Sentences with phrase «films feel»

But kinda how you pointed out, the films feel like an empty shell, a facade of what would otherwise be a great trilogy or standalone film in the hands of a better scriptwriter or director.

While many of the scores in the MCU films feel more like filler, the score in this film actually contributes to the scenes and sets the tone for them.

Most of the women in Woody Allen films feel like everything's awful.

O'Connell, who also appeared in the 2014 prison drama Starred Up and thriller» 71, set in Belfast during the Troubles, said he was «honoured to be considered... especially for films I feel incredibly fortunate to have been a part of».

At their most ungainly, the films feel like nothing more than a tie - in or brand extension meant to capitalize on a popular figure in a new way, like a toy or clothing line.

The first half of the film feels strangely off — it starts with a prologue set in the»80s that introduces Michael Douglass as Hank Pym, a scientist with a remarkable formula for shrinking matter who decides to hide it from the government agents that want it as a weapon (there are also quite a few Easter eggs for Marvel fans in those first few minutes).

Perhaps the reason then, that elements of the film feel so familiar is that it not only retraces the franchise's lineage, but our own.

In truth, there are times when the film feels less like an addition to the franchise than it does a remake of the original movie.

But whilst the question of how to coordinate behavioural change is important, I did come out of the film feeling that we are not really going to get anywhere quickly enough if those who are moved by the issue do not themselves take sizeable steps, as individuals.

This film feels much more about destiny and fate than it does about choice, and that comes through in Yeoh's performance.

In her forthcoming Journal of Consumer Research paper, Dunn demonstrates that consumers who experience fear while watching a film feel a greater affiliation with a present brand than those who watch films which evoke happiness, sadness or excitement.

I love the editing technique employed here... the film feels like a silent short from the 1920s but also very contemporary.

Through this film you feel compassion toward others as you recognize yourself in each of their stories.

The writing is sparkly and the story is sweet; the film feels a bit slight overall, but the performances are so engaging that you won't much mind.

Not particularly surprisingly, the film feels very episodic and bears the marks of test audience - tinkering.

James Cameron wrote and directed this film, and he makes another blockbuster action film feel like legitimate entertainment.

The previous three films felt at times like extended prologues for this one, but what it delivers considerably makes up for that.

This film feels like Zack Snyder hobbling the entire upcoming DC Movieverse before it gets started.

But the novelty of this has certainly worn off a bit and in the interests of both retaining fan favorites and introducing new personalities, this third film feels a little crammed with characters all vying for the same kind of calculated jokes.

The film feels a little less amateur than «Pusher», - a cheap debut feature for some underexperienced Dane trying to make abstract art - and it's that which brings the final product closer to decency, because many of the missteps that ruined «Pusher» feel more considerable in this superior, but still misguided effort, which has a good bit to commend, but even more to complain about as questionable «story «telling notes that ultimately send the final product crashing into mediocrity.

The film feels like it's been assembled by committee, and news stories about the film's troubled production bear this out: after an initial round of photography during which the ending was being crafted almost on the fly, the film's release was delayed so that a new ending could be written and shot in an attempt to glue together two halves of a story that still don't feel like a whole.

The film feels like an experiment that always straddles the line between provocative and pretentious, but at feature length, that sort of strategy becomes tedious.

I actually loved watching this film at times, given the terrific performances all around and a story that is worth exploring, but it is without question that the film feels about 20 - 30 minutes too long.

The film feels predictable, rushed and overdone, like the filmmakers tried way too hard at masking a revenge themed action movie, and in turn the results are unimpressive.

It's true that the disorientation produced in the collision of Igorrr's frenetic style - mashing and Dumont's unadorned long - take aesthetic ensures that the film feels remarkably distinct from prior cinematic adaptations of Joan of Arc's life, but it's also hard not to wonder how this particular story might have played without the farfetched musical conceit grafted atop it.

The feature debut of writer - director Aimee Lagos, the film feels overstuffed and overcooked, as if the filmmaker were trying to get too much out all in one go.

Half the film feels like deleted scenes that were added back for no reason.

The film felt like a quest to find a plot!

I also found the finale a little underwhelming, with the rest of the film feeling so narratively tight and full of ideas, the final moments appear a little unfocused and somewhat emotionally soppy.

It could work on the stage where movement and place and time are necessarily compressed, but on film it feels artificial, not fully worked out.

Where those previous films felt compelled to lunge for edginess (read: sneering raunch) as chaos dutifully descended on characters they didn't like very much — and weren't particularly interested in getting audiences to like, either — Game Night takes care to locate our sympathies with Bateman, and McAdams, and its cast of charming ringers.

While only about 90 minutes, the film feels much faster.

The tone of the film feels preachy and tries to be something great, but the result is a film that is heavily flawed, and never reaches its potential.

Cliche piles on top of cliche to make a nearly two - hour film feel twice as long, simply because we see so many things coming that we feel as though we're watching each section twice.

This film does not have a big budget and this film could almost still work without any other characters but the two lead so the film feels very independent.

So the film feels a little bit like Sleeping With The Enemy if Julia Roberts eventually decided that her controlling husband was a pretty good guy who just had a hard life and wanted what was best for her.

Even though the film feels low budget, this still a fairly well done Sci Fi horror flick, though lacking in plot, it makes up for it in thrills.

It's just that the film feels so unusually empty; even if he has subtly snuck his usual hallmarks into the mechanics of the narrative itself, he's populated the foreground with characters who never come alive as anything more than archetypes, who trade in so much exposition it's hard to see how any audience member could be overwhelmed with confusion at the story being told.

As the story becomes more episodic, and Charley ends up further and further from home, so the film feels distant from its earlier, more nourishing scenes.

Speaking of which, there's also the matter of comparing the book to the film that adapts it, and here, I have to say that the film felt less engaging than Sestero's original work.

The whole film feels much brighter, bolder, colourful and more enjoyable than the previous which seemed a bit drab.

Also, the film feels a little long and draggy at times, as if the great director John Landis was just very unfocused and unsure of how to use all of the great talent at hand to its fullest.

The pace is uneven, the energy sluggish (even the arrival of Malcolm McDowell in the third act doesn't pep things up) and the film feels overlong.

These extra few minutes make the substantial film feel significantly longer, and could easily have been omitted.

Diane Kruger carries In the Fade on her leather - clad shoulders and ensures that you'll walk away from the film feeling absolutely rattled.

Josh Mond's film feels like a careful curation of western cinephilia's most overdone narrative arcs and exhausted character clichés.

Though it presents a captivating look at the nuts and bolts of high - stakes politicking, it suffers in such inevitable comparisons, in part because Roach's direction is so stifling that the film feels small at the very moments it should be grand.

Ragnarok packs in as many jokes as it can muster, and these give the film a feel much more in line with the Guardians series

As the better Marvel films have shown, you need a lot more than zippy repartee to make a superhero film feel heartfelt and thematically resonant.

In all honesty this film feels more like an adaptation (to a degree) of the Gary Cooper classic, but either way you look at it, there isn't too much originality going on here Mr Hyams.