Sentences with phrase «greatest film of its kind»

John McTiernan's 1987 sci - fi action / horror film Predator is possibly one of the greatest films of its kind.

Not exact matches

As far as I'm concerned, the response of those four boys is the greatest kind of praise for this praiseworthy film.

I have known people to do juice feasts with Brevilles, blenders, etc, all kinds of juicers, I hope you won't let that be a deterrent, in the film Fat Sick and Nearly Dead they had Brevilles and had great results.

This film is great for use on cars, SUVs, truck, homes, offices, restaurants, and any kinds of buildings you can think of.

They had quiet meetings, screenings around the country of this new movie in churches and before religiously oriented audiences of various kinds and they built up a great grassroots enthusiasm for this film.

It doesn't have to be niche — it can be a kind of wine or a particular movie — but «For a great night in, I need a bottle of Margaux and Anchorman on DVD» is much more exciting than «I like watching films with a glass of red!»

Jason's choice to direct such a different kind of film gives him great merit... and the result is a multi-layered, rich very moving film that takes one in a myriad of emotional directions.

This may be Alvarez's greatest accomplishment with the film — getting the kind of emotionally potent performances that make it a powerful and visceral film to watch.

elements in this film are kind of fascinating, in that they exactly mirror the mentality of a great many of Tarantula's fans in this country: stupid, ill - educated, no real grasp of the short history of the USA, brains afloat with a vapid toxic sociopathic mix of shit exploitation films and snatches of slavery history and rap and John Woo and gory gunshots and wiggerism and general complete and utter fucking horseshit.

A model of simplicity and grace, with emotional effects that move you when you least expect it, the kind of great film that only a master can pull off.

Perhaps it's a film to go to without the high expectations, but time will tell if the initial hype pays off in the kind of repeat viewings that really make a great Marvel film a box office wipe - out.

Considering how that film was not exactly a commercial success, this may not sound like a big deal to many of you but as someone who believes that bleak and bruising comedy - drama to be one of the great unsung movies of the decade — the kind of film that the great Billy Wilder might have made once upon a time — I went into the screening with the kind of over-the-top sense of anticipation that many felt as they walked into «Avengers: Infinity War.»

Long before the Noir period started, sound on film ushered in several great series of detective movie series where the lead was usually a bright crime solver, but the gumshoe, gritty detective was not far behind and Noir kicked in just in time for that kind of investigator as the classical detectives (Charlie Cahn, Mr. Moto, Sherlock Holmes, The Thin Man) were on a roll that even defied studio expectations.

«The Great Wall» isn't the kind of film that you'd expect from an accomplished director such as Zhang Yimou.

The great thing about this film was that it was actually kind of hard to predict who would get the girl.

However, with a vampire mythology and great marketing, Blade has transcended its place in the critics» eye and become the kind of film immortalised by the fans.

The premise of the film is simple and its horror simple and virtually devoid of jump scares (another great plus) but Mitchell pulls all kinds of horror from it that it's impossible for this film not to scare the most hardened of moviegoers.

Director Tsui Hark and fight director Sammo Hung provide some great wire - fu action sequences among the convoluted plot that is typical of these kinds of Chinese epic modern films.

He's one of the greats, so for me, it's a privilege to have him on the movie and to give him sequences, and like Daniel says, you're making four movies and every section of the film feels so distinct from the other, feels so alive, it kind of regenerates in front of your eyes really, the film.

Kind of a bummer in my opinion, I think Ross did a great job on the film and I prefer franchises to have a cohesive look to them.

Part of what makes the film so great is the juxtaposition of Marge's unflappable police persona with her home life, where she's the loving wife to a very kind husband.

Yet it's the kind of movie where that real - life incident ends up hanging over the entire film, almost holding it back from being able to be great on its own merits.

The great cinematographer Vittorio Storaro — who mostly worked with Bernardo Bertolucci — provided the film's bold, saturated color pattern, and Dean Tavoularis built the amazing sets, including a kind of junkyard that Hank frequents «just to think.»

It is great, too, to see this kind of material juxtaposed with more conventional, but intriguing films that are likely to make it to the arthouse.

Held together almost entirely by Cranston's performance, «All the Way» seems at times intentionally counter-intuitive; so much of the story's advancement depends on deals that no one feels really great about that it's hard to find the kind of catharsis many expect from these sorts of films.

The laid - bare poignancy and touching immediacy of these films are exactly the kind of thing that is too often jettisoned by studio pictures; they're part of what makes indie film great, and connection with those common themes are, let's hope, a trend that we'll continue to see in independent film this year.

