Sentences with phrase «film of sorts from»

Not exact matches

The Son of God thingy has all sorts of modern special effects in the promo, suprising they didn't film in 3D, jesus rising from the tomb right into the theatre.

They would say that John has taken the same sort of spiritual «licence» with the actual events of Jesus, as a consortium of film directors might take with some heroic theme from history, an heroic theme perhaps from the Bible itself.

This approach would call foul on all sorts of things: Moses wielding a sword but not a staff; Moses being chatty but Aaron having almost no lines; Moses killing lots of people and fighting in the Egyptian army; no «staff - to - snake» scene; no repeated utterances of «let my people go»; no «baby Moses in the Nile» scene; and every other deviation the film takes from the narrative in Exodus 1 - 14.

If you've seen any of the trailers for John Krasinski's new horror film A Quiet Place (which he stars in and directed), then you know that the plot revolves around a family that must live in silence to avoid detection from some sort of evil force.

As the headline indicates, this Tweet from @KatelynClontz contains spoilers (sort of) for the film Jurassic World.

In 1999 Alan Moore created The League of Extraordinary Gentlemen which pulled characters from a number of classic (and public domain) novels and placed them together as a sort of super team (this innovative series was scrubbed into an abysmally average 2003 film).

The promo made by the South Korean broadcaster features the likes of Son Heung - Min, Harry Kane, Javier Hernandez and Mauricio Pochettino hilariously superimposed in what looks like a short clip from an old Korean film of sorts.

He identified himself as being from a film company called Rampant Films and Crossroads was sort of a generic science and religion, evolution and creationism looking at the controversy in American society.

As far as Expelled is concerned, none of that exists and although, yes, the film does say that they give themselves, the sort of, the pretense of not blaming Darwin, you get a couple of people including Ben Stein saying «of course no one is saying Darwin cast the Holocaust,» but of course they then make every possible connection they can; and I think it's interesting that if you took out those little excuses that said, «of course no one says Darwin cast the Holocaust,» that is exactly what someone would understand from the film.

The filmmaker's attentive camera and inclination to inactivity without any sort of audience catharsis is a shrewd directorial decision; the film's action comes from extended dialogues that let the performances percolate until they're on the verge of exploding.

Mike White, who scripted biting, edgy satire of this sort («The Good Girl,»» Chuck and Buck») before making his fortune with «School of Rock,» serves up an unsettling and generally deft comedy of manners with this clash, a film that greatly benefits from subtle, stinging performances by Salma Hayek and as her opposite number, John Lithgow.

This is obviously not meant to be an uplifting sort of film, since these people from the cartel are still running around trafficking drugs and bribing agents to help get the drugs in the country easily.

If you've ever taken any sort of film history class, one of the first things you'll hear from your instructor is the importance of watching films within the context of their time.

It's ultimately a misguided comparison, but when Breitbart's film reviewer compared T'Challa to Donald Trump, you could sort of see where the comparison came from.

Critics Consensus: The Santa Clause is utterly undemanding, but it's firmly rooted in the sort of good old - fashioned holiday spirit missing from too many modern yuletide films.

Critic Consensus: The Santa Clause is utterly undemanding, but it's firmly rooted in the sort of good old - fashioned holiday spirit missing from too many modern yuletide films.

It comes from some sort of dinner conference that took place in 1968 prior to the release of the film.

At its heart, Black Panther has a fairly standard comic book sort of story: baddie Ulysses Klaue (a rare live - action Andy Serkis: Star Wars: The Last Jedi, War for the Planet of the Apes), one of the few outsiders who knows the secrets of Wakanda, and who had stolen a small quantity of vibranium decades ago, is up to no good again, with a scary dude nicknamed Killmonger (Michael B. Jordan: Fantastic Four, and both of Coogler's previous films) at his side; they must be stopped by T'Challa, Nakia, and the absolute force of nature General Okoye (Danai Gurira), with an assist from CIA agent Everett K. Ross (Martin Freeman: The Hobbit: The Battle of the Five Armies, Sherlock).

Far be it from me to expect any sort of cerebral experience from a slasher about a doll, but it's evident that a degree of thought DID go into this, which makes its overall failure as a horror film all the more disappointing.

Owned by Starz Media, Anchor Bay released a fairly dismal slate of films in 2011, with only drama Beautiful Boy (sort of an inferior, tamer version of We Need to Talk About Kevin) scoring favorable reviews from critics — and just barely.

Following both as they team up and try to rally enough parents to take over the school and turn things around, the film becomes a sort of mums - on - a-mission movie, with Jamie and Nona leading the fight to free their government - failed children from the tyranny of the teaching unions once and for all.

Instead of honing the film's conflicting impulses and bringing them to a head, tension dissolves when a character unconvincingly disappears for a significant length of time, relieving Muylaert from having to sort out all of the messiness.

As the film jumps from location to location, chyron to chyron, picking up storylines listlessly while letting others lay fallow for a while, out of sight but without any sort of urgency at their displacement, the best moments emerge as those featuring Mark Ruffalo as Bruce Banner / Hulk, conveying an ocean of regret in the delivery of the word «Nat» to his lost love, Black Widow (Scarlett Johansson)-- or those between Paul Bettany's «Vision» and Elizabeth Olsen's «Scarlet Witch,» who share a stolen moment together in Scotland before what they believe will be their deaths.

The film strains credulity even for a vid - game fantasy by letting the leading lady recover awfully quickly from bad injuries, but other than that Vikander commands attention and is the element here that makes Tomb Raider sort of watchable.»

And even if Cuaron had wanted to, Columbus had installed himself as a producer on «Azkaban» with a particular goal in mind: «I wanted to make sure that the film didn't stray too far from the world the audience and the fans have sort of fallen in love with over the course of the first two movies,» he told The Times» John Horn last year.

