Sentences with phrase «interesting idea for a film»

«John Carter» is certainly an interesting idea for a film, with a power struggle on an alien world and an outsider affecting the balance, but sadly it never ends up fully working.

Not exact matches

The idea is that these films become agents for real change, not just an interesting evening of entertainment, according to the website announcing the film festival.

Like manufacturing and like film we need to ensure that we reward investment by and in the music industry, and I was very interested to see the BPI's idea of a corporation tax break for higher investment levels in A&R — the music industry's R&D — to help develop new talent.

The Hearse is a pretty interesting idea for a horror film.

In the end, this is again a very good horror comedy which needs to focus less on the main characters (lets face it, they are cliches and the interest of this whole movie is to the idea behind it) and more on the variety of monsters that were created for this film.

Javier Bardem starring in a historical epic about Hernán Cortés» bloody and brutal conquest of Mexico seems like an interesting enough idea for a film.

Normally the science fiction concept of time travel is reserved for big budget action films, but the idea itself can be much more interesting within the confines of an indie scale film.

Lifeforce is an interesting concept for a film that is based around space vampires, and with that being said, it is an idea that should have been great, but as it stands, only ends up being good.

Airheads is fun for what it is, but the idea for the film is interesting and the humor is silly and good, mindless entertainment.

The film has plenty of flaws but should be entertaining for sci - fi action fans, thanks to interesting world - building, captivating existential ideas, and cool robo - action.

Speaking to Variety's chief film critic Scott Foundas, Mann discusses growing up in Chicago, becoming interested in crime stories, the visual ideas he had for the film, the nonfiction book he discarded but still credited, the influence of real criminals and past films (particularly his eye - opening time shooting The Jericho Mile in Folsom Prison), choosing Tangerine Dream to do the score (a decision he still second guesses), the film's writing (including basing characters on real crime figures), casting, explosive stunts, changes made from the shooting script, and the modernist narrative.

by Walter Chaw There's the seed of an interesting idea in Neil LaBute's Possession — something traceable to A.S. Byatt's melodramatic novel of the same name: the film's one clumsily extended trope that it is about keepsakes and the desire for memento mori and memento amor as it manifests amongst intellectuals.

The film appears as interested in developing the strange relationship between Korben and the two young women as it is in exploring the possibility that Kate can really speak with spirits (for a far superior TIFF film that explores this idea, see Olivier Assayas» «Personal Shopper» starring Kristen Stewart).

I would say Phone Booth is at least worth a look due to being an interesting idea for thriller, as well as for its attention - grabbing style which works magic on a purely visceral level, much in the way it did in the similarly implausible film, Joy Ride.

As the idea evolved, it became more interested that the way I want a film to look is not a good fit for a found footage movie.

Coen Brothers films can be brilliant (No Country for Old Men, A Serious Man), or not (The Ladykillers, The Hudsucker Proxy), but they're always crafted with interesting ideas.

To those not interested in the greater ideas presented in the film, Barton Fink — despite its artsy and meaningful storytelling — should really appeal to anyone with a taste for black comedy (a subgenre the Coens rarely blunder.)

This idea of knowledge as the primary corruptor is echoed in Capt. Newport's (Christopher Plummer) declaration towards the end that «Eden is around us still,» with Eve's fall (Pocahontas, never called such during the film, is baptized — then corseted — after being rejected by her people for warning Smith of an attack) echoed in what we know to be the history of the Native Americans and the Britons» colonial interests alike.

The idea of some answers to these mysteries could perhaps be enticing if I cared about any of the characters, anything about their world, or the film did anything to ignite an interest in its plot rather than offering up vague teases at answers that never come and do nothing but try to hook the bait in for the next entry.

So, we already had the idea for the story by the time we watched it, but it was just interesting to see... because that film is quite bittersweet for an MGM musical, and I think we liked those ideas.

I think a more interesting film would have been if they went all in on this idea instead of leaving it up to the audience to decide for themselves.

It's a deeply affecting film that touches on race and international politics in a way that's far more interesting and insightful than any of its predecessors by far, as one of its central themes is the idea of Wakanda's isolationist policy — it exists for its people, and it protects its people, but what of the people outside its borders?

Although it is interesting to note that there is a legend (perhaps an urban one) director Bob Clark (Porky's, Baby Geniuses) claimed to have developed an idea for a sequel similar to this film set on Halloween that he passed on to Carpenter, which became the impetus for Halloween itself.

If a film COULD be really good, if it has a good cast, a good basic plot or idea it centers around and uses interesting camera techniques to tell the story, but turns out to be an insulting, stupid, arrogant vanity project for the director, it's the worst kind of movie there is.

For a movie using a really great high - concept idea, it is mind - boggling that the screen writers and director didn't have guts to make a really daring and interesting comedy, while instead giving the film so many standard and unsatisfying sub-plots to drag the film down.

Neither of these films were known for being great, but they had interesting ideas that for some reason never took things to the next level.

As a story, it's an interesting idea, but very poorly conceived characters and situations galore take the legs out from under the screenplay and the film flops around like a fish on dry land, gasping desperately for life before ultimately dying a painful and pathetic death about a half hour before the film's too - long - in - coming ending.

Setting the sequel around the time of the fall of the Berlin wall is certainly an interesting idea, and already conjures up an entirely different atmosphere for the film compared to the original's sun - dappled summer mood.

The idea of artists openly dismissing ideas they disagree with isn't new — certainly not for Godard, anyway — but there is something interesting about how film in 2014 has brought us several works that openly discuss the nature in which artists perceive harsh and brutal criticism.

It's an interesting twist of fate for a novelist who once wrote, upon hearing the soundtrack to the film adaptation of his book About a Boy, «Seeing one's words converted into Hollywood cash is gratifying in all sorts of ways, but it really can not compare to the experience of hearing them converted into music: for someone who has to write books because he can not write songs, the idea that a book might somehow produce a song is embarrassingly thrilling.»

While the final girl has provided rich fodder for film theorists, especially regarding her complex reprocessing of gender mores, what often lingers unrecognised is how the final girl improvises new technologies in the interests of survival: the only place in Western culture where there still persist very ancient ideas about technology as a weapon of the weak, and the means of prevailing when defeat appears inevitable — a tendency pushed to its speculative extreme in The Last Girl Scout.