Sentences with phrase «film of this ilk»

It's hard to think of many other films of this ilk with characters, dialogue and detail this complex, which is probably why it gets exponentially better on every viewing.

Even if the characters don't always seem anything more than puppets at the hands of a storyteller, the bits of human insight underneath provides more than enough food for thought than most films of this ilk allow, and even some moments of bittersweet, and even comical, irony.

The movie thus moves from truly creepy to truly inane, which is, unfortunately, all too common in films of this ilk.

It's hard to separate a sequel from its original counterpart, especially with a movie like The Conjuring, which is quite simply one of the very best haunted house movies ever — not only that, but it pretty much set the bar for all future films of its ilk; that's a hell of an accomplishment, to say the least.

Twitch's Kwenton Bellette recommended to «See Berberian Sound Studio immediately; I have not been this excited for a mind - bending puzzle film of this ilk since Mulholland Drive, an absolutely dark treat for the unchallenged mind and a terrifying technical achievement.»

See Berberian Sound Studio immediately, I have not been this excited for a mind - bending puzzle film of this ilk since Mulholland Drive, an absolutely dark treat for the unchallenged mind and a terrifying technical achievement.

The less you know, the better, but suffice it to say that you'll be thrilled and entertained like few films of this ilk are able to pull off.

So, on paper, Man on Fire has the makings of a really good action film with the sweet - sour balance that makes all action films of this ilk such fun: a sickly sweet first half, where hard bastard gets softened up by adorable little person, and a sour second half where said hard bastard ruthlessly dispatches villains in some cracking action set pieces as the body parts and quips start flying about in equal measure.

This writer is not usually a fan of films of this ilk, but thankfully TWO NIGHT STAND is harmless and actually rather charming.

But much like Babe or even the Shiloh films, a decently made film of this ilk will surprise grown - ups in how successfully they can transfix their target audience.

There's a sense of glee even when things are pretty dire on the battlefront, and that's better than sullen or dreary as sometimes befalls films of this ilk.

While the ingredients are there for this game to be a memorable one, I'm afraid this latest film about Turing fails its own test, feeling robotic and wooden, and free from the humanity and complexity that great films of this ilk can bring to audiences.

Judging from past films of this ilk and what we're expecting from the trailer, it seems that this is a nonstop adrenaline rush of intensity and nail biting.

Standing in the shadows of other supernatural horror films of this ilk, «Winchester» is a creaky misfire with little going for it beyond window dressing.

Lone Star provides food for thought, and while it may lack the emotional impact that most films of its ilk delivers, it's still very smart with lots of heart.

The subject matter is darker than other similar films of its ilk, dealing with gang rapes, strangulation and kinky sexual acts that seem placed in the film in ways that titillate rather than educate.

There is the element of power and control which appears in other fantasy films of this ilk, but also a question of the ethics of its use.

As with other films of its ilk, there's probably an underlying message to be found on violence, religion, and society, but Miike isn't really interested in delving into any of that.

Like many films of this ilk, the characters and stories are interconnected.

It's hard to separate a sequel from its original counterpart, especially with a movie like The Conjuring, which is quite simply one of the very best haunted house movies ever — not only that, but it pretty much set the bar for all future films of its ilk; that's a hell of an accomplishment, to say the -LSB-...]

And something else that Halloween does that too few films of its ilk have managed is to leave us all uncomfortably questioning the thin filament intervening fact and fiction, tangibility and nightmare, as well as the texture and verisimilitude of evil.

This is also down to a strong set of performers and while it's rare to see an all - female ensemble in a film of this ilk, Garland has little time for gender, imagining a future where such distinctions don't warrant recognition.

As in so many films of its ilk, we observe as the improbable wads of cash are amassed and then, at the point where things just get a little too loco, everything goes to shit.

It delivers exactly the sort of cinema experience that it promises to deliver with more integrity and a little more substance than many other films of its ilk.

Kosinski's leisurely pacing, often setting up a hangout environment similar to those in the more laidback work of Hawks and Richard Linklater, gives Only the Brave a raw authenticity that's often overshadowed by melodramatic flourishes or superhuman heroics in other films of its ilk.

Not that the film doesn't revel in cheesiness, but compared to other films of its ilk, it manages to at least avoid drowning in the cheese.

Most films of its ilk would establish the third wheel character of the current husband as a lout deserving of a break - up, and while Ira is certainly a cad, Simon wisely never paints the character in a negative light, creating some interesting conflicts in the dynamic of the newly reunited partners in crime.

Just as other films of its ilk (The Phantom, The Shadow), the updating of the material involves keeping the core of what makes the Green Hornet the Green Hornet, while stuffing it into a modern - day action and comedy style.

Although it is a short 85 minutes, it is padded much more than other films of its ilk, with scenes that are either needless or carry on way too long.

It doesn't hurt, either, that scripters Christopher Markus and Stephen McFeely place an ongoing emphasis on the romance between Rogers and a British officer (Hayley Atwell's Peggy Carter), with the palpable chemistry between the two ensuring that Captain America: The First Avenger boasts an emotional resonance that's far from the norm with films of this ilk.

Despite its interesting macro approach compared to other films of its ilk, it's far less successful on a micro level.

It also features un-typically good roles for the parents, who aren't painted as shallow or uncaring as other films of this ilk, with Masur and Kane (The Princess Bride, Annie Hall) also getting their share of laughs in trying to keep their motley club of children from going too far, though unsuccessfully.