Sentences with phrase «from anyone in the film»

Not exact matches

This film allows you a high level of privacy during the day, preventing anyone from seeing what's going on in your private life.

Everything about the film and the characters in it is a throwback, and purposefully so: From their clothes (can anyone please direct us to where we can buy Stone's below - the - knee backless dresses?!

Anyone who is interested in the history of film technology and cinema can certainly take something away from Side by Side, even if it is just learning the opinion of Robert Rodriguez or Danny Boyle.

To anyone new to Stranger Things Imagine ET, Aliens, The Goonies, The Thing, IT and many other 80's -90's Science Fiction / Horror films books mixed together that was infused of so many pop culture references from the same time that they become hard to keep track of at times well THAT is pretty much Stranger Things in a Nutshell!

An energetic and curiously faithful remake of the 1984 film of the same name starring Kevin Bacon, writer - director Craig Brewer's Footloose is a virtual cinematic poison pill to anyone irrevocably divorced from any trace memories of adolescent feeling, and further proof that in life but especially art feeling is stronger than thought.

... Okay, so it's kind of lame to forcibly cite this film as nerdy to the point of getting a star with a surname that sounds kind of like «Edison», but the filmmakers had to have some corny joke somewhere in the casting, for it's not like Edison has been earning enough attention from, well, anyone to get a gig even this low in profile.

Given his method - inspired, Golden Globe - winning (for best actor in a miniseries or television film) effort, it is now impossible to imagine anyone else as Dean apart from the legendary figure himself, in a testament to Franco's pervasive prowess.

The Ring), the sister of the protagonist from the first film, Karen (Gellar, Scooby - Doo 2), who wants to get to the bottom of how to stop the curse started in that house in Japan that affects anyone who dares enter it.

Available from Twilight Time, The Man in the Moon should be a staple in anyone's romantic film collection.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Fans of Jason Statham will no doubt have some fun with Killer Elite and there's one show - stopping moment in the first Statham / Owen brawl that will certainly get a reaction from audiences, but for anyone looking for either an over-the-top action flick or a smart - witted political thriller, the film fails to live up to the sum of its respective parts.

Ted 2's story is filled with holes, but obviously that's not what's going to draw anyone to this kind of movie and so MacFarlane wisely makes a concerted effort to up the laugh ratio here from what we saw in the first film.

Gavin O'Connor came on board in the eleventh hour and brought his workmanlike grit and professionalism to help save this film from falling off the rails, putting together a perfectly acceptable picture that won't be a blemish on anyone's record, but won't stand out either.

City Of God — I avoided seeing this film for a long time, despite it playing my theatres in two separate runs and rave reviews from anyone who saw it.

But things feel malformed from the off, which begins with a lot of people saying a lot of portentous things, and continues to the assassination itself, which is more than underwhelming, in part because of what seems to be a pretty tight budget — Landesman watches Giamatti as he films the shooting, but there doesn't seem to be anyone else in Dealey Plaza except him.

Having abandoned hope to save anyone, he gave up on life, sipping regularly from his hip flask and walking throughout much of the film in an alcoholic haze.

It also highlights the effort that Linklater has made in support of Independent filmmaking and how he was influential in helping create the Austin Film Society whereby old film prints could be saved and showed, as well as raising money from filmmakers to help make more films.Overall, it does little but scratch the surface and a bit more in - depth analysis to his films would have been welcome but to paraphrase Billy Bob Thornton on the outtakes at the end; «Rick Linklater doesn't need anyone to make a documentary about him.

