Sentences with phrase «films felt at times»

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

The film feels at times like a greatest hits compilation, with jokes that call back to the earlier Wright / Pegg / Frost movies, as well as again exploring ideas of modern small - town Englishness and the sense of the everyday being invaded by something extraordinary.

Not exact matches

The novel is built like a missionary biography, one with the at - times brutal feel of a Scorsese film.

Whatever one's personal feelings about the film, it seems clear that Mel Gibson was trying to deliver a cardiac shock to the imagination, Christian and non-Christian, of our times; saying in effect, «Look in graphic detail at what God's Son did for you.

At times her memoirs feel like a list of rebuttals against the negative images, films and news stories which «hounded» Ms Blair.

At times the Labour leadership race has felt like one of those films where you work out the ending after just five minutes but still feel obliged to watch the rest.

Appreciate anything that elevates a soul - literature, film, art, theatre, music, life, volunteering... I have amazing friends and family who love me even as I feel a misfit at times.

However, I felt that the film at times was a tad too silly.

But Rees isn't content simply to diagnose a punishing, self - perpetuating cycle: This is a film buoyed by humanism that feels chastening, liberating and healing, all at the same time.

Of particular note (to me, at least) is Leland Orser, if just because every time I see him I think of Seven (do you get the feeling I'm rather fond of that film?).

Despite being the shortest film in the series, at 138 minutes, the film still feels drawn out in places, with Yates taking a long time to cover aspects which could just as adequately be explained in half the time.

Also, the way in which the film goes from serious tones to tongue in cheek moments is not really handled well either — from the knife wielding belly dancer to one of Samuel L. Jackson's trademark monologue, it feels rather forced at times.

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.

Thankfully, the voice talent gives it their all with Hill and Cross being particular standouts, but they are really livening up a script that at times feel like a draft or a number of plots from different films, piecemealed together.

For Shawn Levy and Real Steel, I felt like I had seen the film countless times before, just with other sports at the center of it all.

It was crazy at times, there wasn't much talking and sometimes I felt it wasn't really trying too hard to not be what it was supposed to - an art - house film.

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.

The film never felt sensationalistic, even if it was miserably one - note at times.

[img] http://images.rottentomatoes.com/images/user/icons/icon14.gif [/ img] The Pact feels as if it's been constructed from an infinite number of inspirations stretching from classic ghost story horror cinema to the recent wave of found footage films but at the same time because of such great execution you could never actually call it generic.

It can be overindulgent at times and Myers» over-the-top lens through which he projected his early comedy films can seep into the narrative and produce some overbearing results at times, though «Supermensch» feels like a work of minimalist restraint compared to films like «Wayne's World» and «Austin Powers».

It's an animated film, created by an Irish animation studio (Cartoon Saloon) and based on a novel by a Canadian author (Deborah Ellis), but despite these seeming obstacles to authenticity, this is a deeply felt and unsparingly realistic depiction of Afghanistan at a time of tyrannical rule by religious fundamentalists.

This «lightness» is thanks to good dark comedy elements and the hopefulness you feel for a better future at different times during the film.

Despite the Hollywood cliche's and the Hollywood film making, at times this feels like a different movie.

It's ultimately clear, however, that Fear and Desire simply isn't able to justify its feature - length running time (ie the whole thing feels padded - out even at 61 minutes), with the movie's less - than - consistent vibe paving the way for a second half that could hardly be less interesting or anti-climactic - which does, in the end, confirm the film's place as a fairly ineffective first effort that does, at least, highlight the eye - catching visual sensibilities of its preternaturally - talented director.

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.

Hard decisions are made by the characters throughout the film and the tone will make you feel sick to your stomach at times, but it will all be worth it.

The cast is made up of an actual family, including his father Tim Jandreau and his sister Lilly Jandreau, which is perhaps why their performances feel so authentic and why this film seems like an intimate, verité - style documentary at times.

