Sentences with phrase «first got into film»

Not exact matches

Hilariously, one of the first films he screened was «All the President's Men,» which is the film that centers on the plot that helped him get into office.

Getting back into the consumer market, Kodak recently released the Ektra, a photography - first smartphone, and at CES this year announced the return of the Super 8 camera and film.

If you look at the start of the film carefully, when the crew is first getting into the alien mothership, you can see what look like pockmarks on a wall from zap gun fire, I think.

In the first, the former Scientologists describe how they got into Scientology; the second act recounts the history of Scientology and the author of Dianetics, and in the final act, the film airs allegations of the abuse of church members and misconduct by its leadership, particularly David Miscavige, who is accused of intimidating, beating, imprisoning, and exploiting subordinates.

What we have in the misbegotten mess called Kings is a film of countless good intentions — one that starts going bad in its first scene, gets worse form there and then dissolves into pure chaos.

While the first two - thirds of the film contain enough political intrigue that the audience will ignore any slight historical missteps, the final third, when Philip's armada is approaching the English shore, takes us into true Harlequin romance territory, and we are force - fed a cinematic version of Sir Walter Raleigh guiding an unmanned ship into the Spanish Armada before it gets anywhere near the English Channel.

As the film continues we meet up with new characters and finally into the Mirkwood forest where we get the first bit of real action.

This week, watch the first trailers for «Star Trek Into Darkness,» Roman Coppola's «A Glimpse Inside the Mind of Charles Swan III,» and Shane Carruth's follow - up to «Primer,» get new looks at «Zero Dark Thirty,» «Warm Bodies,» and «Les Miserables,» and catch up on all the week's film news.

The trio who took that fateful dip with Cusack in the first film, Lou, Nick and Jacob (played by Rob Corddry, Craig Robinson and Clark Duke) get back into the tub, to try to go back in time to prevent Lou from being murdered, but instead are sent to the future.

Very rarely do you get a film where you'd go right back into the theatre and watch it again immediately after the first screening and have the same emotions.

And now you can get a look at the film that clocks in at over three hours long as the first US trailer has arrived showcasing the story of a small hotel owner, his wife (and her sister) who are at odds with each other as the winter weather becomes more fierce, forcing everyone into an inescapable, tense environment from which they can't leave as long as the snow keeps up.

Despite Gerda's understanding and moral support, not to mention Lili's own courage, it is difficult to get behind Lili throughout most of the first half of the film, for she rushes headlong into an entirely new life with little thought to the consequences it will have legally, professionally, or on her existing marriage.

At first blush, Ramsay's film would appear to be a look into the genesis and reasons behind the title teen's killing spree; the film we get is something different entirely, an exploration of loss and pain and grief through the eyes of the mother (Tilda Swinton) left shattered and battered in the wake of her son's irrational, irredeemable actions.

The first half of the movie is not that great, filled with way too much bad acting, including that of the lead actors, but once things get going in the end of the second and into the third acts, the film turns into a pretty decent revenge flick.

A belated sequel to 2011's bizarrely successful Gnomeo & Juliette, Sherlock Gnomes continues the pun - based gnome gags of the first film by dropping garden variety versions of Arthur Conan Doyle's most famous characters (we get Sherlock, Watson and Moriarty) into a mirth - free adventure involving characters from the earlier movie.

I admit I really didn't enjoy this one upon a first viewing, but after watching the director's cut of the film, which is far superior, I really got into this one.

As we move into mid-October, the awards season is beginning to take shape, in the sense that we are getting our first reactions to some of the year's most anticipated films.

For example, Garrel casts his own father and son in his movies; in his lovely Summer Hours, Assayas traces the fortunes of a family at the point of dispersal; and Desplechin focuses relentlessly on family dynamics, from his first film, La vie des morts, up through The Sentinel, My Sex Life... or How I Got into an Argument (where the collegial circle becomes a second, substitute family), Esther Kahn, Kings and Queen, and now A Christmas Tale.

And now, before we get into the analysis, let us first acknowledge five good films, alphabetically, that narrowly missed the cut:

The first act is admittedly a bit messy as director Colin Trevorrow gets all of his pieces on the board, but the story really picks up once the Indominus Rex breaks free from confinement, turning into a full - fledged adventure film with no shortage of dinosaur - caused destruction.

If you are a fan of the first film, then I highly recommend you getting into this series if you haven't already.

US audiences will get their first look at the film on September 6 this year, though we don't yet know if that'll translate into a worldwide date.

The film gives you a little chance to meet and get to know some of the characters in the first act, but once the Marines find out they are under attack, the film goes into full - on adrenaline mode where the intense action never stops.

Along with a solo origin film for Magneto that got folded into X-Men: First Class.

Given the success of the first film, it's shocking such a poorly rendered image got into the sequel.

First, a brief remembrance before we get into the year's best movies: The film world said its heartbroken goodbyes to Mike Nichols in November, an occasion for returning to the director's seismic The Graduate, along with four decades of subsequent work, much of it brilliant.

And then the camera gets closer and closer until, as you say, it goes into her POV and switches the film's POV from third person to first person.