Yet his comeback «Dead Man's Shoes», with its combination of small - town retribution and the supernatural, is far more successful in importing the oater sensibilities of «High Plains Drifter» to the West Country, while bringing back from the dead the sort of hardman grittiness not seen since such seventies classics as «Get Carter», «Straw Dogs» and the «Death Wish» films.

The film is riddled with pitfalls from the start: the potential for maudlin excess, the trap of over-writing, and the allure of some sort of overriding message for humanity.

Whereas the sequence in KINGSMAN 2 where * SPOILER ALERT * Cara Delevingne's sister has to get fingered * END SPOILER * seemed like it was knowingly pushing the audience's buttons, sort of like «oh, you didn't like the gag from the first film?

Peary builds his film as a sort of history lesson on the rise and development of film criticism from the early days prior to the release of The Birth of a Nation, the Sarris / Kael war, to Bowsley Crowther's 27 - year reign as top critic at The New York Times and even touching a little on the New World of the internet where everyone has the potential to be a critic.

There isn't one cheesy line to be found in this movie, which seems to be like some sort of miracle for a film adapted from young adult literature.

Sure, the monsters from two venerable franchises meet and fight, and the film even concludes with a winner of sorts.

The simplest way to keep a film from looking like a collossal failure is to be honest about what sort of film it is, and give it a budget that makes sense.

Joining Croft in the last third of the film is Kosa (Djimon Hounsou), an African tribesman, who, like all movie tribesmen, can instantly and conveniently speak all local languages, saving Croft from all sorts of mischief.

Loosely adapted from a Neil Gaiman short story (and co-starring Nicole Kidman as a punk queen impresario called Boadicea), the film revels in its own shambolic style, turning the England of 1977 into a sort of queer - friendly fringe musical fantasia where anything goes.

With a bold leading turn from Saoirse Ronan, and an internalized masterclass of a performance from the often underappreciated Laurie Metcalf, Lady Bird is an honest comment on strained mother - daughter relationships, functioning as a sort - of companion piece to last year's best coming - of - age film, The Edge of Seventeen.

Fusing fancy dress, Caribbean carnivals and Kierkegaard in a dizzy kaleidoscope of sounds and images, The Reflektor Tapes is exactly the sort of concert film youd expect from alt - rockers Arcade Fire.

And while the film is sort of about this war of ideas, propaganda, information from these citizen journalists and ISIS» slick propaganda, it's also a story of immigrants, an exodus story, of Man's understanding, coming to terms, and dealing with the cumulative effects of trauma... also, rising nationalism both in Germany and around the world.

I originally knew that I wanted the through line of the film to sort of be their exodus from Syria after they started to expose ISIS and [the group] actually began to target them and kill them one by one.

Naked is a very inconsistent film with dumb plot points and an incredibly predictable conclusion, which sort of takes away from the comedy that does work, but I'm not going to be too picky about a film like this.

Glastonbury (15) Running time: 135 min *** Julian Temple's loving documentary may at first appear to be aimed at the sort of music fan who prefers Glasto streamed live to their TV.But this collection of archive and commissioned footage from 36 years of England's greatest music festival is likely to appeal more to diehard fans than non-festival-goers, since it revels in precisely the eccentricities that makes the armchair people dive for cover.Most of this film is a structureless, rambling celebration of Glastonbury's boozy, hedonistic, liberated, political and frequently bonkers character rather than of the actual music: great if you were at the party, presumably less great if you weren't.

It's interesting to see a film about a space alien that doesn't resemble anything we've ever seen before, as most others have some sort of humanoid appearance, (or reptilian, etc.) Indeed, it's a much more plausible depiction of an alien threat than most other sci - fi efforts have featured, almost the opposite in terms of story as The War of the Worlds which featured aliens defeated from exposures to germs and viruses of our own.

The latest venture from Andy and Lana Wachowski's looks a lot better from a trailer point of view as a high concept sci - fi event movie, instead of positioning the film as a sort of space adventure love story.

«And I think a true, true devotion to cinema from the least - known B - pictures and C - pictures to the most well - known films, that sort of dedication to studying and understanding it all is really, really rare and it's really a privilege to be around.»

A genre movie from this director will certainly be a sugar - rush beginning to the festival, although perhaps he will turn out to be too subtlea film - maker to handle this sort of material.

Obviously he's the sort of auteur - in - making, and I knew he was the guy that was going to elevate this film away from the potential pitfalls.

The film serves as a middling rumination on the state of the avant - garde and the deep wish of everyone, from the commercial to the fringe, to find some sort of affirmation.

Indeed, Leigh's own capsule description of his film, published in the Cannes film festival catalog, sounds like the sort of thing Jack Valenti might have come up with for an after - dinner speech: «Secrets and Lies is about roots and identity, the ever - changing images we all have of ourselves and each other, and our compulsive need to reaffirm constantly who and what we are, and where we come from.

Early synopses (which include a talking dog, of sorts) suggest that the film might be more accessible than anything we've seen from the filmmaker in a while, as does the fact that Fox have picked up the U.S. rights to the film.

It's been in a sort of dispute with Cannes over the festival's decision to disqualify films that don't receive theatrical releases from its vaunted Competition; last year Netflix had two movies in Competition: Noah Baumbach's «The Meyerowitz Stories (New and Selected)» and Bong Joon - ho's «Okja.»

It's a little reactionary in a kind of «Forrest Gump» - y sort of way — the moral runs that it's better to be decent than brilliant, happy than successful — but the film is well - meaning and the performances from a stellar cast (Joe Mantegna, Ben Kingsley's accent, Laurence Fishburne, Joan Allen, Laura Linney, William H Macy all show up) mostly walk the right side of mawkishness.