From its very conception, BULLETPROOF MONK is all wrong, only to be compounded by some very bad dialogue from screenwriters Ethan Reiff and Cyrus Voris, and it will come as no surprise to anyone who views this that TALES FROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to dFrom its very conception, BULLETPROOF MONK is all wrong, only to be compounded by some very bad dialogue from screenwriters Ethan Reiff and Cyrus Voris, and it will come as no surprise to anyone who views this that TALES FROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to dFrom its very conception, BULLETPROOF MONK is all wrong, only to be compounded by some very bad dialogue from screenwriters Ethan Reiff and Cyrus Voris, and it will come as no surprise to anyone who views this that TALES FROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to dfrom screenwriters Ethan Reiff and Cyrus Voris, and it will come as no surprise to anyone who views this that TALES FROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to dfrom screenwriters Ethan Reiff and Cyrus Voris, and it will come as no surprise to anyone who views this that TALES FROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to dFROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to dFROM THE CRYPT: DEMON KNIGHT would be their biggest claim to fame in film to date.

sticks out from today's oversaturated horror market simply because it harkens back to a group of films that haven't been touched by anyone else in the last several years.

Film is an art that allows the viewer to bring themselves in conversation with it, and therefore what each person sees in a film will be different from what anyone else sees.

The film finds Clooney's hit man from the states overseas in Italy, prepping to pull off what he hopes will be his last mission - anyone care to make a wager that events don't go quite as planned?

While Feige doesn't mention anyone specific from the Dark Dimension playing a role in the film, the two most notable residents are the villains Dormammu and Umar.

Also note the new cover, a reference to a key moment in the film that will draw knowing nods from anyone who has ever seen it.

Ayako Fujitani (who starred in Boyle's 2012 film Daylight Savings) as the depressed mystery author trying to escape from an identity more manufactured than anyone could potentially guess, is a bit imperceptible at first, though she quickly thaws once the handsome and enigmatic stranger (Kazuki Kitamura) lures her into a dense mystery.

The only reason that matters from my perspective is that I can no longer make the argument that Anne Thompson was right in not predicting films she nor anyone else had yet seen.

Any of these films would be worthy of an Oscar win, but I'm personally rooting for the race documentary «13th» (a must - see for anyone, the kind of film they should show in schools) and «O.J.: Made in America,» which is a marathon at nearly eight hours in length (it was shown in parts on ESPN earlier this year), but a completely fascinating look at race, media and society as it was in the 1990s and today, and just happens to be a tragic portrait of the worst fall from grace for a sports star in the history of our country.

I wasn't too far removed from the age of the kids in this film at the time it was released, but I don't remember the terminology for a «dork» being something anyone would question, and I certainly never heard of the male sex organ being called a «pinky».

Only die - hard series fans will find any of this distracting, as the film works just as well as a standalone spy adventure as it does an entry in Bond canon, delivering most of the goods anyone might expect while also offering a handful of new twists to keep it from being just another entertaining - but - forgettable entry.

Though most behind - the - scenes features showcase the production process once filming is underway, The Player gives us a glimpse of what goes on behind the scenes of the behind - the - scenes process, where the only dreams that come true are for the people up top — the people who feel that anyone can make a story that will entertain millions, while the lowly creators that nurtured the initial ideas are seen as little more then expendable goods hardly worth receiving input from once the studio handlers squeeze their foots in the door, symbolically getting away with murder — the figurative death of the writer in the Hollywood production process.

Was a time that Argento redefined the slasher flick in the same way that countryman Sergio Leone redefined the Western; that Argento (like American rival and doppelgänger Brian DePalma) was appropriating bits and pieces from Alfred Hitchcock and rejuvenating them in films exhilarating for their willingness to do absolutely anything to anyone at any moment.

We learn next to nothing about anyone in the film, aside from the fact that Newt was once in love with someone whose family plays a large role in the events that take place 70 years later.

A serious - minded and decidedly adult fairy tale about a virginal young woman who learns from her brother (Malcolm McDowell) that they are descended from a race of human - panther hybrids doomed to revert to their murderous feline state while making love to anyone outside of their own bloodline — a problem as she has just fallen in love with a sweet - natured zookeeper (John Heard) who specializes in big cats — this is a film swimming in sex, violence, poetry, philosophy and swanky visuals in such extremes that it always seems to be on the verge of becoming utterly ridiculous but it somehow never goes over the edge into camp because of Schrader's serious - minded handling of the material; it may be nonsense but he never treats it as such.

Perhaps in 28 years, as the effects go from stunning in 2010 to dated, people will look back and wonder why anyone would be entertained by a such a film, but for today, it delivers on action, effects, solid choreography, art design, and should hold the interest of the genre fans for which it is intended.

