Sentences with phrase «first issue with the film»

I think the first issue with the film are the visuals.

Not exact matches

The film acknowledges that first lady Michelle Obama raised the issue of childhood obesity, but it pretty much declares her «Let's Move» campaign a failure because it focuses on exercise and because she has worked with food companies rather than opposing them.

The first three or four paragraphs in which he identifies all of the issues with the film is exactly where I'm at with it.

Despite some intermittent pacing issues and some horrendous sound quality problems during the first 30 minutes, the film delivers on all other fronts, with superb performances from its excellent ensemble cast (especially protagonist Cliff Curtis) and a nuanced script that tackles its complex story line on multiple levels.

Because Fault in Our Stars deals with heavier issues, it should leave a stronger impression on people than Boone's first outing as director; if handled well, the film could be a moving tear - jerker - if not, this one could easily feel cloying and / or manipulative.

It was nice to see Shaye in a meaty role rather than be stooped to a exposition tool (my main issue with the first two films).

And I'm glad I did because some of the issues I'd had the first time (I'd found its metaphor a little scattered) came more into focus, and I was reminded of its many strengths - Peele juggles all sorts of genre and tonal trickery with ease, and I love every single performance in the film (yes even whatever Caleb Landry Jones is doing).

Rolling Stone recently spoke with Black Panther star Chadwick Boseman, portraying T'Challa (Black Panther), as he covers the publication's March 2018 issue, as well as director Ryan Coogler — as both detail more about the highly - acclaimed film and its impact, with it being the first Marvel Studios movie to put a person of color in the lead role and to feature a mostly black cast.

2 «isn't as amazing a film as the first and suffers from some pacing issues,» but it is still «a fun time with a lot of heart.»

With four of you producing this film, were there any logistical issues as first - time [Marisa, Ivan, Michael] and relatively new [Sam's third film producing credit] producers?

In this case, it seems that Harris is trying to craft a film that even proven directors would find daunting, with issues like suicide, dysfunctional families, first - time sex, adultery, potentially fatal diseases, homosexual tendencies, abuse, school pressures, and drugs.

When: July 1st Why: One of the biggest complaints about the first «Magic Mike» was that it was a lot gloomier than moviegoers were expecting for a film about male strippers, and Channing Tatum has addressed those issues with the promise that the upcoming sequel will be a much lighter affair.

It's a sequel that has all of the laughs of the first film with the added depth of a social issue picture.

Despite strong reviews and preternaturally ripe direction on the part of first time writer - director Jake Kasdan (who was twenty - three at the time), the film was issued to the public in the traditionally lackluster month of January, and like many of its brethren in Stiller's filmography, may have dumbfounded audiences with its meld of comedy and confrontation.

Paul Bettany makes a strong impression with his first film as a writer - director, exploring the big issue of homelessness from a variety of pointed angles.

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.

The movie wasn't a great sequel; it felt like Iron Man 2 but with a stronger villain, basically rehashing the same internal issues of distrust and despair in the first film.

But for whatever reason (perhaps rights issues over Hal Ashby's 1973 film adaptation of the first book), Last Flag Flying is a «spiritual sequel» at best, with the characters» names changed and their backstories subtly adjusted (for one, two of them are former Marines now).

Actor and writer Paddy Considine tells Metro how he dealt with some tough issues in his first full - length outing as a film - maker with Tyrannosaur.

His first huge success was Kinky Boots, a film about British drag queens and shoemakers which dealt with the issue of Britain's long - standing textile industry losing out to foreign competition, then there was Brideshead revisited, another story about a commoner and a member of the elite upper - classes falling in love, because apparently we can't get enough of those.

The real Jada Pinkett was the first but probably won't be the last person portrayed in the film to take issue with its dramatic license.

My biggest issue with the first film is that it felt like it was all exposition.

After some vague hints dropped in the first film, Jean Grey (Famke Janssen) suffers through certain control issues with her telepathic and telekinetic abilities, worrying fiancé Scott Summers (James Marsden, who painfully proves to be far out of his depth), a.k.a. the optic - blasting goody two - shoes Cyclops.

Out today at comic retailers, issue # 6 of Marvel's team - up title Spider - Man / Deadpool features the neighborhood webslinger and the Merc with the Mouth walking out of a screening of Nighthawk v Hyperion: Yawn of Boredom with the tagline, «You won't believe their mothers share a first name,» a dig at the film's coincidental resolution between the heroes.

The first section of the film is an expositional wonder, as not only are the main characters (including Secretary of State William Seward (David Strathairn), Republican poobah Preston Blair (Hal Holbrook), radical abolitionist Thaddeus Stevens (Tommy Lee Jones) and various members of the White House - hold, among others) introduced and motivated, but the political issues involved are explained with a detail, clarity and respect for the audience's intelligence that's extremely rare in a Hollywood film.

«We have an issue with the first film and the accounting so if that can all be resolved, I think we'll end up making it.»

A photojournalist with the eye of a visual artist, for more than 60 years, Parks covered civil rights, race and poverty issues, as well as high fashion, and in 1969 was the first African American to write and direct a Hollywood feature film («The Learning Tree»).

The first comprehensive retrospective of the career of Danny Lyon in twenty - five years assembles approximately one hundred and seventy - five photographs and related films and ephemera to highlight the artist's concern with social and political issues.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.