film, it never feels truly menacing — I never believed that it would be a fable that ended in a moral, hard - won, rather than a fairytale with a happily ever after.

Only when Huppert is onscreen does the film feel it could detonate at any moment.

There are violent moments sprinkled throughout the film that should satisfy del Toro's horror crowd, but the movie's tone never feels like one genre or another.

When the film name - checks «Wedding Crashers,» it feels like a needless reminder that Vince Vaughn is a spokesman for a bygone cultural moment.

The Way Way Back may occasionally waver in terms of credibility and originality, but that doesn't stop it from being a modest crowd - pleasing film for those viewers just looking for some quality laughs and bittersweet, heart - felt moments of people who find their own path, however awkwardly, that resonate.

There are moments when the film sinks into melodrama, and some scenes feel unnecessary to the story, but it's a captivating glimpse into a world few of us witness.

But there are fleeting moments when you do feel absorbed in Saint Laurent's psyche, and in these moments the film is one hell of a drug.

Yes it's has its moments, but all in all, the film feels like more of a novelty than anything else.

The comedic moments feel like something that was extracted from an Alexander Payne film, even having Lonergan step into the film as a performer.

The early parts of the film, getting the audience acquainted with Wilson's particularly colorful personality, contains some generally bizarre and funny moments that feel right out of a SNL skit.