For, because a late - film revelation concerning Diane triggers a genuinely forceful outburst from Lane, and their mother - daughter contention is reasonably potent throughout; against, because Farrow simply can't compete with the vivacious senior actress (nor can anyone else in the film for that matter).

The sort of problem Sontag has with Jameson is, of course, the very argument Bordwell has with anyone from Slavoj Žižek to Jacques Lacan, evident in a comment he makes on his blog (but not in the book) that echoes directly Sontag's: «Most of FRT [Zizek's The Fright of Real Tears] offers standard film criticism, providing impressionistic readings of various [Krzysztof] Kieslowski films in regard to recurring themes, visual motifs, dramatic structures, borrowed philosophical concepts, and the like.»

The funny aspect is shown in this exclusive clip from the film, which shows the two characters as they run across a couple would - be rappers and the two teen girls who end up seeming more interested in Cassel than anyone else.

It's especially searing coming from Florence (Mary J. Blige, in what should be an Oscar - nominated performance), who as a black woman has historically been silenced more than anyone else in the film.

It's a film that could be put in front of anyone, right or left side, American or foreign, and you might have different reaction from everyone involved.

No one looks at photos anymore, since everything anyone would want or need to know about a person can be obtained from an oral swab (women and men visit a dating booth, where the recently amorous have samples of potential mates tested, and it's where a co-worker (Uma Thurman) tries to find out more about «Jerome,» in the film's clumsy and obligatory romantic subplot), which is helpful.

Here, Stewart doesn't need to steal the film from anyone: She's in virtually every crisp frame of it, holding the camera's woozy gaze with her own quizzical, secretive stare and knotted body language.

There's the usual crop of film awards front - runners to be found here; in addition to the list above, there is also Michael Fassbender, Eddie Redmayne, Rooney Mara, Rachel McAdams and Kate Winslet, but one or two surprising omissions, especially The Martian, Jennifer Lawrence or indeed anyone from Joy (David O. Russell films have tended to be garlanded with at least nominations in the past).

Anyone who seriously thinks that Disney needs Pixar to weather some kind of financial storm in the next 2 years needs to review that list of films and wonder why The Good Dinosaur — or anything from Pixar — is more of a sure thing than more of Captain America or Kermit the Frog.

It speaks a little to how much anyone's work suffers in the transition from films in which the talented one has almost absolute power to films like this where, I'd suspect, Proyas had considerably less.

Its failure will not only be catastrophic for the DCEU, but also for female directors and female - led superhero movies; 2) Wonder Woman is a great character and is different from anyone we've seen in either a DC or Marvel movie; 3) The critique that the trailers make the film look like a mid-noughties superhero movie isn't a criticism, it is a blessing.

His skillful transition from deep - in - denial emotional repression to manic rage is crucial to the film's success, as Lanthimos and co-screenwriter Efthymis Filippou's characters don't talk like anyone you've ever met in real life.

If you watch this film and don't feel emotions or a feeling of disgust in the pit of your stomach, regardless of where you are from, you are far more callous than I could ever imagine anyone being.

Though there is a fly - over of the area (at least of Montecito, which is just south of the city) at the beginning of the film, and at least one prominent exterior shot outside of the Santa Barbara County Courthouse (though the film depicts a farmer's market in front of it, which anyone from this area will know it never has in that spot.)

Even the extras give the film a feel of authenticity, as if danger could erupt at any moment, in any neighborhood, from anyone.

«Inside Llewyn Davis» gets its milieu just right, from cold - water flats to the West Side digs of bohemian academics (Ethan Phillips and Robin Bartlett — the Coens repurpose familiar character actors as well as anyone this side of Charlie Kaufman or Ryan Murphy), but there's never a sense of fawning, things - were - so - much - better - then - man nostalgia that often surfaces in films like this.

Several people die in the film, but it is this hanging space that feels most traumatizing and disruptive, the entire world around the characters bent toward their amoral solipsism and willingness to die just so long as they can prevent anyone else from getting out ahead of them.