Sentences with phrase «interesting set of films»

Not exact matches

EASTWOOD: Anyway, it was an interesting time but if you paid attention and visited a lot of sets, which I did, you start getting interested in film.

Personal or Handmade Touches - Handmade invitations (made by ourselves)- Handmade place settings (made by ourselves)- Handmade Guest Book (drop frame — guests signed a wooden heart, and dropped them into a frame)(made by ourselves)- Framed pictures for table names (made by ourselves, and named after cars from Harry's favourite film)- Personalised cake topper and cupcake decoration (cake topper from Ebay, and cake made by my Aunt)- Handmade bridesmaid's posies (made by my mum)- Personalised and hand painted wedding shoes (for Bride)(done by Beautiful Moments)- Personalised champagne glasses for Bride and Groom to use for toast (bought as a present by my sister and her family)- Ushers were bought cufflinks to wear that reflected their personal interests - Bridesmaids were given personalised flat shoes to wear in the evening (personalised by me)- Handmade bridesmaids dresses - Flowers and buttonholes, and bouquet all made unique, with my bouquet including charms with pictures of my grandfathers on them.

Fortunate to have the feeling 4???? funk, rock, n roll;???? well traveled from the UK to the Carolina's, stylish, funny, w / an avant garde set of interests, tastes, and talents; a creative junkie -LRB-???? music???? film???? broadcasting grad) metal maniac friendly; generous, full of...

I think the problem is that the film arrived before local industries set their rules on this, says the helmer about South Korean exhibitors demanding Teen film is a film genre targeted at teenagers and young adults in which the plot is based upon the special interests of teenagers and young adults, such

The point is that, yakuza films have always been a topic that I'm always interested in watching because, as I see it, it's almost impossible to tell a movie in these setting with these types of characters.

It's a slightly trite bit of viewer hand - holding, as are most of the recollections that punctuate Louie's harrowing wartime horrors, but it sets the tone for a film less interested in blame than in illuminating commonalities.

The relationship between England and India has always been an interest for the two of them, Englishman Ivory and Indian Merchant, having used it as a setting for films like The Courtesans of Bombay and Cotton Mary, Merchant's last solo effort.

Perhaps in the early 1930s when the film is set, things were not so radically different for women than they were in the early, pre-suffragette 1890s when Oscar Wilde wrote his play — but, without wishing to suggest that the battle of the sexes is now definitely over, things have certainly moved on, and the film's preoccupations with womanly virtue and womanly repute is of more historical interest than contemporary relevance, leaving the distinct impression that this «updating» of Wilde has been done only by half measures.

The culture and setting of Israel are interesting as well and add to the film's depth.

The most interesting aspect of this film is its futuristic setting.

The story seems fairly basic, but I'm interested in learning more, mostly due to the time period and the setting of the film.

The film starts promisingly, opening with a foreboding shot of a girl wandering through Griffith Park, scored with ominous guitar squalls courtesy of Black Rebel Motorcycle Club, who composed the film's score, setting the tone for a film much weirder and more interesting than the one that follows.

What the film lacks is genuine suspense, because for all of its twists and turns, the set - up never reels us in effectively enough to bother paying attention when things become odd, and all interest is jettisoned in time for the epilogue where all is supposed to be explained.

Still, it does remain interesting and quite watchable even if the characters and story are cartoonish, but any aspirations of being a good film get blown into the wind by a grossly overblown deus ex machina ending and is further evidence of De Palma's problem: he has so much fun setting things up he seems begrudging when he has to end it, and it's a letdown both for him and for us that he can't punctuate things properly.

Bennett Miller had many interesting stories about filming and spoke about the excruciating training that Tatum and Ruffalo had to go through for several months to get in the mind - set of the wrestler.

While the films marks Olsen's screen debut and is certainly the most anticipated of her upcoming features, it's hardly the only place she'll appear: The 22 - year - old has already shot four other films, including the dramatic comedy «Peace, Love and Misunderstanding» opposite Jane Fonda and Catherine Keener, and she plays Josh Radnor's younger friend and love interest in the college - set «Liberal Arts.»

Not much is known about this film yet, but the brief logline is more than enough to make me interested: «A love story set one year after the existence of the afterlife is scientifically verified.»

By far the best part of the film are the scenes set in the Judge Dredd style mega city which owe a great visual debt to Blade Runner and the idea of a futuristic society ruled by the church is a really interesting one.

In 1080p, the film is full of interesting visual details, from Griffin's mesmerizing blue eyes to present - day K's deep - set lines to Boris» cringeworthy monstrosity.

The zombie tale, a hybrid of Scooby - Doo, Night Of The Living Dead, and an always intriguing youth - confronting - scary - monsters premise, seems in line with people's interests and in an animated setting, perhaps a zombie film can survive the over-saturation of zombie - pop that has been prevalent these last few yearof Scooby - Doo, Night Of The Living Dead, and an always intriguing youth - confronting - scary - monsters premise, seems in line with people's interests and in an animated setting, perhaps a zombie film can survive the over-saturation of zombie - pop that has been prevalent these last few yearOf The Living Dead, and an always intriguing youth - confronting - scary - monsters premise, seems in line with people's interests and in an animated setting, perhaps a zombie film can survive the over-saturation of zombie - pop that has been prevalent these last few yearof zombie - pop that has been prevalent these last few years.

Similarly, the film suffers from a common problem in biopics that span more than 50 years, in that the editing suddenly leaps forward to another time period, just as things are getting interesting — this is particularly frustrating in the depiction of the central romance, but it also short - changes the sequences set during the AIDS crisis.

