Sentences with phrase «great piece of film»

My biggest interests are music and film I like to believe everyone can be touched by music or a great piece of film.

Hit up your Netflix account immediately and seek out these great pieces of film.

Not exact matches

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is

There are a number of great set pieces littered throughout the film, each one very different than the next, although the opening attack on Philadelphia is probably the most exciting.

The movie has some nice set - pieces, but the final result is a film which does a great job of introducing the character, but doesn't provide a very exciting ride.

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is Bond» worst nightmare), the villain is truly threatening and played very well by Sean Bean, the title song is awesome and classic Bond, the script for this film is VERY well written and witty, etc..

Mission: Impossible - Rogue Nation proves that theory by being absolutely fucking excellent; it is the best film in this series, and it is a perfectly realized piece of cinematic craftsmanship, one that would make any of the truly skilled great filmmakers proud.

I think Mission: Impossible - Ghost Protocol is the most consistently entertaining, most laser - focused entry in the series so far, and while I would argue that it is very much a sequel to the third film and not just a disconnected piece of a flexible franchise, it is also a great rollicking self - contained spy movie adventure on a grand scale, and it's preposterous fun.

A good cast is wasted on such a terrible film, it's a great shame, because there's some impressive names attached to this piece of trash.

All that mixed with the ingredients of a blockbuster film, a great cast, good humorous timing and spectacular set pieces makes for a very entertaining ride that works as a standalone film as well as part of the bigger picture.

However, Vaugn does a great job in assembling these pieces and constructing a film that is a refreshing and charming piece of cinema.

Unfortunately Antal's film working from a script by Michael Finch and Alex Litvak apes this buildup to a tee, but forgets two key elements: a great action set piece and a cast of memorable characters.

I came into the film with a certain «checklist» of things that I expected from a popcorn blockbuster like Transformers... explosions, great set - pieces, great battle sequences, amazing cgi and 3D, and of course beautiful women, and was hugely satisfied with the film.

Though it heavily reworks Bissell's story, the film feels as beautifully calibrated as a great piece of short fiction, only with visual accents and emphases filling in for the prose.

While every MCU film now is a piece of a greater puzzle with references to future films and crossovers, Iron Man was straightforward and grounded.

«It wasn't until I saw Greta talk about the film and making it and putting it together, and how all of this came from her and she's done something brilliant that people truly love and it's a great piece of work that I thought, «Oh yeah, I do want to do this now and maybe I could actually do it,»» Ronan adds.

The movie has great time era sets pieces as the film takes the audience from a dystopian future to a realistic version of 1973 that includes wardrobe, hairstyles, and music.

The Black Stallion is a high watermark in family filmmaking; children of all ages can appreciate its simple, dialogue - light storytelling, while adults will relish it as both a great film and a breathtaking piece of filmmaking.

However, repetition sets in and the escalation of set pieces reaches some sort of a peak here: there are good - to - great action, chase and fight scenes (Bryan Singer's X-Men films still have an edge on depicting superpowers) but there's also a limit to the number of times people can be kicked through walls before the scraps start to feel samey.

So no great surprise here that The Lincoln Lawyer turns out to be superior piece of crime storytelling with some characters clearly designed for recurring roles (in other novels and perhaps other films should this one do well) while others are designated for showy guest appearances as larger - than - life evildoers or tough - guy eccentrics.

Unusually for Bertolucci, the film is an ensemble piece, with great glancing richness of detail conveyed by a wonderful cast.

by Walter Chaw Emboldened, perhaps, by the surprisingly good The Other Guys and the surprisingly great Get Him to the Greek, I went into Steve Pink's Hot Tub Time Machine with the belief that its high - concept idea — not the time travel, but the casting of»80s icon John Cusack in a film that would return him to his decade of greatest power and influence — would be at least enough for it to function as a fairly smart nostalgia piece.

And the recent Supreme Court decision didn't make the film feel like a musty period piece — instead, it seemed to add resonance and immediacy, turning a small victory in one community into the harbinger of greater things to come.

In its current incarnation Swing Shift is the wreckage of a great film, an indulgent star vehicle that was once an insightful ensemble piece.

It was also great to see the film poke fun of Batman's lavish lifestyle using Lego pieces.

The story, cobbled together by the director and young film enthusiasts Dario Argento and Bernardo Bertolucci, plays like a collection of the genre's greatest hits: the tense, real - time set pieces of High Noon; the mysterious hero of Shane; the encroaching antlike forces of civilization as explored in The Man Who Shot Liberty Valance.

In fact Randall Poster is the final piece of the puzzle as to what makes this film great - its soundtrack.

