Sentences with phrase «focus of the film make»

Did the personal focus of this film make the process of making it feel substantially different from your first two films?

Not exact matches

Nonny de la Peña, an L.A. - based journalist and pioneer in VR film - making, created a 3D virtual representation of the night that Trayvon Martin was killed, and has also made an immersive film focused on the refugee crisis in Syria.

Our screen - driven existence actually makes our love of real things, i.e. vinyl records, paper, and film photography even more important, refined and focused as a human society.

Sure, there's still crime - fighting and high - tech gear, as in any superhero film these days, but focusing on Parker's vulnerability, and creating a relatable coming - of - age story, seems to be what makes this Spider - Man special.

Coss, who taught drawing classes early in his academic career and whose previous research focused on art and human evolution, used photos and film to study the strokes of charcoal drawings and engravings of animals made by human artists 28,000 to 32,000 years ago in the Chauvet - Pont - d'Arc Cave in southern France.

The four fiction films that follow the documentaries were all made for politically motivated anthologies, and they focus on themes of social change and personal identity.

Although recent films like Captain Phillips and A Hijacking paid Somali pirates more than simple sympathetic lip service, they ultimately demarcated clear lines between right and wrong, making their primary focus the victims of the abductors.

Another positive note is that while Wolverine was made the obvious focus of the flick, it's outstanding to see that the climax of the film required the teamwork of all four X Men and the combined use of their powers to win the day.

While it's not a perfect film by any means — a lack of catchy musical numbers and a questionable shift of focus in the film's latter half knock Megamind down a few pegs — the lively cast and interesting flip on the superhero concept make it a fun time at the movies for viewers of all ages.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

This is once again Hitch making a film that's a mix of romance and thrills, although here the focus is more on the romance.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

It is a great film, which focuses more on how they built their careers from the music and passion of each, and games behind the scenes making it more fun

It was made before Philadelphia, focuses on characters that are almost entirely gay men, it covers the entirety of the 1980s, offers a very honest portrait of the AIDS crisis, is a better movie, but Philadelphia is heralded as the definitive film about this subject.

Despite an arc that feels reminiscent of similar films that came before it, the film's focus on timely social issues make it stand out from the pack.

The Legend of Tarzan feels like the sequel to a much more interesting film... I wish Yates would have just focused on the elements of Tarzan's story that made it so interesting in the first place instead of foolhardily trying to modernize it.

The philosophy behind the sequel was obviously to focus on the action, and although it cuts into much of the what made the first film that much better, there is enough to latch onto to celebrate the Kung Fu Panda once again, and to let the fireworks begin.

Brian De Palma demonstrates the drawbacks of a film - school education by overexploiting every cornball trick of style in the book: slow motion, split screen long takes, and soft focus abound, all to no real point... He's an overachiever — which might not make for good movies, but at least he's seldom dull.

Chris Pratt and Bryce Dallas Howard are returning along with an island full of unwanted beasts and for those who worried the last preview focused on just the bigger action scenes, this one has some of the more intimate creepy sequences that made the original film so successful.

It also seems he was dying to make a film set in the»70s (focusing a lot on the music of the time) and this was the best excuse / subject he could find.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

It's sociopathic focus will make sure it doesn't win... it may win best screenplay, but that's still a long shot, I have a hard time seeing the Academy old timers seeing the relevance of this particular film.

Miraculously, that's also as true of this sequel as it was of his first big - screen outing, as the film goes bigger and darker without losing focus on the small acts of kindness that make its ursine hero great.

Criterion has also added «Strange Magic,» a 13 - minute featurette focused around writer and Rookie editor - in - chief Tavi Gevinson, who explores the film through the lens of adolescence, suicide, and memory via her own writing and imagery from a fanzine she made about the film in 2012.

Set after an apocalyptic nightmare in which ugly - ass blind giant insect - y creatures (looking like atomic grasshoppers) have done in most of the planet, Krasinski's film focuses on one family in rural New York who have abandoned their farmhouse to live in the barn where it is easier to control the sounds they make.

The film which stars newcomer Elsie Fisher focuses on eighth - grader Kayla as she makes her way through the last week of middle school.

I myself worked on a piece for Premiere magazine focusing on the event from the perspective of David Breashears, who made the IMAX film «Everest» (1998) and who appears as a minor character here.

The film is so beholden to the moods and manners of Malick that even its more estimable elements (the acting, the cinematography, the very conceit of making a movie about Abraham Lincoln that focuses exclusively on what's ostensibly the least interesting part of his life, sort of a Younger Mr. Lincoln) are diffused into the ether.

