Sentences with phrase «film works better»

Overall, the film works better as a collection of beautiful images rather than as a cohesive narrative.

In fact, despite the addition of «zombies» to the title, the film works better as an adaptation of «Pride and Prejudice» than the action comedy it strives to be.

With all this murkiness the film works better when taken back to basics, such as the excellent tornado sequence, where it's actually possible to comprehend what's happening.

The ensuing fan uproar was helped along by some in the cast: Last September, Swinton told reporters at the Deauville Film Festival that «there's no question that all English speaking audiences deserve to see director Bong's cut,» pointedly adding that the film works better at «two hours, not one hour and 40 minutes.»

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

Nearly every genre of classic film works better during the golden era but marriage plots are particularly unique.

The tone, despite the frequent bloodletting, is light, and the film works better than the script would indicate.

These mannerisms are a little distracting, and the film works better when Janney and Robbie are giving us their performances straight.

The film works best when Spielberg refuses to explain Schindler.

As far as psychological horror goes, the films work well, and that they realize Poe's stories were mainly internalized distortions of the world works to their advantage, even as they approach the material in vastly different ways.

Their on - screen chemistry is not the most fantastic ever but in the context of the film it works well, the sort of

Sometimes horror films work best when your imagination is required to see what is behind that door — and not some fancy visual effect by ILM and Tippet Studios.

The film works best when the viewer goes into it cold and lets it wash over them.

This modest film works best when playing in the thriller sandbox.

The film works well in its theatrical cut, but these extended pieces make it just a little bit more satisfying.

The cast make this film work well enough.

The film works best as a tone poem with a dreamlike haziness; providing too much clarity would ruin it.

Compared to other historical dramas, the look of the film works well enough but isn't all that impressive.

The film works best as an allegory of what men fear: loss of family, loss of profession, loss of respect, loss of sanity (resembling in this aspect the suburban unease of the director's Arlington Road), going so far as to cast a woman (Laura Linney) as the film's only representative of order.

Filming work well is often what separates the wheat from the chaff, and, apart from an excursion into drunken goofiness (during which our protagonists misuse work equipment and paint supply), Gordon Green passes the test.

The humour in the film works well.

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.

«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.

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

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

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.

I hated the decision to hold on Anne Hathaway for entirety of her «I Dreamed a Dream» song — trailer for film worked better with cutaways.

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

Though I can see where some would classify these parts as «slow» or «boring», the film works best when the lead is dropped in the Canadian wilderness and it keeps it basic.

Based on the unfortunately true account of du Pont's megalomaniac dream to live vicariously through the Schultz's athletic achievements, the film works best when it explores the codependent, homoerotic relationship between Mark and John.

The film works well, generating an engaging picture.

Grindhouse — Quentin Tarantino and Robert Rodriguez's double feature ode to the crappy genre films of the 70s was one of my most enjoyable film experiences of the last few years, but I think the films work best in that format, back to back with fake trailers and missing scenes.

This film works best on the big screen, and at home a HD viewing on your TV is recommended.

The film works well for the most part, focusing on Victoria's romance with Albert and her learning how to wield what power she has, and there's relatively little melodramatization of history (though a late sequence with Albert getting shot in an assassination stands out as particularly ridiculous).

The film works best when the gang is all together, but due to the compromising nature of this story, the middle really drags when they become separated and paired off.

It is a testament indeed to Minnelli's mastery of the musical that the film works best when the music, and Streisand's once - in - a-generation voice, soars.

The film works best in the tense scenes approaching the film's climax.

The film works best as a drama about a little boy coming to terms with his fears.

The costumes and architecture are all impressive, and the film works well when it's presenting fantastical events through the lens of real samurai values and concerns.

The hell of it is that what this film works best as is a tech demo to show off some beautiful animation.

Honoré's film works best when it focuses on the relationship between Jacques and an AIDS - stricken former lover named Marco (Thomas Gonzalez); a scene in a bathtub that symbolises the end of that particular strand is overwhelmingly moving.

The film works well for a number of reasons, but Marlon Brando's stellar acting remains its calling card.

Even if Genet's film works best for committed admirers of the male armpit, it's impossible for a viewer of any persuasion not to grasp the film's irrepressible, undulating waves of longing.

The film works best with these characters setting up equipment, testing microphones, listening to recordings, etc..

The film works best as a modest portrait of what the rock»n' roll life looked like in this time and place.

These complaints are pretty minor, and are mostly just nitpicks; the supporting characters are all vibrant and exciting in their own small ways, and the film works well within its scope.

The film works best if you approach it as a fantasy, with Jen as a near - supernatural angel of vengeance; otherwise, it's easy to get hung up on the inconsistencies as the action grows increasingly over-the-top.

Peyton Reed (The Break - Up, Down with Love) continues his visually appealing flair for light comedies, particularly in the quirky romance department, and when the film works its best is in the more quaintly geeky moments involving Carl's love interest, Allison (Deschanel, The Happening), in her artsy new wave band and Carl's boss, Norman, and his exuberance for offbeat things, including a Harry Potter themed party.

Though based on a true, if sanitized story — in real life the rescued lion cub named Elsa was never fully rehabilitated and died piteously and prematurely of a tick disease; the happily married Joy and George eventually divorced and were both brutally murdered in two separate incidents — the film works best as a parable about parents and children.

What a clever, ambitious, compassionate picture it is; what a success for Joe Wright and for Knightley and McAvoy - though it is probably in the long, languid wordless summery scenes at the beginning that the film works best.