Sentences with phrase «film over some of the other»

Not exact matches

The New York Times reported Friday that the already partially - filmed documentary hit a roadblock when the former president insisted on having approval over interview questions and other aspects of the film.

In other words, you don't necessarily need to fret over your lack of a film degree.

Those 10 years were laced with so many failures: quitting many times over, re-writing the edits of my re-write, working back in a cubicle, working back at the dream, trying to live in a retirement home to film a documentary, relationship debacles, a fire that almost burnt down my house and every other twist and turn of «God, where are you in this?»

Awakens is a film of prodigals; over the course of the film some return home, some start that long trudge back to open arms while others turn their back on that welcoming embrace.

«s internal debate over this sets up a fascinating conversation about the balance between personal ambition and responsibility to others that I don't believe a lot of parents will see coming after watching the film with their children.

Coco «s internal debate over this sets up a fascinating conversation about the balance between personal ambition and responsibility to others that I don't believe a lot of parents will see coming after watching the film with their children.

The fans have been divided over the protests, and there were even crowds of supporters fighting with each other after the draw with Manchester City last weekend, which is believed to have been in order to disrupt Arsenal Fan TV's attempt to interview people for their YouTube channel, whilst three people were also filmed fighting inside the stadium during half - time, whilst we were trailing 2 - 1 to Man City before coming back to draw the match.

Guys have too much on the line to just roll over and play dead, not the least of which is making sure they aren't putting bullshit on film for other prospective employers to see should their current team use that high draft pick the following spring to replace them.

The film itself is a bit scattered — in trying to cover so much ground, it sometimes feels as though the story itself is all over the place, and some of the points it makes (like the societal pressure on men to eat meat as a reflection of their manhood) are much stronger than others.

The above films and many other examples of media coverage over the years have come about because the boycott campaign puts Nestlé in the spotlight.

Eileen Hickey, 72 — whose artwork has appeared in «Eat Pray Love» and other films — was first sued by the owner of 460 Greenwich St. in 2014 over illegal sublets in her rent - stabilized home of 43 years.

Help may be on the way for those suffering from these or other ocular ailments in the form of a contact lens that sandwiches medicine between two layers of polymer film and administers large doses of medication at constant rates over extended periods.

Over four years, Max Allen at the University of Wisconsin at Madison filmed 26 puma visiting sites known as community scrapes, where males leave scent «signposts» to communicate with others.

Using the European XFEL's brilliant X-ray radiation, physicists, chemists, biologists, and other scientists from all over the world will be able to map the atomic details of viruses, decipher the molecular composition of cells, take three - dimensional images of the nanoworld, film chemical reactions, study processes such as those occurring deep inside planets, and more.

The «Batman» television show (1966 - 1968) cast a long, pop art - infused, camp shadow over the property and, after the big budget failures of a series of superhero films in the 1980s (some more campy than others) such as Howard the Duck (1986), WB apparently had cold feet.

David Gelb's new film is so dependent on the classic standbys of the genre, and so slight in every other regard, that it immediately draws attention to just how creaky they've gotten over the years

Having seen nearly every computer - animated film made, I would rank Shrek and Shrek 2 near the top of the second tier, just below the fine films of Pixar and on par with DreamWorks» other successes (like Antz, Over the Hedge).

You also need to be careful that your overly negative tone doesn't bleed over into other technical aspects of the film.

This wry, wonderfully detailed film catches the enormous imbalance of a morose teen with no life experience other than the thousands of fictional and pop - culture references that fill his head and his room: A sketch of Woody Allen's head hangs over Oliver's bed.

One of the most annoying aspects of the film is the way that the characters frequently talk over each other without adding anything constructive to the plot or a particular conversation.

Over the past few years, we've seen many strong non-fiction films that are either one or the other: The you - are - there doc Restrepo and its sequel, Korengal, are like visual journalism, embedded in a disputed valley in Afghanistan; and a number of other non-fiction films, from These Birds Walk to 12 O» Clock Boys, have an ecstatic beauty that evoke the term «Malick-esque.»

However, many other films of varying quality were made using the «Django» moniker over the years, and Tarantino's appropriation of the brand smartly capitalizes on its malleability by turning western mythology inside out.

However, despite releasing more films than any other major studio, Lionsgate earned the bulk of that money from just one title: The Hunger Games: Catching Fire, which has collected over $ 850 million to date.

The lead actors fought to maintain their characters» drive to maintain their passion during times of glossed over turmoil, but the continued lack of emotional connection to each other and the scantily adapted source material made the final film installment feel anti-climatic.

Its actors, its costume design, its music, and countless other facets of the film are drawn from all over the continent and its diaspora, in a science - fiction celebration of the imaginary country of Wakanda, a high - tech utopia that is a fictive manifestation of African potential unfettered by slavery and colonialism.

The film immediately begins with German bookseller Wilfried Böse (Daniel Brühl) and fellow Revolutionary Cells member Brigitte Kuhn (Rosamund Pike) taking over a plane traveling from Tel Aviv to Paris (by way of Athens), alongside two Palestinian terrorists, with the intention of securing the release for over 50 Palestinian «freedom fighters» locked up in Israel and four other countries.