This rich film focuses on the filmmakers who made films for the German company Continental Films, their complex web of motivations and is of necessity laced with historic ironies.

Nonetheless, Chronicle of a Kidnap makes enough of Karnit Goldwasser's struggle to remain a moving film, and has the good sense to keep the focus at the personal level and avoid discussion of the greater Israeli - Arab conflict.

Although this decision might make the film more accessible to a wider audience, as it is easier to understand what Amin does when it seems to be a direct result of information that cuts to his very core, it does weaken the larger political story overall by making the focus more about crimes of passion than it is about crimes against humanity.

Its refusal to linger on the sexy, flashy or gratuitous is also a good move from the directors, it instead makes Linda's story the main focus of the film and is all the better for it.

Unlike The Silent Revolution, The Captain's narrative focus is not on the victims (who eventually become victors) of history but the perpetrators — a true rarity in the history of German cinema that is made even more remarkable by the fact that the film does not concern itself with the famous culprits (as does Oliver Hirschbiegel's Der Untergang [Downfall, 2004]-RRB- but, rather, with the «unknown» wrongdoers, that is, the «little guys» who, once afforded the opportunity, displayed the same murderous tendencies than their more famous leaders.

The only film in between was the indie «Ruby Sparks,» and with Fox Searchlight haven't to make some strategic choices between this, Guillermo del Toro's «The Shape of Water,» and Martin McDonagh's «Three Billboards Outside Ebbing, Missouri,» will she and her counterpart receive the proper focus?

By focusing on the people who made the movies, these spoofs managed to avoid, intentionally or unintentionally, any real analysis of the films their characters made.

As brilliant as I find the film in its parts, as a whole I can't completely rave, as the film does falter a bit due to a lack of focus and there are some weak scenes, especially as the film nears the ending, which should have been edited out of the rather long film to make sure the storyline stays tight.

This is easily one of the darkest comedies Michael Bay has ever made, and possibly his best film yet, considering an improved focus on characters with a solid script.

Beyond a short showing how to make one of the sweet delicacies from the film's Mendl's patisserie, the extras on the DVD are perfunctory and include a stills gallery and two gushing promotional shorts: one with the actors rhapsodising and the other focusing similarly eulogistically on Anderson.

It is movingly fitting that one of the only superhuman - based films centered on women (in this case, generations of women with Gugu Mbatha - Raw and her growing star power, underrated television character actor Lorraine Toussaint, and youngster Saniyya Sidney bonding and making amends while also going even further back reading ancestral passages from a handed diary) focuses -LSB-...]

The Coen Brothers» love letter to 1950s studio films has almost too much of what makes a Coen Brothers film great, with not enough focus on resolutions or narrative.

There are some controversial scenes and the film labours to make a point of depicting sex in an extremely unsexy way focusing more on the bleakness of the existence of the lives of the women caught up in the sex industry.

«Swiss Army Man: Making Manny» (3 mins., HD) is another dummy - focused featurette, but this one's a time - lapse construction of the particular «Manny» that had the honour of going on tour to promote the film.

In The Future, writer / director / star Miranda July indulges in the same wayward malaise of her previous film, Me and You and Everyone We Know, but, somewhat ironically, the focus on the uncertainty of «what comes next» makes this one seem a lot less scattershot.

More of a focus on the plot and more focus within the plot could have made this film great, but when looking at what we were given, it is pretty darn good.

Focus aimed to position the film as «not a biography about the Pope, rather a film with him,» and having the leader of the Catholic Church as the central subject made the marketing task pretty straightforward.

Williams was in town along with William Forsythe, who plays Cockeye, one of the quartet of Jewish gangsters who make up the film's focus — the other three are played by James Hayden, who actually died before the film's U.S. release, James Woods, and of course Robert De Niro.

As I touched on earlier, I'm actually glad that I didn't get to many new movies this year, because I liked being able (forced) to focus on the cult films that make up the backbone of MRFH.

But while the making of that movie's famous shower scene is depicted along with some other brief scenes from the film, Hitchcock focuses more on the filmmaker's marriage and obsession with his work.

I think because we are fans and have an understanding of cinema and have an understanding of being fans, we try and focus inwards all the time and make films for ourselves.

One of the things that has made the series so popular has been its focus on family and being a fully diverse cast, making it much different than many of the other bigger films coming out of Hollywood.