Written and directed with care, acted spectacularly, and delivering a satisfying conclusion even for those who knew the outcome, I really don't have anything negative to say, aside from the fact that it can feel boring at times and a little dragged out to fit a feature film runtime.

By the time Louis winds up at a forced labor camp, also run by The Bird, the film feels like it's just spinning its wheels and upping the ante of his mental and physical suffering until the eventual Allied victory.

Depressing, cliche, and quite unwatchable at times, Dear John really doesn't have an interesting story to tell, and despite it being in the romantic genre, the film makes the viewer feel nothing more than annoyance.

Beautifully shot, like Rohrwacher's other features, on Super-16, this film, with its richly textured images, does indeed feel at times like a retrieved and rather miraculous relic from a lost era of cinema, which is not to say that it isn't of its own moment.

Cut down somewhat from the original release, it would have benefited from still more cutting as, if you're not totally in love with the characters, it can feel flabby and tedious at times in what IS a long «film».

Overall I felt that this film was decent at best, and it never realizes its potential, but in the larger view of things, this is also the ninth film in the series, so it was only a matter of time for the quality to be downgraded due to lacking ideas in terms of storyline.

Production design from Stephanie Hamilton is another highlight, and the film feels pulled directly out of a very specific time and place; Jeremy Rouse's cinematography is gorgeous without being at all showy.

There are moments where he captures true instants between the men but at the same time the film feels a bit claustrophobic.

While the beginning of the film feels like it's setting the audience up for a somewhat boring lesson on drone warfare (I'm looking at you, Good Kill), Hood — still wiping the sting of X-Men Origins: Wolverine off with Ender's Game and now this — excellently threads the needle of tension and, before you know it, the thriller aspect of the film becomes abundantly clear as the series of events play out in semi-real time over the course of one day.

He added, «I'm so proud to be a part of a time at the beginning of a movement where I feel like the best films in every genre are being brought to me by my fellow black directors.»

I don't feel like this film has got the attention that it deserved, and will hopefully be looked at more as time goes on.

Short version: Although at times it felt like a made - for - TV movie, a far better film than the first and more entertaining than the super-serious Spider - man 3.

«Ride Along 2» doesn't even feel like it's trying at times, and for a sequel to a movie that was already an inferior copy of much better films («Lethal Weapon,» «Bad Boys»), it definitely shows.

But feel - bad films reigned supreme for the fest's first week: By the time Cannes hit the halfway point, audiences had been subjected to beaucoup examples of horrific violence, human - rights violations, pedophilia and more exploitation of women than you could shake a rape whistle at.

This, at times, can make the film feel a little clunky — and perhaps a little out of its time.

At times the film does feel a little drawn out, too slow and soothing in parts, but your patience is rewarded with a satisfying final act.

As I watched, I found myself enjoying it as a well made film, though I felt uncomfortable at times, reminded that what I was seeing was based in fact.

Bill Skarsgard brought a wonderfully threatening physicality to Pennywise, making it feel as if he could rip the Losers Club kids to shreds at any time, but the film's best moments echo the ones from the book: spending time with a lovable group of misfits and being along for the ride as their bonds strengthen in the face of unimaginable terror.

At times, the film feels like its veering too close to fan service with call backs to other films in the saga that seem more catered to Easter Egg hunters than plot advancement.

Yet while the recipe sounds delicious on paper, at times the film feels as if it's missing a crucial ingredient that would have taken it from good to great.

His latest film feels more grounded than Eternal and at the same time, somehow more whimsical, as it follows the boys through a variety of far - fetched but not entirely impossible scenarios.

it starts with a bang and ends with a shrug, and how you ultimately feel about the film as a whole will primarily be determined by how much that initial bang is still resounding in your ears at the time it is all over.

Where the film goes from there thankfully isn't as predictable as you might expect, even if «Dean» does feel pretty familiar at times, like an early Woody Allen movie by way of Zach Braff.