The film's single downside is a certain nagging sense of deja vu: the fact that so many of the elements of the story — the dark force, the all - empowering object, etc. — have been usurped over the years (by «Star Wars» and others) that you feel as if you've been down this road many, many times before.

They go about it in a civil war over ideals (the ideals can be contrasted in both of the other films like when Optimus faces Megatron in the 1st film, a clash of ideals as the Autobots are persecuted by the humans and the Decepticons).

Like in «M * A * S * H» and his later films, Altman creates a startling sense of reality by having the actors talk over each other's lines.

I found this film to be one of the better reconstructions of the trials, one that felt more subtle than other films, which for me anyway, felt less over dramatic, which is necessary in order to make a great film.

From 1928 through 1931, Graves was co-starred with Jack Holt in a group of rugged Capra - directed adventure films, in which the two stars were usually at each other's throats over a pretty girl.

Over the Top is pretty much like all of the other successful Stallone films, which probably means that it will be a success, too.

That losing streak is almost certain to be ended in February, this film and this year being the obvious vessels to recognize not just a fearless, committed, and physical performance full of snot and beard but a body of work over the past quarter - century seemingly unrivaled by any other actor.

After the thrill of the chase, the lookalike's escape, and the disappointment of missing the reward, the film ends optimistically with a long shot, lasting over half a minute, of all the boys and other people in the background.

Maybe not ALL his films are hits, but pretty much all of them have some sort of cult following (The Mariachi trilogy, Spy Kids, Sin City, Machete, Dusk Till Dawn, Planet Terror)... and I'll take him over Michael Bay or any other cookie cutter director.

And now you can get a look at the film that clocks in at over three hours long as the first US trailer has arrived showcasing the story of a small hotel owner, his wife (and her sister) who are at odds with each other as the winter weather becomes more fierce, forcing everyone into an inescapable, tense environment from which they can't leave as long as the snow keeps up.

Zachary Lewis and Michael Sicinski over at To Be (Cont'd) try to work that out in the first part of a four - part conversation on the subject, with Lewis starting by discussing the films of Bela Tarr, Hsiao - hsien Hou, and Andy Warhol, among others.

It is a frustrating film in the way of many parallel narratives in which one storyline clearly elevates itself over the other, rendering the unavoidable return of the inferior to centre stage an event to be dreaded.

After the excitement of David Arnold's three scores for Emmerich and then the brief diversion to the great John Williams on The Patriot, the change in musical approach since Kloser (later joined by Wander) took over is so extreme, it doesn't really make sense — it's hard to talk about any of the previous four Kloser / Wander scores for Emmerich without repeatedly using the word «bland» — I've just never been able to reconcile the outlandish extravagance of every other aspect of the films with the understated timidity of their scores, which seem to serve no purpose whatsoever.

It's a film about texture, rubbing and poking its fingers in and around the nooks and crannies of Saint Laurent's life that the other film brushed over in one fell swoop.

He continues to perform at a high level, and he's forged a partnership with Villeneuve over the course of three films now («Prisoners» and «Sicario» being the others) that makes for one of the great visual signatures in modern cinema.

Yet, rather than privileging one over the other, I suggest that the value of these films lies in their agnosticism, in their implicit questioning of both linear narrative and the non-linear forms that would seek to displace it.

I guess another characteristic which unites them over some of the earlier films would be their tendency to focus on the slackers and other more subdued outcasts from society.

Compounding the problem are the slow push - ins and pull - outs and willy - nilly insertions of scenes from the film that sometimes complement the pullquotes but at other times (as in an early insert of the «surprise» flashback over Perkins's difficult admission that her ex-husband's stepfather used to hide in closets to scare him) minimizes Thom's abuse and exposes the relative silliness of the film at the same time.

Chile hasn't made a ton of waves on America shores over the years other than the films of Pablo Larraín like Neruda and No, the latter an Oscar nominee.

At times, the film is so raw and real that one wants to pause and call Child Protective Services, however, there is even empathy for trashy, tattooed mom Halley (Bria Vinaite) who might smoke in front of impressionable daughter Moonee (Brooklyn Kimberly Prince), among other awful things, but will do anything to keep a roof over her head and food in her stomach.

Another reporter asked Kaufman if he thought this film would have broader appeal, and she suggests that his other films went over the heads of most moviegoers.

Selected from a pool of over 250 applicants, the ten chosen films - nearly all from female filmmakers - represent a wide range of talents and tackle tough and often under - reported issues of poverty, oppression, abuse and disability, among other topics.

In an interview, Gabriel Byrne revealed that he and others on the set of the film were not initially aware of the situation, but slowly came to realize what had occurred over the years.

Although Dillon was already an established star by the time he made this film, having also appeared in such movies as «Over the Edge,» «My Bodyguard» and the S.E. Hinton adaptation «Tex,» «Rumble Fish» was perhaps the first that really showed off his considerable strengths as an actor in the way that he captures all the furtive, headlong energy and emotional turmoil of Rusty as he struggles to find his place in the world without simply giving audiences the James Dean impression that others might have supplied.