Sentences with phrase «film works»

The film works for the most part, but it's repetitive nature, and half - assed ending holds the film back from being something truly special.

When the film works, it works because Anderson finds his pulse in the issues that matter to him — and when it doesn't, it stumbles because Anderson betrays a fear that what he's been saying for four films now is suddenly harder to understand.

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.

If notions of the «other» have played a role in relations between the West and contemporary Iranian cinema, Tracz discusses how this film works somewhat differently.

What works about the film works very well, and what doesn't mostly feels superfluous rather than truly failed.

The film works best when it's not trying so hard.

The only minor negative which prevented me from giving full marks is that, although the film works a charm as a light and cynical comedy, I didn't feel the overall drama had a huge impact (not that it necessarily needed to).

The film works largely on inference as we watch Hannah become estranged from her neighbors, her family and even her dog.

The primary reason the film works so well as horror is the same reason it works as the study of a deteriorating mind: Kent's dedication to the subjective point of view of the protagonist.

Indeed, the most substantial and clear dialogue in the film comes from a drunken party guest (Will Oldham) whose philosophy could be embraced as the crux of the film or dismissed as philosophical rambling — the film works with either take.

From the hot girl in the red Ferrari, to hearing Lindsay Buckingham's «Holiday Road» ring out over the Awkward Family Vacation photos in the opening credits, to seeing one other iconic thing from the original lest I spoil its reveal, the film works hard — maybe at times a little too hard — to earn fans» approval.

Perhaps more importantly, the film works very well as a daughter's tribute to her father as a man, and that seems to be exactly what it set out to be.

What is a surprise is that this film works in an almost completely different way from — and to pretty much the same degree as — its predecessor, despite the fact that it is essentially doing everything the original has already done.

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

The new film works off the basis that John Hammond's dinosaur park is twenty years up and running - and facing patron fatigue.

Her daughter wisely assumes that she's only come back to ask for more money, which Isis doesn't even completely deny, but the film works to steadily bring them together through a variety of equally - contrived sequences.

However, Roberts naturally endearing personality shines through even the darkest moments of Jim's existence, we root for him regardless of what he says or does and that is where the film works.

There are a few missteps — such as a car accident that is filmed from an unnecessarily confusing angle, and an ending that doesn't quite work — but overall this anti-John Hughes teen film works on most levels.

Especially as we get further from Mother Teresa's death, at the age of 87 in 1987, the reason this sort of film works, is through filling in the gaps, letting a legend become a human.

It certainly deserves the criticism, but the film works beyond satire — like but not quite as successfully as its predecessor in tone — to work wholly as an entry in the genre that's being lampooned, albeit one with tongue firmly in cheek.

And that's also why the film works so well as a comedy; for the most part, it is a human one.

And we also immediately believe the relationship between Will and Tom, which is so essential to why the film works.

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.

The film works because it gets into their existence and never tries to apologize for it.

Melfi has a great ensemble on his hands and his film works well due to the chemistry they all have and the teamwork that's set in place to get John Glenn into space.

Some of the film works a scene at a time, Geraldine Pailhas is very good, but at the end of the day it doesn't come together.

Despite this, the film works well as a fun and surprisingly fresh take on a cat and mouse thriller.

I could probably condense the moments when the film works strictly to the Samuel L. Jackson parts, particularly when he tries to deal with his anti-war spouting son, which is probably the only fresh perspective the film has.

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.

Maher's film works better as a comedy than a documentary.

Inevitably they can't fit everything in, but as an attempt at rounding off the series with impact, whilst answering the question of what happened to virtually every character we have seen in the series the film works brilliantly.

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.

Such as it is, American is less about his professional career than his personal life, insofar as one can separate the two when considering so personally honest and hardworking a performer, and sans pandering to docu - hungry audiences, the film works equally well as an introduction for newcomers, a family reunion for longtime fans, and a miniature greatest - hits package for both.

Some people were disappointed that the film doesn't capture much of the darkness of the Ragnarok comic, but I think the film works tremendously on its own terms.

The film works best when the two brothers are busy working on a mission.

«A Silent Voice» risks» being melodramatic on several occasions, but it's moments between Shoko and Shoya, or when they're on their own, are when the film works best.

Whether the film works for you or not will depend...

She is a much needed addition to the Pirates mix and a major reason the film works so well.

John DeFore at The Hollywood Reporter thinks the film works extremely well, but it does have some shortcomings:

TALKING: As the film works actively to cloud itself with mystery as much as possible, Stoker indulges in using winking dialogue that are important to the audience's impressions of characters as much as they are India's.

Ultimately, Demange's film works like it does not for its novelty but for the novelty of its presentation.

But the film works because, crucially, Burton also nails the present - day scenes, extracting pinpoint performances from Finney and Crudup to ensure there's real emotion swirling amid the vagaries.

Together, they have tried to create a soul - searching tale of a woman finally coming to find that she likes herself, and though it isn't entirely successful in that mode, there are periods where the film works well.

The humour in the film works well.

Assuming the film works, it might be better served with more time to campaign.

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

The film works hard at this, not only by offering something of a history lesson, but also by strongly establishing how different the comedy of San Francisco stand - ups was when compared to comedy being done around the country.

The light and festive atmosphere in the first half of the film works quite well.

Liam Neeson is the main reason this film works.

This film works so effectively because it establishes a very natural, everyday world, places the audience intimately within it, and then sits back as everything takes a horrific turn.