Sentences with phrase «get anything in the film»

Not exact matches

In these films, there's no need to see anything past the moment where the couple finally gets together, because getting together is the end of the story.

But while The Sword in the Stone gets a pass on entertainment value if nothing else, the same can't be said for this film, which more than anything else is shapeless and a little boring.

If the secret police ever want to get anything out of me, all they have to do is sit me down in front of this film.

Nothing gets resolved in the end, and the character doesn't do anything except mouth off for the entire film.

If Rampage's giant monsters stand for anything — and giant monsters usually do, even in films as silly as this one — it is the destructive self - interest of the monstrously rich, and there is an unexpectedly topical plot thread here about billionaire grifters in gilded office blocks getting their FBI - mandated just desserts.

I'm not even of the school that thinks the Zimmer approach is fundamentally wrong for a film like this — it's just that in this instance, he (assuming he actually had anything to do with it) certainly did get it wrong.

If the recent crop of low - budget, intimate war films featuring a handful of actors in limited locations tells us anything, it's that studios are desperate to ensure that they get a better return on investment than a full - blown, star - studded action spectacle.

Rear channels get a nice workout during the abovementioned roller coaster sequence, but in a film lacking anything resembling pyrotechnics, the soundtrack mostly splits its time between reproducing Fenton's noxious compositions and trying to accommodate the whining of both Aniston and Alan Alda (as Nina's pop) in one speaker - busting scene after another.

More than anything else, in fact, the look and episodic composition of the film reminded me of Wojciech Has's The Saragossa Manuscript, a Polish film based on a Polish writer's French - language novel set in Spain (that's no doubt as European as it gets).

His longing pre-fight ode to peanut butter - chocolate ice cream — «You can get it at Wal - Mart,» he deadpans — is, in its way, as revealing about the suffering athlete as anything in Black Swan, not to snark too much on Darren Aronofsky, whose recent films till similar ground.

And any time spent thinking about how ridiculous what they're actually talking about is, is still more entertaining than some of the antics the supporting characters get up to, be it John Malkovich trying to kung fu a robot or a former Special Forces soldier complaining stress or all the running he was having to do, or dear God anything having to do with Sam's parents who offer nothing to the film but reminders why they shouldn't be in it.

It's nice to see Kit Harrington get a starring role, and even see David Harewood in a feature film, but there's not a whole lot separating this film from anything else we have seen.

The holidays are just around the corner and if you haven't gotten anything for that film / TV / theater lover in your life, check out this experience purchasing platform that benefits various charities.

What You Need To Know: On the slim off - chance that you've heard none of the deafening buzz surrounding Steve McQueen «s «Hunger» and «Shame» follow - up (which also stars Michael Fassbender), let's get to it: by all accounts (our own included), lead Chiwetel Ejiofor is anything from a good bet to a surefire winner for this year's Best Actor Oscar, with the film itself a likely player in the Best Picture race and any number of the other actors (Fassbender foremost among them) potentially primed for Supporting Actor nod.

Regardless, the effect of limiting the film to the Dunst - Hartnett storyline is twofold: first, we get to enjoy many many many shots of pretty young actors being pretty, walking in slow motion, rolling around in the grass, etc; second, none of the other characters ever mean anything to us.

Pastor Paul (2015 — Nigeria) When a white tourist travels to West Africa, gets cast in a micro-budget version of «Hamlet», and is possessed by a ghost, anything can and does happen in this film that multi-hyphenate director - writer - actor Jules David Bartkowski calls «the world's first American Nollywood film.»

Don't get me wrong: the idea of someone performing copycat murders based on an author's work of fiction has potential (even if it's been done before, most recently in the pilot for the TV drama «Castle»), but there's nothing in the trailer that suggests the film will be anything other than a generic whodunit.

And I got to admit, Snow White and the Huntsman was better than I expected but that's only because it was my fill - in movie (went to see two films and there was this 2,5 hour gap between them that I needed to fill) and I didn't expect anything.

In Nothing Bad Can Happen, a «provocative» film without anything truly provoking, Tore (Julius Feldmeier) is a homeless teen who, in the film's opening, gets baptised in a lakIn Nothing Bad Can Happen, a «provocative» film without anything truly provoking, Tore (Julius Feldmeier) is a homeless teen who, in the film's opening, gets baptised in a lakin the film's opening, gets baptised in a lakin a lake.

Inherit The Wind — This straightforward adaptation of the play about the Scopes Monkey Trial (It's very thinly veiled), gets the good performances you'd expect out of Spencer Tracy and Fredric March, but director Stanley Kramer doesn't really bring anything interesting to the film (not unprecedented in Kramer's career).

As if I enjoy demonstrating this, since hanging up his director's cap, Hughes has produced and / or scripted a series of junk kids movies (a few of which stuck only through sheer force of hype)-- in addition to overseeing the screenwriting debut of son James, New Port South, a teen - aimed film, like those Hughes became famous for, that may well speak to the specifics of today's youth but fails to get at anything universal.

What follows is a comedic look at an artist who won't let anything get in the way of putting his vision to film, no matter how baffled the crew gets.

some people are being picky and trying to pass themselves of as a know it all film critic... if you went into this movie with your brain in anything higher than 1st gear you are a fool, i went looking for a bit of action and a salute to a cult classic and i got what i wanted @ 25 «if anybody thinks either Topher Grace or Adrien Brody could stand - up to a Predator seriously needs to consider suicide.»

