Sentences with phrase «film worked as»

One of main reasons the last film worked as well as it did was the excellent chemistry between its ensemble cast, and that's still the case here.

The original film worked as a dark take on the familiar «Snow White» fable, with breathtakingly beautiful, brutal imagery and a richly villainous turn from Charlize Theron as the wicked queen.

Most of the film works as a detective story and follows the day after the guys» big night on the town.

The film works as both a character study about two men trying to manipulate the system for personal gain, and as a thriller in which the line between heroes and villains isn't all that clear - cut.

The film works as supernatural horror at the same time as you feel the chaos and fear in everyday life during the Iran - Iraq War as experienced by people like the rest of us and not by presidents and kings.

Casting isn't the only reason the film works as efficiently as it does, but it's probably the biggest.

The film works as a romantic comedy and relationship film, as Grant and Bennett are contrasted by a wealthy banker (Roland Young) who is stifled by his prim wife (Billie Burke), who has him on a tight leash and schedule.

What made the first film work as well as it did was the way Hirst took and reworked historical facts to suit the rise (or decline, depending on your point of view) of an innocent, love - hungry young woman into a cold, sometimes cruel statue of a queen.

Be it the emotion of the attack or the undeniable thrill of the manhunt, the film works both as thriller and drama.

The goofy relatability of these guys is a huge part of why this film works as well as it does — at one point, there's a long sequence involving drawing a penis on one of the guy's faces while he sleeps, and he doesn't notice for a long, long time.

One of the many reasons why the film works as well as it does is that West has the guts to take the material seriously.

The film works as a commentary on not only Osama Bin Laden's crusade against the West, but also Bush Jr.'s crusade against the Middle East.

And even as a low - key indie project this film works as a beautifully intense study of extremes.

That being said, I don't think the film works as a standalone film.

What worked so well in the first film was that the filmmakers were able to make a superhero film work as a period piece.

Unfortunately, neither the legendary actor nor the accomplished talent around him can make this film work as intended.

Anderson upped the pathos in Extinction and that is why the film works as well as it does.

No matter how well the film works as it is — it's impossible not to believe that it would have been even better if Goldsmith's music had been allowed to shine the way he intended.

That the film works as anything more than an elaborate game of guess - the - citation is a credit to two key elements, the first being its imaginative visual sensibility, an expressionist approach to costuming and set design that comes as welcome relief from the grays - and - earth - tones look of contemporary tentpole fantasy filmmaking.

While the film works as a weird, trippy, tongue in cheek horror film set at Disneyland, it's nothing more than a film school - made B - movie.

It has been a banner year for smart and fun comic book movie adaptations, and the reason those three films worked as well as they did is they had a sly sense of humor and didn't take themselves so deadly seriously as Justice League does.

The story's broken down, but each film works as an individual act for the whole.

Based on John Ball's groundbreaking 1965 novel, Norman Jewison's film works as both a clever whodunit and an uncomfortable examination of deep - rooted racial tensions.

Like many actors turned first time directors, they are led by passion for the project (even though this one landed in Cheadle's lap), surrounded by «yes» men, rather than contemplating whether this film works as a whole.

Let's just see if the film works as a piece of entertainment.

The film works as a paean to small - town life and a comment on its confining nature.

A stripped back approach made the film work as the focus was kept tightly on Tony Stark as a person coping in a world where the unbelievable is becoming a reality.

Although the series lives on in shorter form, the final 20 minutes of Toy Story 3 is something of an emotional trip through the wringer (that is, if the film works as intended to the audience).

Would this film work as well without him portraying the role of the main Godfather, Vito Corleone?

I guess we can agree to disagree over how much of a vampire flick it is (it's obviously a «vampire film» in so much as vampires are in it), but I personally feel the film works as well as it does by not letting the vampire stuff get in the way of what's an absorbing tale of kinship forged out of loneliness.

If the film works as any kind of depiction of plausible humans, it's above all because of Kristen Stewart's Vonnie.

The film works both as advocacy and as a very moving study of women (and one or two men) whose idealism and patriotism have been utterly shattered.

Yet, I can't imagine the film working as well as it does without Cumberbatch.

We need to look at and judge each aspect of the film in detail — avoiding spoilers, whenever possible — to explain why the film works as well as it works, where it occasionally stumbles, what makes this the first genuine motion picture event in many, many years.

The film works as a backwards glance for those who lived in the era, certainly, but in similar fashion to Dazed and Confused — another movie very specifically rooted in time — one needn't have grown up back then to recognize the strivings and yearnings of the characters, which are examined sincerely and amusingly.

While the film works as an excellent breakdown of National Lampoon's all - too - brief moment in the sun, it's also packed with fantastic archival material.

Although at times it's uncomfortable to watch, the film works as a distinguished, forceful statement on integrity, authority, and bigotry and is a strong entry for the genre.

It's a nice thought that doesn't add much substance to Koepp's routine premise, but the film works as a showcase for Gervais, who plays an oddly likable jerk with surprising subtlety.

Director Davis Guggenheim «s follow - up to the Oscar - winning An Inconvenient Truth, the film works as a sort of three - for - one biography, with just a handful of glancing, macro-analytical insights scattered and tossed in for good measure.

Based on the true story of Jim White (Costner), director Niki Caro's («Whale Rider») film works as both inspirational sports drama and quasi-documentary ethnic anthem.

The film works as a number of things.

The film works as a thriller, mostly when one is able to forget the actuality of this real - life story and be drawn into the hopes of the men involved.

What DOES work though is the heart of the film, which is really why the film works as a whole.

Hart's a funny man, as well, but it's the chemistry of the two, together, that makes the film work as well as it does.

The guy knows how to write and direct and the aside from some extremely cheesy moments spent with an out of place over-the-top zoo inspector, the film works as both a smart comedy and touching family film.

The most important thing is whether the film works as a finished product, despite the challenges the production team faced.

Interpersonal conflict is kept at a refreshing low; all the characters in the film work as a unit to help defeat the cynical, divisive demon.

All the while, the film works as a sometimes uncomfortably honest but always fascinating look into the mind of Kaufman.

Ahah, you're such a conspiracy theorist Mark Regardless of whether one believes in Bin Laden killing or not, I still think the film works as a thriller.

The real reason the film works as well as it does, though, is not the fly - on - the - wall feel of the conversations but the way director Ivan Reitman understands the drive behind their prevalence in the story beyond the ticking clock of the start of the draft.