Sentences with phrase «in films like kid»

Chaplin did it repeatedly, in films like The Kid (1921) and City Lights (1931).

And while he's best known for his laidback hipster performances in films like The Kids Are All Right, Mark Ruffalo emerged as a tireless, serious activist against fracking — especially in his home state of New York.

Not exact matches

I don't like hearing my own voice and I had an eye infection when we filmed this but there are lots of cute kids in the footage and the topic is very close to my heart.

By Brandy black Raising kids in a modern family with two moms, it is often difficult — okay, near impossible — to find children's TV programs or films that feature families like ours.

It was like the final scene in a slasher film where the kids think they've fought off the antagonist, only for them to suddenly turn up for one more round.

I mean, sure, I had them as a kid and I had an emergency pair for shoveling or playing in the snow, but an actual pair that didn't look like they came out of a bad 1990s film about ski school?

Cakey offers a basic interface to YouTube where kids can browse through pre-screened kid - safe video «collections» presented in a film reel - like interface.

On paper you may look like a perfect match, enjoy the same hobbies, love classic films, and dream of traveling across the country in an RV, kids in tow.

But the truth is that like those «80s films many of us grew up on, and which we watched a million times over on home video and cable television, «Real Steel» feels destined to become a staple in the libraries of kids in this generation.

This is why Penn made this film, this is why McCandless» parents, even as they are portrayed in a highly negative light through most of the film, allowed it to happen — the truth is, it's not every day that a just - graduated college kid simply up and leaves for the sake of an adventure like that of McCandless» Supertramp.

The filmmakers fold in atmospheric true - to - life details, like the poster for the western film «Butch Cassidy and the Sundance Kid» (a favorite of the real Mr. Ellsberg) that Daniel and some longhair pals sweep past on their way to illegally copying the Pentagon Papers.

At no point does anyone in the film even vaguely resemble an actual 21st - century teenager; when these kids text each other, it comes across like science fiction.

On one hand, «Toy Story» had long since cornered the sincere ode - to - childhood - playthings approach, while the «Transformers» and «G.I. Joe» movies went the overkill route, all but obliterating the notion that those bombastic adventures could in any way relate to how kids use the related toy products, and treating them more like the afterthought tie - ins «Star Wars» and other films typically support.

Much like the kids in this movie who come of age, so too does Robert Kirbyson's skill as a writer - director in his debut film Snowmen.

Maybe very young kids don't care about subtext in films like this, but I'm not writing for kids and this film is pitched at a broad audience.

If there is anything I didn't like about the film, it's Cameron's lack of realism when dealing with the roles of children, especially Jonathan Lipnicki's (Stuart Little, The Little Vampire) character as the boy that Maguire forms a bond with, as he's too unrealistic in demeanor and too strange looking to buy as a real kid, and for that matter the same goes for Tyson Tidwell's (Suarez, The Ladykillers) demeanor (son of Rod) as well.

From kids camp like The Mighty Ducks and Angels in the Outfield to more adult themed Remember The Titans, The Rookie and Invincible, the one common thread among all these films?

Directed by Ken Kwapis in a hyperbolic jump - cut style matched twitch - for - twitch by a score by the late Miles Goodman, whose oom - pah - pah legacy, sadly, lives on in other kid and animal films like K - 9 and Problem Child, the film is a jittery, discombobulated mess.

I'm not entirely certain why this inspired - by - a-true-story (as chronicled in Andrea Perron's book, «House of Darkness, House of Light») shocker is rated R, except perhaps that the MPAA might have though the film too psychologically intense for kids, but, to me, it's no more intense that PG - 13 horror flicks like The Ring and The Grudge.

Christian Slater really sounded like a hyper kid in the film.

Thunderbirds owes more to films like Spy Kids and the movie version of Lost in Space than it does to the original television series, so if you like slickly - made family sci - fi schlock targeted at the youngest of the audience members, you may not mind this mostly inferior knock - off.

It takes its core components (pigs, explosions, slingshots, rage) and combines them in a way that checks all the boxes you would expect a film like this, an ambitiously chirpy product of the tentacular Hollywood studio system of 2016, to check: It layers kid - friendly gags with subtler, for - adult jokes; it offers, along the way, several unobjectionable lessons about life and those who live it; it has really good animation.

I thought Vantage Point looked like a pretty decent thriller from the trailer - quite refreshing to see actors of a certain vintage in a film like this, rather than a bunch of kids - but reviews suggest my enthusiasm was possibly misplaced (I'll get to make my own mind up soon enough).

While there's a sense that Hoffman could do this kind of thing in his sleep, there's a masterful specificity to his performance — you can see it in the sad little shuffle he does when he tries to run (like it ever matters where Harold is going or how fast he gets there), and even in the way his unwashed gray hair clumps together when he's hospitalized for the head injury that brings his kids together and defines the second half of the film.

And for film - obsessives like ourselves, it's like being a kid in a candy store.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening November 23, 2007 BIG BUDGET FILMS August Rush (PG for slight violence, mild profanity and mature themes) Freddie Highmore stars as the title character in this escapist fantasy about a promising musical prodigy who runs away from an orphanage to New York City to find his parents (Keri Russell and Jonathan Rhys Myers) only to end up living with a Fagin - like wizard (Robin Williams) and lots of other kids in a makeshift shelter in an abandoned theater which was once the Fillmore East.

