Sentences with phrase «film up to the very end»

Together, they create a highly combustible and contagious mixture that fuels the film up to the very end.

Not exact matches

The rights to the film ended up in a complicated knot, making it very difficult to view legally — until now.

«We ended up developing a multilayer technique to first deposit a very thin ITO film at low temperature, followed by another thicker ITO film at a high temperature — and it gave us great optoelectronic and surface roughness properties.»

But in living up to its marketing aphorism of «It All Ends,» and hurling as many familiar images and faces at us that it can muster, Deathly Hallows: Part 2 feels very self - aware as to its role as the conclusion of an eight - film journey.

The explanations for what has been going on are weird, fantastical and sort of reasonable, within the context of the story, maintaining the film's sense of grounded directness up to the very end.

As charming and gently agreeable as Kung Fu Panda 2 may be, screenwriters Jonathan Aibel and Glenn Berger, returning from the first film, haven't really upped the ante like we expect a sequel to do — much of what transpires here feels so comfortable as to be overwhelmingly familiar, as if you might have seen this movie before and let it slip your mind — until the very end, with its hint of yet another sequel that has me highly intrigued.

So the review ended up being very scatter shot and covering inane details like why John Hurt was in the cellar (when he'd already appeared earlier in the film) to the point that it felt like Reed looking for boom mics in Star Trek.

What follows is a tale of frustration and bemusement, an account of aborted projects and thwarted aspirations and of how Beresford managed to negotiate his way out of two films that he was keen to make — Miss Potter (2006)(eventually directed very capably by fellow Australian Chris Noonan) and Amazing Grace (2006)(which ended up in the efficient hands of Michael Apted)-- and into making one that he didn't want to.

In an interview with CineVu, Farr discusses his «very different» take on the property compared to what director Joe Wright ended up filming:

There are dozens more examples of women standing up for themselves throughout films, only to be rescued by the guy who was unconscious or absent or wimpy right up until the very end.

He is involved with some dangerous characters who at first seem like important plot factors; later, we suspect Wenders was just throwing in some film noir elements to keep up the interest before getting to his real story, which comes toward the end of this very long film.

this film really needed to end on an extended cat - n - mouse sequence with laurie and michael, i was very disappointed with the way he wrapped the film up.

The resulting film leads one to think that Goldwyn won most of the battles, as it is ends up as a very well - acted filmed play, though Vidor does find ways to be inventive at the edges.

Much like the animated shorts that accompanied the Star Wars prequels, they end up being better than the very expensive films they're supposed to supplement.

It was the very first film of Venice, and the festival seemed to open on such a high that the worry was that everything else over the next ten days would end up paling in comparison.

The rare January family release that's actually very good, the film was offloaded to Warner Bros. by its original distributor, The Weinstein Co.; despite excellent reviews (for what it's worth, it's currently at 100 % at Rotten Tomatoes), it ended up opening at No. 7.

Holofcener's last film «Please Give» ended up on many of our year - end lists in 2009, so while we're not expecting «big things» exactly — that's hard to say about small scale dramas about regular people — we are, as usual, excited and grateful that we live in a world where, despite all the tentpole tendencies, there's still a very viable space for Holofcener to make movies.

No one's walking into an extreme - sports spy movie for the plot or characterization — neither of which this film pretends to care about for very long — but not even the grotesquely over-edited action sequences bother to hold up their end of the bargain.

Despite the time lapses that divide the three films and the very different places that the Gen X characters end up from the Queens apartment they used to share, there's little other sense of the passage of time, especially of the new millennium.

From the moment of their first run - in with whatever's - down - there to the very end of the film, Marshall doesn't let up.

Even though there are multiple plot twists that add a great degree of excitement to the film, at the end of the day you will be left contemplating the ideas and motifs that the film brings up, and its very horrifying yet surreal ending.»

The film does a full stop at the very end, attempting to bring the mood back up with a slipshod scene that feels so much like a therapy session it's laughable.

It didn't pander to its youth demographic, and it ended up handling emotionally touchy subjects such as death and loneliness very delicately for a children's film.

Despite Thomas Pynchon's knack for vivid, cinematic language and his own avowed love of film, his novels haven't exactly proved easy to adapt for the big screen, primarily because they're so densely constructed that any adaptation would be, by its very nature, a dumbing down — and even then you'd still run the risk of ending up with something completely incomprehensible.

This interview ended up being very integral to the final act of the film.

These two endearing misfits move to L.A. and try to live the Hollywood dream by making their very own feature film, but end up embarking on a wildly unpredictable and hilariously unforgettable production.

And even though Columbus would not pick up the pace or improve as a filmmaker for the second film, «Chamber of Secrets,» he set a production values bar, and a casting one, that the series would uphold to its very end.

It is the first half of an epic story that could very well take another two and a half hour film to finish up, especially given what we're left with at the end of part one.

Welcome to L.A. can be faulted, or at least delimited, for its unavoidable borrowings from Nashville, California Split and The Long Goodbye, but then those films partly belonged to Rudolph anyway (as very involved assistant director), and besides, Welcome ends up describing a form — and a formal destiny — all its own.

is still a very interesting film, and will most likely keep most viewers» attentions riveted right up to the very end, mostly because we are always anticipating something happening to make an important point.

I think this is a film for people that do nt like art cinema Its all very visual and cut skillfully with requisite tied up in a bow ending but it has little of the wit of the much superrior «Read my lips» Which this is very much a companion piece as for the acting Marion does needy again and Matthias doe lovable brute... no stetch then its a decent film and you almost want to visit waterworld ooops own goal for Greenpeace

One quickly forgets that the film is animated, and it is easy to get caught up in the overall story as it's quite a unique and in many cases funny ride right up to the very end.

Of course, on the other hand, one would have to accept that a Quentin Tarantino directed Deadpool 2 would likely end up being a very different entity than the original film was.

The very catchy»70s - style anthem «He's Gon na Make It» appears over the opening credits, turns up a few times throughout the film in jazzy instrumental form, and returns full - force in the end.

- Miyamoto has been considering an animated movie for many years - he says creating games and movies aren't really that similar - interactive and passive media are very different, so if he wanted to make a movie, he'd like to have a movie expert work on it - while meeting with many movie directors and producers, he was introduced to Illumination by Universal Parks & Resorts - Meledandri revealed that he had read Miyamoto's interviews and said that the ways they create are similar - the two ended up having a mutual understanding, and eventually said that they should do something together - Meledandri is focused on making the film with a reasonable cost and deadline in order for it to be a success - Miyamoto has felt that if they couldn't make something interesting, then it would be better to quit - they've already had multiple meetings for the screenplay so the project has actually progressed very far

You'll hear some of his audition in this part of the documentary (he performs Marty's lines from the first Back to the Future film explaining how Doc ended up with the bruise on his forehead) and it's a very good likeness.