Sentences with phrase «film scene seems»

Not exact matches

The film, Scene's from a Marriage, leaves unexamined the questions of how to redeem community in the larger society; it seems to have gone irrevocably to the devil as it has become technically more nearly perfect.

Although at times Scenes seems to be administering the physic of the consciousness movement in rather heavy doses, the film is too complex to be dismissed as a celebration of «How to Save Your Own Life» in the mode of Erica Jong, Jerry Rubin or Gail Sheehy.

While the film makes the point that the children are exposed to advertising, the scenes of these families seem to say that working - class people just can't make good food choices or get exercise.

We're not exactly sure what the former reality television star has been up to lately, as her career seems to be at a standstill since her last web series in 2011, «Dream Maker», save for filming some scenes in «Scary Movie 5» that didn't quite make it to the final cut.

He builds tension and allows for a number of wild scenes to seem organic and focused within the world of the film.

Corbijn isn't making a stereotypical Hollywood thriller, with the stakes spelled out in neon and the loud fight scenes spaced every few minutes, but he doesn't seem to realize there is such a thing as being too vague, and in his efforts to make some kind of art - house / thriller hybrid, he goes too far the other direction and creates a nicely rendered film with no emotional hook.

The characters are readymade jokes unto themselves, and the plots unfolding around them seem like little more than scenes found on the film's cutting room floor.

In one of the film's most poignant scenes, the pregnant Theresa, who still has a soft spot for Tommy, replays home videos of a raucous Christmas gathering at which Tommy and Rob engaged in some friendly roughhousing that in retrospect seems ominous.

Trainwreck - bad movie enthusiasts will be disappointed to find a film largely defined by its lack of energy, in which every scene seems to be stalling for time.

Scenes are often lengthy and over indulgent and the film seems to have ambitions above, what is essentially, a small romantic storyline.

The film opens with the obligatory but mercifully brief happy family scenes where Pitt's character, Gerry Lane, is established as a stay - at - home Philadelphia dad who doesn't seem to do anything more strenuous than make pancakes for breakfast.

The film is hardly flawless - even the pie - baking scenes sometimes seem half - baked - but it's hard not to read promise into every frame, and to wonder what Shelly might have cooked up in the future.

A seeming digression, it produces some of the film's most affecting, darkly humorous scenes.

The film's disappointments lie not so much in Almodovar's controlled, respectful direction as in the strange gaps and displacements of his screenplay, which never seems to supply the scenes we most want to see.

In the film's final act, the screenplay serves them up what might otherwise be a moment of real conflict, but Roth's direction seems so blithely uninterested in anything but eagerly justifying Willis» violently sadistic rampages that the scene plays as limp and useless as a vestigial tail.

Even the reason for a potential romance seems a forced attempt to humanize the queen; her desire for Raleigh is intercut with scenes from the first film showing her a happy, naïve girl.

There's a scene in Bryan Bertino's film «The Strangers» that handily encapsulates the film's nervy brand of terror, one so good and simple that it served as the film's poster image when the 2008 feature first hit theaters: it's Liv Tyler, standing alone in her kitchen, looking out into what seems to be — what should be — an empty house.

The film's premise seems loaded with comic possibilities, but silly scenes overwhelm the story.

Sent to the Devil's Island penal colony, Dr. Karloff runs afoul of sadistic commandant James Stephenson, who seems obsessed by the guillotine (an execution sequence is one of the film's longest scenes).

The film stalls and sputters badly when it gets to Candyland, plodding through a squirmingly long dinner scene and then giving us about three different Final Acts of Revenge that seem increasingly redundant.

Part of the story is fit for a comedy, but this film isn't funny at all, which includes the scenes where it seems like it's trying to be.

This fact will be met with appreciation by those who don't enjoy seeing gay sex scenes, of course, but it does seem silly to make a film about a gay historical figure, keep referring to his gayness, show him pining for his gay lovers, and then never actually let him be gay.

The film itself seems reluctant to tie itself off, giving us one of the great end - credits - as - scene sequences of the last year (Call Me by Your Name and Good Time being other memorable examples).

I was once a very harsh critic of Mr. Tarantino, the video store clerk turned auteur, who seemed to be preoccupied with the inventiveness of his in - jokes and visual quotations of scene compositions from other films.

Andy Fickman, whose one quality credit is Reefer Madness: The Movie Musical [also starring Bell], seems to have no idea how to pace the film and his transitions from scene to scene are either too clever by half, or just awkward.

