Sentences with phrase «if none of the film»

Not exact matches

As far as Expelled is concerned, none of that exists and although, yes, the film does say that they give themselves, the sort of, the pretense of not blaming Darwin, you get a couple of people including Ben Stein saying «of course no one is saying Darwin cast the Holocaust,» but of course they then make every possible connection they can; and I think it's interesting that if you took out those little excuses that said, «of course no one says Darwin cast the Holocaust,» that is exactly what someone would understand from the film.

Even if an hour of film that is pure character development is added back in, that doesn't change the fact we're still starting with two - and - a-half hours of celluloid that has none to start with.

If you've enjoyed the 19 - film ride so far (I have, immensely), none of the «negative» Infinity War reviews published (at least not the ones I've read) should generate any angst.

OK, obviously none of that happens, except for Wade blowing himself up — and if you've ever read a comic book in your life, or seen a movie, or drawn breath, you know that a superhero film doesn't start with the hero offing himself unless it plans to undo the damage as soon as possible.

But if none of these women are nominated (and at the moment, it's hard to make the case that any will), it's still worth nothing that they're here and they're making their mark on film nonetheless.

Any scorn heaped upon this film on account of plot - holes (of which there are a handful) and character development (almost none) are justified but if you enter this film with the same entertainment bar set as when you flick open a Marvel comic you will genuinely not leave disappointed.

He is caught in a moment in which the release of a technically - perfect and complex film about the nucleus of human nature is something we almost take for granted, a fault that lies entirely within us, or if none of this applies to you, in me.

None of these ad campaigns tell you what you need to know about how good these films are — they are just shiny, happy carrots dangling out there in hopes that, if they're happy enough, or make you feel happy enough, you just might watch the movie.

If there is any of the resentment Candice Bergen had for her father's puppet Charlie McCarthy, none of it makes it into this film.

If it's true that Atkinson was recently motivated by the stateside failure of this very film to check himself into an Arizona rehab centre for depressed celebrities (and frankly, don't blame audiences — distributor Universal didn't exactly tax themselves advertising Johnny English to domestic moviegoers), I hope his caretakers remind him in haste that none of Monty Python's features grossed an enviable sum abroad, that the James Bond franchise has already satirized itself into the ground (it's no casual point that Johnny English was co-scripted by the same writing team behind The World Is Not Enough and Die Another Day), and that his first problem is trying to please a country that opens rehab centres for depressed celebrities.

There are other notable cameo appearances by Julianne Moore, Laurie Metcalf, John C. Reilly, and Gillian Anderson, but none of them last for very long, so this isn't recommended if you just want to rent a film to see one of your favorite stars.

If nothing else, it's the best Iranian feminist vampire film in existence, and Amirpour is certainly one of the most exciting new voices in film bar none.

Recognition for the cast by year - end critics groups will likely be one of the most important ways that awards discussion around this March release can be revived at the end of the year, and if it can crack the field at the all - important Screen Actors Guild (SAG) Awards for Outstanding Ensemble, then a Best Picture berth would be looking very promising — as none of Anderson's previous films have been nominated before at this key precursor.

However, the film fails because if the point is to titillate, the fact that there is almost no nudity (certainly none by Silverstone) renders the film as nothing more than a soft - core porn flick with all of the «naughty bits» edited out.

But if we're cutting away the fat around the core Infinity Stones storyline to leave only the most important narrative meat, then none of the previous films matter.

Ullman's Mother Nature character begins the film, and appears from time to time, but she isn't much of an issue as far as the main story goes, and whatever laughs she garners (none, if you go by my laugh count) doesn't really justify her constant distractions.

Even if the film is about all these things, or none of them, I find it difficult to say with absolute certainty.

At least Fraser manages to be completely in tune with the kind of film he's been hired to star in, mocking whatever he sees as if none of it really matters — and it doesn't.

There is absolutely no reason — NONE — for casting Kiefer Sutherland in the remake of «Flatliners» if you're not going to have him reprise his character from the first film.

Back in 2005, the film's worshipful, impeccable realization of Frank Miller's graphic novels was divertingly original, even if none of its characters looked quite human or breached two dimensions.

That said, I don't think the marketing failing to show this as something «new» was the problem: this film had no Thulsa Doom, Valeria, Subotai, Tower of the Serpent, Moutnain of Power, giant snakes, camel punching or whatnot, and none of those things in the trailer: it had characters, locations and ideas that were completely absent in the 1982 film (if horribly derivative of past films).

Thankfully Coraline suffers from none of this, and looks incredible in 3D, even if it's too dim (like many of the RealD films out there).

If there's a tinge of regret it's that none of these films take the concept of a time loop very far.