Major developer and publisher Ubisoft has set up its own film studio, Ubisoft Motion Pictures, and has multiple adaptations of major franchises in development; there have also recently been rumor - mongering that Activision - Blizzard is interested in following suit.

Adapted from the novel by Chris Fuhrman, there's some funny dialogue and interesting insights delivered during the course of the film, and had the tone stayed within the bounds set during the opening scenes, this would have been an enjoyable slice of life film with humor and heart.

The first point is clearly absurd and as for the second, while I am rarely an advocate of very long albums for film scores, in this case I would have to agree; unfortunately, Goldenthal recorded half of his score in New York and half in Los Angeles and so because of reuse fees, he and producer Robert Townson had to choose which of the two sets of recordings to give on the album, and they decided that on the whole the New York half was more interesting - and I wouldn't disagree.

He's a director I look up to, he uses some of the best set designers, vehicle builders, these are just all very exciting, at the top of their game and making an exciting, interesting film, and also a character that I just loved and adored and enjoyed playing.

As long as Disney keeps producing superhero films that complement its transcendent Pixar works through a similar tone, and a similar set of values, we'll get interesting offshoot films.

This movie is a mashup of «The Da Vinci Code» and «The Matrix» that may well be a fun framework for a video game in which you skulk around period settings murdering people, but in a feature film adaptation could not possibly be less interesting.

The pair's 2012 «Frances Ha» previously charmed audiences with its mix of millennial ennui and old - fashioned American pluck, but it was the film's interest in putting a female friendship front and center that really set it apart from the pack.

It isn't known if The Secret Life of Houdini will be the director's next film, but it does set up an interesting competitive environment.

It's interesting that critics at the time of the film's 1974 release seem mostly interested in its period setting — something that wouldn't really have occurred to me to remark upon today, except in passing.

A harsh coming - of - age story set in a dreamlike, re-imagined, post-modern wild west, McLean's film manages to sidestep the arid ironies of most modern westerns on its way to far more interesting territory.

Though set in space with this very specifically antiquated vision of the future, the film doesn't seem all that interested in sending up sci - fi.

It's also a point of interest that several tracks used in the film were originally composed and arranged by Morricone to be used in John Carpenter's winter set sci - fi classic The Thing, which was also a chamber film and also starred a cold - blooded Kurt Russell.

Rounding out the set are deleted scenes, a profile on the film's director («The Incredible Ang Lee»), and an interesting making - of on the dog fight sequence.

The most interesting feature in the entire set is the Nippon television special, a 42 - minute Japanese documentary that was aired there to promote the release of the film.

It's a plush and strangely ornate film despite the hellish setting and there's always the sense that Shortland is perhaps more interested in making a crimped, up - market costume drama in the mould of Jane Campion's Bright Star than she is a bona fide survival movie with dirt under its fingernails.

Obviously the specific degree to which setting informs a film depends on the movie, but how much of your reaction to the script was maybe based on the feeling that this could be a chocolate - and - peanut - butter type of fit, that [a vampire] story told in Las Vegas could be interesting?

We've been quite interested in Legendary's The Great Wall, a monster movie set in China in the Directed by Zhang Yimou, best known to western audiences for the Chinese films Hero and House of Flying Daggers.

Therefore it should come as no surprise that he's one of the most interesting characters in Life, the new ensemble sci - fi film directed by Daniel Espinosa, and it appears that the two cultivated a good working relationship on that set because they're reportedly reuniting for a new war movie that's based on a true story.

I think it's interesting that McCarthy's follow - up, The Road, is set in the post-apocalypse — in a broad sense, all of his books since All the Pretty Horses have been roughly chronological, making No Country for Old Men (and the film of it, and all the great films of 2007) a chronicle of Armageddon: all whimpers and no bang; I hardly noticed it happening, and now it's done and there's no helping it.

Or just another set of odd and interesting Globes films this year?

Rumours have stated that Nyong» o is set to play Boseman's love interest in the film, shifting away from the comic book's original love interest of X-Men's Storm.

That, plus the fact that the set - up is so interesting ends up making the more pedestrian elements of the film all the less engaging.

McDonagh's latest, and his first film set on American soil, is War On Everyone and represents a clear, though offbeat, progression of the director's interests.

Most baffling of all — in a film set in the 19th century that clearly wants to be about expanding our notions of what is «acceptable,» and finding ourselves in the process — is how it sidelines some of its most interesting characters.

Set in an interesting period that suggests the existence of the Cold War between the US and Russia, the film lurks in the shadows where trust is a commodity that no one can afford to lose for the fear of sparking a huge international embarrassment or a full - scale war.

Centered by a haunted yet tough performance from Brit Marling, the film comes from a screenplay by Julia Hart that got the Black List endorsement as one of the best unproduced scripts of 2012, and its setting and distinctive Americana twist alone make it of interest.

The engaging authenticity of the film's settings and production design — which nip piecemeal inspiration from some of the aforementioned genre efforts, but also movies like Dark City — go a long way toward holding an audience's interest.

Written and directed by Maggie Carey, the film can easily be compared to American Pie or Super Bad, but from the female perspective and set in 1993, an interesting choice considering much of the language or concepts discussed are significantly more recent than 20 years ago, but let's not quibble about such issues.

And here are the five most disappointing films of the year: On the Road (Michael Winterbottom's Wolf Alice tour movie can't even find something interesting in its fictional subplot), Hampstead (a painfully strained romantic comedy set in a twee version of London), The Book of Henry (Colin Trevorrow missteps with this convoluted thriller), The Snowman (Michael Fassbender struggles to sustain this lifeless Scandinavian mystery) and Pitch Perfect 3 (it's painful to watch the Bellas try their hand at action - comedy).