But if its «us versus the world» plot is groan - inducingly unoriginal, the film is blessed with a trio of funnymen, headlined by the uproariously scene - stealing Will Ferrell, who seem hell - bent on breathing life into this stale and paper - thin premise.

The scene effectively conveys the king - of - the - world high of a solid drug rush, and the film has just enough of an edge that I winced each time they hit the glass, convinced that one of them would take that big fall into the canyons of L.A. Elizabeth Hurley, meanwhile, is very pretty and sports a lovely English accent but seems to have been airlifted in from an entirely different movie.

The other factor leading to Darwin's creative block was the death, seven years earlier, of his daughter Annie at age 10; in scenes where Darwin is visited by the goading spirit of Annie (newcomer Martha West) and finally in the film's keening climax in the town where she died, «Creation» seems as neurotically focused on her passing as Darwin was.

Overall, the reviews are coming out positive (though no one can seem to agree if it's better than the first film or not), but the one thing everybody agrees on is the post-credits scene, which is supposdly an all - timer.

Correlative footage for many of the trial scenes exists in the first Paradise Lost film; the waxworks reenactments are so robbed of immediacy that they seem almost trivializing.

Some of the performances were great - Carell is hugely unlikeable, Sam Rockwell an absolute gem but the film's sensitive moments jar terribly with some very forced «happy» scenes that seem to spring from nowhere.

Having built up to what promises to be a dramatic, fitting finale, the film's final scenes seem to be more interested in shocking the audience and subsequently leaving them freewheeling rather than providing catharsis.

The Aviator is a well made film, and one of the year's best, with enough great moments to make the three hours not seem so long, although some trimming down of certain characters and scenes could still be done (Jude Law's cameo as Errol Flynn seems to be just an excuse to get him in the movie for a few minutes).

I liked this change because during that scene, one of the fishes seem to actually jump out from beyond the black border on the bottom and into the film itself.

¬ † Sundance, though, seems like an awful lot of trouble just to find out the buzz on a few films — my impression of it is just that it's a scene full of scenesters and part of me would rather chew glass than ever attend.

Even with long scenes of action utilizing modern effects, the approach doesn't seem gratuitous, which is an impressive accomplishment after having seen so many action films already this year.

Jordan Peele, who scored two personal nominations for best director and original screenplay, as well as two more nominations for «Get Out,» seemed almost stunned, reacting with a gif of Kaluuya in one of the film's iconic scenes and asking «What's the opposite of the sunken place?»

Jordan Peele, who scored two personal nominations for best director and original screenplay, as well as two more nominations for «Get Out,» seemed almost stunned, reacting with a gif of Kaluuya in one of the film's iconic scenes and asking...

A veteran action director, McTeigue shoots individual fight scenes well enough, but never provides any modulation or sense of escalating terror — at no point is anyone allowed to crack a smile, and even when the children are threatened with imminent death, the film's pace never seems to quicken.

The film's running time doesn't fly by, exactly, but it rarely seems to stall out, which is impressive when you consider how many of the movie's big scenes consist of people talking, sometimes emoting, in close - up.

Sepideh is a well - meaning character but every decision she makes somehow seems to make things worse, and Farahani is particularly brilliant in the film's gripping climactic scenes, when the full moral weight of the drama is resting on her shoulders.

And indeed, the film spends quite a bit of time serving up scenes and grace notes that seem designed to call back specific moments of the past 50 years.

Those uncertain alliances seemed to be at the center of the scene Coogler and his team were filming when we were on set.

(The elderly Ventura's claim to be «19 years, 3 months old» when asked his age early in the film connects directly to a later scene in an abandoned factory; mentions of a revolution that at first seem like science fiction are eventually revealed to be memories of the mid-1970s intruding into the present.

While this subject matter wouldn't seem to have much in common with The Orphanage, both films lean heavily on the bond between parents and children, eliciting sympathy with scenes of mothers and fathers faced with the loss of their kids.

As bad as it looks, the worst aspect of the entire film happens to be the horrible music, scored by Ron Geeson, which is not only uninspiring, it doesn't even seem to change depending on the mood or scene.

In a sense, it would seem like having all of these egos is a small - time film might work against the production, but by all appearances, everyone put in their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scene.

The performances are strong and yet even though the running time is only 79 minutes, the film seems to drag through its scenes.

Even the combat scenes, which are well - enough put together, seem to have been lifted wholesale from about three dozen previous films.

That scene seems straight out of a 70s creature feature rather than a Steven Spielberg film.