Sentences with phrase «general idea of this film»

The general idea of this film presents no problem for me in terms of logic or believability.

Not exact matches

This gives you a general idea of how much of the film's appeal rests on you buying in to the cutesy nature of the car.

The idea of young black girls seeing this film and being inspired by Letitia Wright's Q - like gadget - crazed scientist Shuri or Danai Gurira's none - more - badass and effortlessly movie - stealing General Okoye is more thrilling to me than anything that happens in the actual movie.

The mysterious sequel to the 2008 found footage monster movie sprung from nowhere, surreptitiously filmed without the general public having any idea of its connection to Cloverfield until mere weeks before its release.

I know brand recognition supposedly equals profits (ahem, tell that to recent films like Fright Night and Conan the Barbarian), but maybe they could try to make something new using the general idea of an FBI agent infiltrating a criminal ring.

First, a seven - minute piece called «The Spirit of the Ride» has the director and various other cast and crew discussing how they drew on the amusement park ride for ideas and general atmosphere for the film; the 14 - minute mini-documentary «Dead Men Tell No Tales» (also available in the DVD - ROM content in the two - disc edition) gives a history of the «Pirates of the Caribbean» ride, complete with lots of behind - the - scenes looks at the animatronic pirates and nostalgia - inducing footage from the ride itself.

The movie is defintiely inventive, and has lots of neat ideas, and, while I can't fault a film in general for trying to be ambitious, I think Cox tried a little too hard and tried to throw too much into the mix with this one.

Understanding the jaw - dropping effort that went into this movie, it's tempting to wish that Kobiela, Welchman, and their army of animators had come to the same conclusion that old Albinus reached before he scrapped the whole idea: A film made in this way, he reckoned, «would bore most people to death and be a general disappointment.»

The series was key in building momentum for the character leading up the upcoming release of the Marvel film about T'Challa and his complicated relationship with Wakanda, and the idea of royalty in general.

It sets up the film's themes nicely and the general idea of the script certainly resonates.

At a certain point, The Light Between Oceans seems almost single - minded in its pursuit of theme; by the time the nationality of the dead man in the boat is revealed, the film has made clear that we're watching variations on survivor's guilt — the idea that, in war and maybe life in general, staying alive (or emotionally fulfilled) is often a zero - sum game, dependent on choosing your own well - being over that of a stranger.

Perhaps Mangold's ire is more directed at the idea of Universe filmmaking in general, where each film serves as a set - up for the next.

The ideas and effects throughout this film opens the minds of general moviegoers and eases the concept of the eventual battle with Thanos when the time comes for Avengers: Infinity War.

The ideas and effects throughout this film opens the minds of general moviegoers and eases the concept of the eventual battle with Thanos when the time comes for

Said experiment asks if a panel of Cannes jurists can overlook a film's glaring structural problems, general listlessness, uneven tone, and unfocused ideas in the face of a few scattered scenes of unbridled genius.

Some of our notable entertainment and media attorneys are: John Quinn, General Counsel of the Academy of Motion Picture Arts and Sciences, who has also represented entertainment and media clients in a number of high profile cases; Kathleen Sullivan, the former Dean of Stanford Law School, First Amendment scholar, and nationally renowned appellate advocate, who heads the firm's appellate practice group; Bob Raskopf, an expert in the sports, entertainment and media bars in New York, who is perhaps best known for his work on behalf of professional sports leagues and teams, newspapers and publishers; Claude Stern, who has represented a broad array of leading software developers, videogame manufacturers, online publishers and other media clients in all forms of intellectual property litigation, including copyright, patent, trade secret, trademark, and licensing disputes; Bruce Van Dalsem, who has tried and resolved disputes for studios, producers and performing artists in the film, television, music and finance businesses, securing a top five verdict in California based on the misappropriation of a film library; Gary Gans, an expert litigator in motion picture financing, production and distribution disputes, as well as copyright and idea theft cases, who has been named in 2012 by The Hollywood Reporter as one of America's «Top Entertainment Attorneys;» Jeff McFarland, who has litigated entertainment related cases for more than 20 years, including cases involving motion picture and television series profits, video game licenses, idea theft and the «seven year rule;» and Michael Williams, who represents a satellite exhibitor and other media clients in trademark, copyright, patent, antitrust and other commercial litigation.