Sentences with phrase «in other aspects of the film»

Not exact matches

Other films that came after it were far more fastidious in their rendering of the sexual aspect to these clumsy affairs, but this film is far more psychological, directing much of the film's emphasis on the emotional toll of lying to yourself and your loved ones.

The polemical political comment in earlier films such as Komsomol, Borinage and New Earth is not comfortably integrated into other aspects of the films, and for viewers today limits these films impact.

After the excitement of David Arnold's three scores for Emmerich and then the brief diversion to the great John Williams on The Patriot, the change in musical approach since Kloser (later joined by Wander) took over is so extreme, it doesn't really make sense — it's hard to talk about any of the previous four Kloser / Wander scores for Emmerich without repeatedly using the word «bland» — I've just never been able to reconcile the outlandish extravagance of every other aspect of the films with the understated timidity of their scores, which seem to serve no purpose whatsoever.

This wild concept of chaos reigning in a suburban neighborhood has its edge reduced by its incomplete image of characters, an aspect that affected Get Him to the Greek in the past, and has made for slower moments in other Stoller films (on the other hand, when characters were solid like in Forgetting Sarah Marshall, they lead to a great introduction for a bare - all Jason Segel).

While they do excel at that aspect of the characters, it's still an instance where they could be replaced with plenty of other villains and the results would be the same, which is a shame as all of the characters in the film do have decent chemistry with each other.

As with nearly every other aspect of 2016's highest - grossing R - rated film, the opening credits are an exercise in sharing a collective joke with the audience.

The other aspect of the film that is so unnerving is the way evil exists in plain sight, perhaps at the peripheral of our collective vision, but there to be seen, barely trying to disguise itself, be it corrupt cops or the Russian mob out to make an example of someone.

While in other Hollywood - produced films about perversions of authority on the high seas, such as the various versions of Mutiny on the Bounty (Frank Lloyd, 1935; Lewis Milestone, 1962) or Billy Budd (Peter Ustinov, 1962), a comparatively ordinary voyage is complicated by the disastrously warped personality of a deranged (thus, socially maladjusted) captain (Charles Laughton, Trevor Howard, Peter Ustinov), in Botany Bay the obscure and torturous solipsism of the captain colours every aspect of the voyage: he does not stand out as exemplary, but instead characterizes the «transportation» process itself.

Mulan is presented in 1.66:1 anamorphic widescreen (the aspect ratio of this and other animated films created with Disney's CAPS system), a step up over its 1.85:1 non-anamorphic widescreen treatment as a Limited Issue / Gold Collection DVD.

Meeting up in Columbia, Missouri, where the Ross's Western screened at the 2015 True / False Film Fest, they discuss the adventurous aspects of their films, the artistic ambitions that can hide behind an unpretentious demeanor, and the challenges of balancing an enjoyable life with the task of documenting the lives of others.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

More effort is put forth into the look of the film than in every other aspect, and I suspect that viewers prone to being mindlessly entertained by sparkling lights and whirring sounds will be mollified by the many scenes of bombastic flash and sizzle.

Not surprisingly, given first - time director Stromberg's background in visual effects, the only other aspect of the film that comes close to being as vivid as Jolie is the elaborately detailed design of the world, from the costumes to production design, to the elaborate visual effects that bring all the flora and fauna to life.

I wish that in addressing this necessary aspect of being gay in Kenya, and in many other countries around the world, Kahiu was still able to maintain the first half of the film's loose, spellbinding energy.

Yet what raises the film above mere prurience is the fine sense of detail in all other aspects as well, from the gothic and mechanical decor and costumes and palpable affection for the sexual desires of his characters.

Her work was important to her, but unlike the stereotypical 80s power players in film and on TV, her career didn't mean she had to sacrifice every other aspect of her life.

Chazelle's direction is more notable for its lack of compromise than any aspect of technique or craft; Andrew and Fletcher's interactions do not transpire in the ways we are conditioned to expect from other, similar films, and the shape the story takes as it unfolds has decidedly sharp edges.

On the other hand, there's a sense of warmth and community in a couple scenes in this film that are increasingly rare in contemporary film, and an underrated aspect of Ozu's films, one that, as I recall, is mostly absent from Hou Hsiao - hsien's Ozu tribute, the otherwise superior Café Lumière.