Sentences with phrase «how dramatic each movie»

Not exact matches

The «CSI Effect» has been described as being an increased expectation from jurors that forensic evidence will be presented in court that is instantaneous and unequivocal because that is how it is often presented for dramatic effect in television programs and movies.

How can you avoid... (insert dramatic B Movie monster music here)... THE CYBER PLAYER?

A true showcase for Aniston's incredible - yet rarely seen - talent for dramatic roles, given how she brings so much weight to a safe drama that never takes risks and prefers the easy way with clichés, dreams and silly hallucinations that would befit more a movie made for TV.

1987's other Allen film was the strenuously dramatic September, and the question of influence versus the merely derivative arose again: «Chekhovian» was how Richard Schickel described the «humourlessness,» echoed pejoratively by Vincent Canby at The New York Times («neo-Chekhovian») and all the way down to Premiere magazine journalist Marcelle Clements, who predicted this fixation on a single adjective before the movie was released — «You can bet your boots that the word «Chekhovian» will be uttered at least once by everyone at the table».

Deep down, we all know that modern superhero movies are operating with even lower dramatic stakes than Star Wars or James Bond movies: beloved characters rarely stay dead after they've been killed, and no plot development, no matter how grave, is irreversible, so there's no possible way that what seems to be happening on the screen could really be happening.

After years away from the limelight of the big screen, Smith started out 2015 by reminding us just how well he can harness his movie star wattage in the underrated Focus, and he ends it here by showing us what a gifted dramatic actor he is when he's willing to buckle down and get into the heart and soul of his characters.

And yet I was nonetheless somewhat taken aback at how blithely apolitical most of 2017's dramatic movies were (as opposed to such documentaries as the climate change treatises «Chasing Coral» and «An Inconvenient Sequel,» or John Ridley's voluminous and evenhanded «Let it Fall: Los Angeles 1982 - 1992,» which chronicled civil unrest in Los Angeles leading up to the Rodney King verdict).

The short featurette «Behind the Wheel of Happy - Go - Lucky» (4:23) covers the movie's driving scenes, paying attention to their dramatic value and then showing us how they were filmed (with a car full of cameras, sound equipment, and heavy duty batteries actually driving around London).

After the dramatic real - life disaster of September 11 2001 there was a lot of speculation in the media about how Hollywood would probably lay off making disaster movies like Deep Impact and Independence Day for a while.

What I like in Frederick Wiseman movies is that he's filming a whole layer of content, but he's adding a layer of decisions about how to structure the film, where to cut, that doesn't relate to relaying dramatic information.

But first, we discuss how she broke into the business despite having no encouragement from her parents at the time; why she loves to go on auditions even if the prospect of getting work is hopeless; her time in The Groundlings and how it led to having the part of Rita in the movie smash Bridesmaids (written for her by fellow Groundlings Kristen Wiig and Annie Mumolo); as well as taking on a real - life dramatic role in the upcoming Felt, the story of infamous Watergate «Deep Throat» Mark Felt — played, she says sensationally, by Liam Neeson.

Not only does it begin with an account of how bits of movie dialogue (from «Rio Bravo,» «His Girl Friday») have entered her life, and the lives of her friends and colleagues, but it then segues into a great quotation from Steve Roman on SCTV (playing Juan Cortez, the first Puerto Rican Chief Justice of the US Supreme Court in the dramatic television series, «There's Justice for Everybody»): «It's got good actors, and that spells good acting.»

That's a bit dramatic English, though I understand how this movie can produce overhwelming emotions.

Loved how the movie skated between a dramatic psychological meditation and a flat - out horror thriller... very, very well done.

Eastwood faced similar issues with his last film, «Sully,» and he still hasn't figured out how to take a relatively short dramatic event and build a movie around it.

Davis and Sachar are more concerned with how their movie turned out, and they discuss how things came together, remarking on what's on - screen with dramatic or technical background to scenes and characters.

But what ultimately surprised me about the movie, despite its dramatic flatness, was how disquieting the ending was.

From a technical standpoint, the film was one for the ages (this was one of those increasingly rare movies that cried out to be seen on the biggest screen possible and was even one of the few to make intelligent use of 3D technology) but what was even more surprising was how effective it was from a dramatic standpoint as well, thanks in no small part to the career - best work from Bullock and the deft use of Clooney's glib star quality to help orient viewers for what might have otherwise been an off - putting experience).

2 wherein he details how Clark Kent is the alien Superman's commentary on the human race could be transplanted onto an analysis of Fulci's career: Fulci's movies are bumbling messes of astonishingly bad camerawork (there are more «dramatic» zooms in his work than in the entire run of «Starsky & Hutch») spiced liberally with his thoughts regarding how women are meant to be pierced in any number of ways to fuel the purpose, good or vengeful, of men.

The excessive narration by Bridges kicks off with an observation about how young people always declare their love in the rain because they saw it in movies; that idea would hold more weight if «The Only Living Boy in New York» didn't open up the clouds every time something remotely dramatic happens.