Sentences with phrase «focused films were made»

The agent - focused films were made over the course of six weeks and aimed to create a visual connection between a selection of the brokerage's talent and their future clients.

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.

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.

Lawyers from inside and outside the White House are confronting the Mueller inquiry, while others are focused on payments made to silence a pornographic film actress who said she had sex with Mr. Trump.

Recently she filmed a pilot for a TV show that's focused on helping overweight families make better food choices.

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.

While you don't want to focus on a film's score / soundtrack, Tarantino also uses music from his favorite films and repurposes them in clever ways to make the point that he's not just a serious film buff — he's an original filmmaker.

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.

When the film focuses on the wine - making process, in the progression from vine to bottle, it's a fascinating and detailed look at a very specific subculture.

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.

Yes, it has some very genuine moments, the cast is loveable and the animals are the main focus in the film once again, and yes those portions are all terrific, but there is something off the entire time, making it a little distant from what made the first one special.

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.

As for the portions that focus on Annie's personal dramas, it's not that they're not enjoyable rather that the parts that make due on the film's title are so immensely entertaining, you'll wish the entire film had been just that, about the bridesmaids.

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.

As for The Danish Girl, his timely period drama about the first known trans person, Focus Features — the company distributing the film — has by all accounts made the surprising decision to debut the film in Venice (it's listed as making a North American premiere in Toronto).

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.

The action is surprisingly clear, with the focus rarely faltering; with so many animations opting for a much denser, clustered style, its good to see this film do much better in that regard, making it more eye friendly.

The film, which Ferrell and Adam McKay are to produce, will focus on a woman with dissociative personality disorder, who wins the lottery and decides to spend the money on making a cable access talk show based on her life.

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.

The acting isn't as bad as everyone is making it out to be, for an action film focusing on robots vs robots carnage, it's pretty decent, and the film had it's comedic moments without overdoing it like they did in RoTF.

Original films The Search For Spock and The Undiscovered Country focused on Klingons so it's a bit odd they haven't made them fully formed threats for the Federation even with a looming war on the way.

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.

Lately her focus has been on roles in smaller films that really make an impact.

There's also the sensible thinking that Ready Player One and Star Wars share a similar sci - fi focused audience, so a shift makes sense for both films.

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 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.

It's no surprise that the film's release was delayed for so long, because despite a talented cast that includes Kristen Wiig, Owen Wilson and Jason Sudeikis, «Masterminds» is so focused on making its characters look ridiculous that it forgets to give you a real reason to laugh.

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.

Titled The Hero's Awakening, the movie is being produced through the Russos» Anthem production studio, which they founded earlier this year to focus on making films for China's massive, highly lucrative movie market.

The Danish Girl — if it is going to rally anything in the race it could hit here, with Eddie Redmayne — both films from Focus features that made Best Pic hit here first in the past two years.

Ever the underdog, Steve Rogers single - mindedly focuses on what's best for everyone else and while subsequent films introduce more nuance to the character, The First Avenger remains a fun if somewhat schlocky introduction to what makes Captain America tick.

The films will be making their premiere at the event, including one focused on the Wii U and New Super Mario Bros..

Where the first film followed an older couple's attempts to match coolness with a much younger pair, while also somewhat clunkily exploring the interplay between authenticity in life and authenticity in art, this one focuses on a college freshman's infatuation with her older future stepsister, a free spirit who makes New York seem as magical as it should be.

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?

This trailer really makes the film look great, and they're obviously focusing on those quotes about it, but I'm still not that into it after seeing it at Sundance.

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-...]

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.