Apparently «Arthur Miller's most controversial work», this film has a fantastic premise and a great beginning but tends to feel kind of tired during the last half hour.

But to compare this film to any great work by Hitchcock, or even one of his misfires, gives this film the kind of false compliment it doesn't deserve.

I must admit, a heartwarming Disney film starring Paul Walker and a bunch of dogs isn't the kind of thing that typically ranks high on my list of movies to see, so it comes with great surprise for me to state that I actually enjoyed Eight Below considerably.

Focus was great because the film takes place in New Orleans and Argentina, so the directors wanted to bring that sound to the movie, so I got exposed to all kinds of different artists from probably the greatest two musical locations in the world!»

Before hanging up, she said, «I think that being a film critic is a really great way to spend your life, particularly for people who love movies like I do, and continue to love movies, and continue to expand the kind of movies that I like to watch... I think one of the things I would say to critics, once you have your niche, once you have some kind of security, is: enjoy it.

The fellow sitcom stars, in particular, both exhibit a great knack for the kind of improvisational comedy that typically serves as the building blocks for all of Jay and Mark Duplass» films, while Sarandon can pretty much do no wrong.

Though Curtis has recently announced that «About Time» will likely be his final film as a director, the movie represents everything that's great about the kind of romantic comedies Curtis excels at making.

It's just such a sweet, well - done under - the - radar kind of film — great performances from William H. Macy, Alec Baldwin, and Maria Bello.

Frears includes plenty of pixilated video archival footage to give the film a kind of newsy immediacy; the characters, additionally, spend a great deal of time in front of the tube.

This is the kind of film that George W. could put together after he leaves office, hoping that maybe people would be convinced if his volunteers said he was great awesome over and over again.

The network has unleashed trailers for a slew of new shows they're hoping will catch your eye, including a different kind of superhero show (MacGyver), another film - to - TV remake (Training Day), a new Jason Katims drama (Pure Genius), a new Joel McHale comedy (The Great Indoors), and two separate, unrelated comedies about working - class men forced to spend time at home (Kevin James «Kevin Can Wait and Matt LeBlanc «s Man With a Plan).

Most films come to Sundance to find a distributor, but from day one the boxing documentary Knuckle was subject to a different kind of positive buzz — namely, «This would be great for a remake.»

He does a terrific job, and definitely makes the film fun to watch, but anyone looking for him to return to making great films again will obviously be disappointed that Hollywood Homicide is the kind of mindless fluff he chooses to make nowadays.

Youth: Youth is annoying as hell, the kind of navel - gazing film that finds great meaning in the ogling of a perfect female body, but there are just enough wonderful moments peppered in there — Rachel Weisz's monologue; the song at the end — to keep you from writing the whole thing off entirely.

And that's kind of the way it's been ever since for Joe Dante's creature classic — generally regarded as one of the greatest werewolf films of all time, hallowed for Bottin's startlingly mature effects work (he was only 22 at the time), praised for a sly satirical script by John Sayles... and yet still plagued by the perennial refrain: ``... but «American Werewolf» is better.»

The Coen Brothers seem to make two kinds of films in terms of quality: great films, and good (and some not - as - good) films with great moments.

As for the film, while the exact plot is not quite known just yet, as it is based on the video game of a similar name, it could be something like a «peculiar talking Pikachu who, despite not being as powerful and nimble as other Pikachu of his kind, is rather intelligent and claims to be a great detective,» who one encounters a boy named Tim Goodman, who is able to understand what Pikachu is saying.

A great looking movie, and perhaps the last time Stone made a film with any kind of subtlety.

It will be a great kickstart to the festival but in all honestly, unless it's some kind of masterpiece, this film will be a distant memory by Thursday morning.

Even if it's not a great film, it can be entertaining for those in the right kind of mood for it.

And, for sure, HBO still invests in original films, usually with some kind of true - life or political bent, like Jay Roach's great «Recount» (2008) and «Game Change» (2012).

Stone was never great at domestic scenes to begin with, but lately his films have been hobbled by a weirdly grandfatherly indulgence of young people in love as some kind of redemptive force.

As a director, Bong's great skill is soulful social satire, juxtaposing the absurd with surprisingly touching moments that help his films retain a kind of humanism that can sometimes be lacking in satirical works.

In 1996 horror made a comeback, the kind of unlikely rise from the dead Michael Myers does at the end of every Halloween film (all great horror villains are zombies of a kind).