Sentences with phrase «focused than the other films»

«American Wedding» is more focused than the other films, centering mostly on the crowd favorites and leaving the other less notable characters in the dust.

Not exact matches

This film teaches us to focus on someone or something other than ourselves to reach an impossible goal.

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

And if you think it's only the well to do who shell out upwards of $ 3,000 for hair weaves, you'd better prepare yourself because there are working women all over the US and Canada (as I'm sure there are in other places though the film focuses mainly on the US) walking around with hair that cost more than some cars.

I'll leave out any negative reviews, because I'd rather focus on the mainly positive responses I had to this year's selections (in other words, I did see more films than the ones listed below).

Frustratingly the film does not focus on anyone other than Greg.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

Yet considering the antagonism that was brewing during this period, the film focuses on this couple's affection for each other more than the violence surrounding them.

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.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

Not much is known about the plot of the next film other than the fact that it will focus on Pandora's coastal tribes with several scenes under water.

It's arguably a better fit in that vein than some of the other female - focused contenders; Lady Bird certainly has its own momentum now, and it's entirely possible Natalie Portman will have successfully shamed the Academy (and possibly the DGA) into giving Greta Gerwig a nomination for Best Director, but that film doesn't play the abuse card the way Three Billboards does.

Other than the screenplay for Return Of The Jedi, after those films he focused on his own career as a writer / director.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

The film focuses on their relationship, with her seeing him as a sort of uncle and him interested in a bit more than that, until he figures out she and his young apprentice have formed an attraction for each other.

Like Batman Begins and several other films that seek to re-envision the origins of their heroes, Star Trek focusses more on character than action, with conflict at a personal and inter-personal level favoured before the inter-planetary.

Other than his one success, The Sixth Sense, which even I admit was a fantastic piece of cinema, his films have been far - fetched and so focused on a twist ending that the end results are normally a look of confusion.

Few films have inspired a generation of action - focused science fiction, both in games and other movies, more than James Cameron's Aliens.