It took the clever nods to other properties in the first Deadpool movie and took those nods and turned them into blatant references, especially in the outrageous mid-credits sequence where the film re-visited Ryan Reynolds» ill - fated superhero movie past — you got lucky that they had bigger fish to fry, Blade: Trinity!

And even if Linklater, who was present at the screening, joked in his intro that the film «never would've gotten into» NYFF when it was first released, it also doesn't hurt that it's one of the most beloved and influential movies of the 1990s.

Even so, the film hadn't really been on our radar at first, and it was only after failing to get into Susanne Bier's «Love Is All You Need,» and deciding that not having seen its predecessor probably precluded us from seeing Takeshi Kitano's gangster sequel «Outrage Beyond,» that we headed to the late - night press screening of the film.

Diversity in film has been called upon by every corner of the cinematic community and «Star Wars,» Lucas Films, and Walt Disney do not get enough credit in being of the first to fully embrace this notion into its most profitable franchise.

Granted, the first half of the film moves like molasses as Tarantino gets all of his pieces on the board, but the pacing is intentional, slowly building to a boil that spills out into a flurry of violence in the final hour.

That being said this film took a while to get me on the hook, the first twenty — thirty minutes felt very disjointed and unsure of the direction it was going in, but once we reached that point that instigates the revenge plot that we're waiting for the film kicks into high gear and becomes the bone crunching - ly revenge film that we expect from this trilogy of films.

The protagonist of Be My Cat: A Film for Anne is played by his namesake Adrian Țofei — and if Țofei serves as this film's director, writer, producer, DoP, editor, sound designer and production designer / manager, his character Adrian is also a first - time polyhyphenate filmmaker pitching his own movie called Be My Cat, and himself trying to get into character to play that film's creepy romantic lead.

That works as a meta joke in the first fifteen minutes of the movie, but by the time the film wore into the one - hour mark, I was getting tired of the «oh no, not again» angle.

But add the fact that director Rian Johnson (Brick, Brothers Bloom) is one of the finest filmmakers working today and made this his first foray into blockbuster action films, and you've got a real winner.

Chris has done this incredible thing where the sequel, the way he described it to me, elevates the movie from being a horror movie — and I wouldn't even say it's just a horror movie because it's a horror, comedy, rom - com drama — into a Back to the Future type of genre film where the sequel joins us right from where we left off, it explains a lot of things in the first one that didn't get explained, and it elevates everything.

Kevin later stumbles into a fancy toy store that is being cased by the «Wet Bandits», the burglars who terrorized Kevin in the first film, who happen to be in New York trying to get one big score after breaking out of prison in order to leave the country.

Webb also dips into different elements of early Spider - Man comics than those Raimi chose - focusing on the fairly obscure revelation of Peter's dad's secret agent past, and the death of Gwen Stacy's dad in the first film, a reminder that getting close to Parker can be fatal.

Yet, for all of that, «The Wall» — penned by first - time screenwriter Dwain Worrell, whose script was well - regarded in Hollywood before it got turned into a film — feels longer than its brief 81 minutes.

Even though Deadpool screenwriters Rhett Reese and Paul Wernick are really busy writing Deadpool 2 at the moment, we managed to get them into our Collider Video studio a few days ago to talk about the success of the first film and where the character might go next.

Which is about all that we ever get from him as much of his screen time is given over to young Harry Osborne so that he can convincingly morph into the dreaded Green Goblin (thanks to a fatal genetic illness we learn about literally the first second he is introduced to us) and proving the modern adage that more than one super villain is too much for one of the films to juggle.

Scott, who's coordinated but also done stunts himself on films like American Beauty and The Shawshank Redemption, got the Community job after running into former collaborators — Community director Adam Davidson and first assistant director Bob Roe — while working on the Paramount studio lot.

The first clip from the film has arrived and it finds both Ralph Fiennes, and us, meeting Zero played by Revolori (and F. Murray Abraham as the older version), who is hired as a lobby boy at the titular hotel and gets thrown into the wild orbit of M. Gustave.

The premise of the film is that divorced father Will Hayes (Reynolds, Smokin» Aces) is cajoled into relating the story in how he met his ex and the mother of his precocious daughter Maya (Breslin, No Reservations), who seems sure that she can get them back together if he could remember why he fell in love with her in the first place.

Though Eisenberg's excessive voiceover narration bogs down the first act, the film quickly evolves into a crackling zombie romp powered by a clever script, goofy physical comedy — the filmmakers get a lot of mileage out of Harrelson's amusingly over-the-top means of dispatching the undead — and the yin - yang comic chemistry of the eternally adorable Eisenberg and good - ol» - boy Harrelson.

With a script by four writers — in this case not a warning sign that a committee - written story will be bland — Scardino takes us to Las Vegas, with later film taking place in Los Angeles, but first we get insight into what made Burt a magician.

You're looking to your left and you're seeing the people who made the films that got you into the game in the first place.

Getting into the actual contents, video quality of each film was very good, with the Jurassic Park III being the best of the lot in that respect, although in terms of story and script, the first entry, Jurassic Park, definitely stands as providing the best combination of action, adventure, and emotional impact.

Getting into video and audio quality, the video transfer was very good, but there are a few issues I had with visible edge enhancement, particularly on the first film, but considering the overall package, the video complaints are relatively minor.