Although The Disaster Artist maintains a great reverence for The Room, the film can be seen as a funny comedy about how such true - to - life absurdities can be a catalyst for such a terrible yet mesmerising piece of art.

He fails at every element of sculpturing a great piece of cinema and this is why many should avoid his movies at all cost from this point forward (sorry to the cast of the film's expected sequel — which is, sadly, set up for at the end of The Last Airbender).

Laughton's obsessive specificity supposedly made this great piece of art too much of a spiritual burden for the actor turned director, and he never made another film.

It would be great to see Snowpiercer became as big an international hit as that earlier film, which also blended cutting social commentary, blockbuster set pieces and the sort of thrills you rarely get out of contemporary marketed - to - death multiplex fare.

The greatest irony of the piece is that what the film has lost is a lot of the spry rebellion and feeling of loose improvisation that defined the television series: «cowboy,» no question; «bebop,» another matter altogether.

Juan Antonio Bayona has proven his talent for great visually interesting films with THE ORPHANAGE and THE IMPOSSIBLE (which lead to him landing the WORLD WAR Z sequel), so hopefully this should be quite a unique piece of entertainment.

A richly creamy and achingly romantic piece of filmmaking from the great Todd Haynes, and an excellent companion piece to «Far From Heaven,» my pick for the best film of 2002.

While — like (I guess) many Rohmer fans — I tend to find myself most at home in his beach houses and Parisian apartment blocks, I was drawn to this presentation of his lesser - known historical films for two reasons: one was the pure joy of being able to enjoy his greatest work, Perceval, on the big screen; the other was the opportunity to finally be introduced to his feature - length television play Catherine de Heilbronn, a production that, in its grey set design and even starker minimalism, in many ways felt like the former film's shadowy companion piece.

Not because they are great films (they aren't, even by the most generous stretch of the imagination) but because they are entertaining pieces from a distinctive period of B - movie filmmaking, as weirdly fun and perversely creative in their own exploitative way as kindred films from the forties and fifties and sixties.

Also Worthy and Worthwhile «Keep The Lights On,» «Neighboring Sounds,» «A Royal Affair» (Mikkel Boe Følsgaard guy should have also been in our Breakout Performances of 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisof 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisOf Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisof the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lisof her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen list.

The great adventure story flies by and creates no dull moment as immaculately executed set pieces and magnificent scenery (I'm always partial to a bit of foliage) give the film it's major flashes of brilliance.

(It's why Die Hard is such a great film and A Good Day to Die Hard is a monumental piece of crap.)

It plays like a greatest hits of human emotion, combining everything great about film into one very unlikely sci - fi piece, leaving us with something essential, immediate, and invigorating.

Speaking of special films, and special filmmakers, Sean Baker follows up his hit film Tangerine with maybe his greatest piece to date.

As with most of these promotional pieces, «Evolution» essentially tells us how great the film is; anything else is gravy.

This may not be Baumbach's greatest film, but The Meyerowitz Stories is one of his strongest pieces of work, top to bottom.

As unabashedly patriotic a film as I've seen from the Great White North, the strength of Men with Brooms is that it understands where its loyalties lie — the only Yank representation in the piece comes in the form of two bungling «ASA» (NASA without the «N») officials who provide the occasional look of befuddlement and dimwit comment.

This can be seen not only in how the film presents M. Gustave as a long - passed, old - world gentleman, but is also perhaps a nod to old Hollywood, to Hitchcockian escapades on trains, Great Escape - style prison breaks, and the artisanal glamour of a well - designed, densely - detailed set - piece.

Though it's visually arresting, this film is not quite as deep as the source novel, a speculative piece of historical fiction about Johannes Vermeer's famous painting, but Johansson shines as the girl who inspires the great painter played by Colin Firth.

Breaking out of the stylistic confines of his last couple of films, Scorsese hit the ground running with a go - for - broke epic that ran for three breathlessly - paced hours, was horrifying and hilarious in equal measure (an extended sequence involving some old quaaludes, luncheon meat, a looming legal catastrophe and an old «Popeye» cartoon was a set - piece for the ages), was jam - packed with great performances across the board and which offered viewers the pleasure of seeing a top director working at the peak of his powers.

Although its formalism is rigid, the film rises well above gimmickry to become a truly great, unique piece of cinema (and a very fine crime movie to boot), conjuring its own world, commenting on our own and giving the audience something that's palpably new.

The film has a great sense of style, but the pieces don't fit together well enough for me to hail it outright.

Kino Lorber has a great gift idea for the film fan on your shopping list, especially if they appreciate rare pieces of film history.