When we get these movies released in America, it's bullshit like Journey to the Center of the Earth or Spy Kids or... Jesus, they don't release many family friendly adventure films these days, do they?

«Kings,» which features a trio of kids building their own four - wall sanctuary in the woods away from civilization, feels like a spiritual relative to children's films of the»80s, which weren't beholden to demographics and catchphrases and featured oddballs and outsiders with filthy vocabularies.

The casting choices are also a liability, with Kunis laboring to look even slightly domestic or even just lived - in as a character with a long history with a one - dimensionally self - centered husband and two precocious kids that look like they were freshly pulled from the Movie - Kid rack at the film studio prop store.

With Pixar's otherwise speckless track record, the «Cars» films have been like a roller coaster in quality outside of it helping kids get their parents to buy Lightning McQueen backpacks and beach towels.

The same could be said for Asa Butterfield who started as a kid actor in films like The Space Between Us and Hugo.

And several nods to the Steven Spielberg's»80s classics seem to nod to inspiration; there's an introspective, steady approach to the way Spielberg shot the kids in a movie like E.T. that Reitman successfully modernizes for his own film.

San Andreas actually apes The Day After Tomorrow so closely that at times, it feels like Cuse just took the latter film's script, cut - and - replaced all instances of «storm» with «earthquake» and «runs from cold» with «runs from opening fissures,» and called it a day — like Tomorrow, the film centers on a father's unlikely determination to cross a disaster zone to save an adult child, with only a minimal idea of where his kid might be in a city approaching a population of 1 million.

There's been an overwhelming sense of nostalgia at theaters this summer, with films like «Mad Max: Fury Road,» «Jurassic World» and «Terminator Genisys» all reviving decades - old franchises on the big screen, and «Vacation» continues that trend with the latest installment in the National Lampoon series that began with Chevy Chase, Beverly D'Angelo and a rotating door of actors playing their two kids.

What's troubling about this picture and stuff like it (the regrettable remake of The Heartbreak Kid is the film Forgetting Sarah Marshall most resembles) is that there's an awful lot of hate and cruelty packed in here front and centre.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

In Son of Paleface Frank Tashlin solved a similar problem for Bob Hope by fully committing the film's sight gags to the mythic grotesqueries and bouncing - back - therefrom of Road Runner — style animated cartoons, but like a ten - year - old kid perpetually yelling «Fake!»

But I really quite liked the slow, oblique approach in this film about a wanna - be skateboarder kid who relishes hanging out with the bigger skateboarders at the titular skate park — but there's a death not far from there, and it takes the rest of the movie to slowly reveal what exactly happened that one night near Paranoid Park.

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.

Though he noted that being in films is more like blue - collar work with grueling long hours, putting on the suit reminded him that «it was like being a kid at play,» he said, adding: «Being imaginative is how things change: in the arts, in business and in politics.»

Hence the sentiment that this film has the potential to inspire much like Star Wars did for kids back in the 1970s and today.

* Asked how he feels about going from very small indie films to a massive, effects - driven fantasy / comedy, Green said: «Well, just like probably all of you guys like to see different kinds of movies every week — a little of this, a little of that — it's fun professionally to, like, get in the ring and design creatures and have guys in suits and puppets and just, y ’ know, bring in all this stuff... I remember when I was a kid, and if something like «Behind The Scenes of Return of The Jedi» would come on, I'd just be glued to the screen, wishing that one day I'd be able to get my hands dirty doing something like that.

Whatever the reality, the film is memorably scary, at times feeling almost like a checklist of horror iconography: spooky kids, creepy clowns, skeletons, ghosts, gore, Indian burial grounds... Shot in pre-CG times, one can only wonder how much invisible string they used for all the flying furniture.

Director Török is well known in Hungarian film circles, though you might not guess he would direct a serious film like this given his 2001 «Moscow Square,» about high school kids who don't give a hoot about Hungarian politics as they are into parties, girls, and graduation.

Needing more than a lion trainer to tame down the one - liners of edgy comedians like Ben Stiller, Chris Rock and Sacha Baron Cohen, the humor in this film is an odd clash of adult and kid quips.

It's live - action 70s Disney, so it doesn't carry the esteem of the classics and masterpieces of the studio's past films, but Escape to Witch Mountain is certainly likeable enough to be a favorite among kids interested in fantasy films about young people like them with magical abilities.

His later films, like the 1988 non-musical «Hairspray» (the 2007 musical was shot in Canada), incorporated sweet, clean - cut kids and clear - eyed commentary on racial and class prejudices.

Prince is in almost every scene, and her energy powers the film: She's the rare movie kid who feels like a real kid, not a screenwriter's invention.

Director Matthew Vaughn handles the film like a kid in a candy shop.

Also as in that film, she shoots those characters early on at a beatific backyard barbecue, pushing in for idyllic close - ups of wholesome sights like ribs being basted and kids on rope swings to establish a family in the context of its community — a lively congregation led by the friendly, funny, and wise Pastor Scott (John Carroll Lynch).