That show is currently filming its second season, and though we don't know anything about Chappelle's episode, it'll presumably involve him riding motorcycles alongside Reedus while they talk about the cool bugs that got stuck in their teeth and and all the losers they saw driving cars — in other words, the stuff that all motorcycle people like to talk about.

Once you get to the core of this film, it feels as though a meeting was held to decide what happens in the film, and nobody objected to anything.

It is there that he's approached by a 15 - year - old boy named Gary (Sheridan), who is looking for work, willing to pretty much do anything required of him to put money in his pocket and, hopefully, give him a bit of freedom to get away from his physically abusive alcoholic stepfather, Wade (Hawkins, who died shortly after filming).

James L. Brooks» films have been a little up and down lately — 1994's infamous «I'll Do Anything» was followed by «As Good As It Gets,» which in turn begat the floppish «Spanglish» — but his latest rom - com, «How Do You Know,» promises to be a return to award - winning form.

The arrival of anything to do with celebrated British director Mike Leigh certainly gets the juices flowing, so seeing the links to the trailer for the helmer's next film MR. TURNER in my inbox, got me a tad excited.

Although the film ends with a hopeful note about putting the past behind and building upon happiness for the future, the downsides of pat characterizations is that we never get the sense that the burdens they carry and flaws in their character will ever allow them anything more then a temporary lift up out of the abyss of misanthropy.

portrayal of Adie as a bold woman who was willing to put herself in danger to get her story feels just as heroic as anything done by the SAS in the film.

Despite the often inadvertently hilarious tone of her voice, Cornish's portrayal of Adie as a bold woman who was willing to put herself in danger to get her story feels just as heroic as anything done by the SAS in the film.

Made a better film by a great cast, Four Christmases isn't anything new, but it's funny and it's got at least one character that everyone can cringe in recognition at having in their extended family tree.

Also, there are robot - suits in this film for little obvious reason outside of the fact that anything in proximity to the words Iron Man makes all of the money and any film that doesn't look like a videogame simply won't get green lit anymore.

Here, Thor is one of the funniest people in the movie, always leaning into the strangeness of his surroundings, and Waititi mostly gets away with putting his voice into Thor's mouth because A) Hemsworth is this character, so we can buy anything he does; and B) No previous film had defined Thor enough.

It's hard to get too worked up about anything onscreen in The Happys, including the cutesy English translation of Los Feliz, the Los Angeles neighborhood that gives the film its name.

One of those films that's patently been designed around its late - in - the - game plot twist to the exclusion of anything else, it begins with a man who's recently had a mental breakdown moving with his family to a spooky house in the middle of nowhere, and only gets stupider from then out.

Twitter had endless jokes to make about the pairing of Eisenberg and Segel in a film about David Foster Wallace, but The End of the Tour gets the last laugh with each of them pulling off remarkably interesting and endearing performances in a film that feels more than anything like two writers waxing vulnerably about staving off impostor syndrome.

Segel and Diaz are game for anything — both of them have nude scenes, and Segel even manages a graceful if startling naked headstand — and at the film's end, when the audience finally gets a glimpse of the sex tape in question, a few horrified laughs may erupt.

A majority of the first act of the film is spent focusing on the love story between Webber and Miriam (Holliday Grainger), which is fine, but the romance just gets in the way for the other two acts and does not add anything to the film.

The best film of 2006 is a German film about a coldhearted Stasi agent who is assigned to get something, anything, on a prominent playwright in East Germany, five years before the collapse of communism.

When the film gets bored with its four characters, it writes in a load more to try and keep up with (only one brings anything to the plot and that is some comic relief from Scoot McNairy, which I hated, but other critics claim it is the film's saving grace).

The story doesn't contain any major revelations, but in a film like this full of so much heart and cinematic love, that there is no need for anything besides a strong, entertaining and incredibly eccentric story, and that is exactly what we get.

«Vampires Anonymous» (2003) A few years ago, Bullz - Eye chatted with Michael Madsen about how many of his films end up going to DVD, and he explained the situation thusly: «People will promise you the fucking world, they'll promise you anything to get you in the movie... and then, seven times out of ten, it's not that way.»

Wilder keeps the film zipping along, and has three absolute comic hurricanes in his leads — Curtis cool as anything as he darts between identities, Lemmon gloriously funny in his interaction with smitten millionaire Joe E. Brown, and Monroe endlessly endearing and dunder - headed (no matter how many takes it legendarily took Wilder to get the performance out of her).

And everything supports the hero in some way, but I totally understand what you're saying — my favourite films are ALIEN and ALIENS and I think there's so many great examples [of female leads] and who knows, if I get lucky and there's a sequel or anything like that, then I'll very much take on board what you said.

Don't think the activists get let off the hook, either, just because this is clearly a forks - over-knives film: In an eye - rolling gag, one of them passes out because he refuses to eat anything at all.

The Amanda Knox case gets a lightly fictionalized treatment in a Michael Winterbottom film that has trouble being about much of anything.

The film tends to focus on two ideas: that repression in Orthodox communities gets in the way of sexual expression, which is more abstraction than anything else, and that shame is what's stopping Esti from embracing her relationship with Ronit and leaving.

Although the bar keeps getting lowered in terms of what is acceptable for a PG - 13 film, we seem to have given up on doing anything about it.

Even in the middle seat you'll be more comfortable than anything the exit row in economy could offer, and you get to pass the time watching a wide range of films and programming on new 13 - inch HD displays.