Sentences with phrase «interesting take on the film»

Definitely an interesting take on the film, to look at it as a study on the separation of the classes.

Not exact matches

If nothing else, full - on live access to the candidate is an interesting take on the idea of political transparency, though we can assume that a certain amount of staging and filtering will be taking place — it's an integral part of life on the campaign trail whether you're being filmed or not.

I had eHarmony Research Scientist Jonathan Beber take a look over the last year at the most popular movies mentioned in eHarmony subscriber profiles, and the impact mentioning a particular film could have on communication and interest.

There is, as such, little doubt that the film takes a serious dive in its increasingly underwhelming third act, with Ganz and Mandel's script emphasizing elements that couldn't possibly be less interesting - including Chuck's decision to break away from both Long and Keaton's respective characters (ie it's a twist on the dreaded fake break - up cliche).

Where those previous films felt compelled to lunge for edginess (read: sneering raunch) as chaos dutifully descended on characters they didn't like very much — and weren't particularly interested in getting audiences to like, either — Game Night takes care to locate our sympathies with Bateman, and McAdams, and its cast of charming ringers.

But these are esoteric points of interest that will intrigue mostly those who've seen too many films in their life and actively seek out strange and opaque takes on familiar subject matter.

It is also an interesting political take on the chain of command in the military, lampooning the superior officers as incompetent fools, despite having their hearts in the right place, the film manages to successfully create sympathy for Col. Berman (Ed Harris) in that despite his general inability to do the job, he is actually well liked.

To clue everyone in on some of the movies we've taken an interest in, here's our pick of the Top 10 films we're excited for, ones we're keeping an eye on and will be seeing at the earliest opportunity.

It's difficult to think of a director less - suited to take on the intricate, minutiae - obsessed writing of Peter Morgan than Howard — a director who, even in his finest films, has always been interested in the big picture first, with characters serving history rather than the other way round.

When the film is about the specific individual characters, it's still interesting, but it takes the focus away for a spell on the thematic material, even if it seeks to expose how immoral the propagators of foreclosures - for - profit have to be in order to maintain their businesses in the face of daily suffering for many families in their broken communities.

At the Critics» Week — where, in the interest of full disclosure, I served on a competition jury comprised of three other critics and the South Korean director Lee Chang - dong — the highlight of an unusually strong lineup was Take Shelter, the second feature by Shotgun Stories director Jeff Nichols, an acknowledged Malick acolyte whose new film shares a producer with The Tree of Life as well as a leading lady, Jessica Chastain (reportedly at Malick's personal recommendation).

The film takes an interesting perspective on events, one that leaves enough ambiguity to keep viewers on their toes.

Doctor Strange a wickedly interesting and amusing take on the Marvel film.

Commentary with Fede Alvarez, Rodo Sayagues, and Stephen Lang — All three bring something interesting to the commentary, especially Lang who's such a big presence in the film that it was great to hear his take on the film.

A bit more over the top than the recent R - rated animated film, Batman: Gotham Gaslight (reviewed elsewhere on this site) which had a more traditionally cell animated look, Batman Ninja is a visually dazzling and fun film and an interesting take on the classic DC characters which include The Joker, Harley Quinn, Gorilla Grodd, various Batman villains, and members of the Bat Family as well.

The film starts off with some awkward, painfully lame flashback scenes of Kyle's childhood and transitions into an opening act that is loaded with full - on patriotism that sees him go to war to get back at the people who brought suffering to our doorstep in the events of 9/11 (he was already enlisted, but if we believe the film that decision was also motivated by seeing news footage of American lives being taken), but one of the most interesting surprises is how balanced it eventually becomes and how we see the way that Kyle's actions negatively impact others and how even he begins to question his commitment to the cause, despite the fact that he would never vocalize it.

What's most interesting about this year, however, are the surprisingly unconventional decisions as to who is going to be taking up the helm of these films that seem all too traditional on paper.

Admittedly, we wouldn't be surprised if he wasn't interested in taking on another sitcom gig so soon after wrapping «Scrubs,» especially if he has any desire whatsoever to make a significant play for more feature - film work, but he was so darned good at berating Zach Braff that we'd be lying if we didn't admit to being kind of excited at the thought of pitting him against Cryer and Jones.

Nominated for an Academy Award in the Best Documentary category, the film focuses primarily on the coach and on three youngsters whose fortunes he took a particular interest in: Chavis, Money and O.C..

The one interesting side note to the film, however, is the fact that Jaime Winstone has taken on a role that is a departure from her usual bad girl characters, which is something that may well serve her well in the future, even if her first step into new territory is something of a misfire.

The film's climactic moment takes place in front of a crowd of onlookers, all very interested in what is going on, yet it unfolds exclusively in close ups of the two characters centrally involved.

The stakes are pretty low, but Sachs» film is so finely observed and delicately acted, even the smallest gestures take on dramatic interest.

His ambition has sometimes exceeded his grasp on the material, but his best films (Atonement, Hanna) and most interesting efforts (Anna Karenina) have had more than enough going on to project his take of cinema out to an audience.

Hill and Tatum are very funny together (e.g., the opening scene, in which Schmidt disguises himself as a Hispanic gang member and Jenko tries and fails to play along) and funny enough on their own (e.g., Schmidt's take on slam poetry and Jenko's delayed, childlike reaction to discovering the identity of his partner's romantic interest), which is vital because the film's questioning of itself extends to the relationship between these characters.

by Walter Chaw Although by the end it isn't nearly as interesting as it is clever, James Mangold's take on the slasher genre Identity is a tricky little beast that fits in peculiarly well with the recent trend of deconstructive horror films (such as The Ring and Soft for Digging).

While definitely not the worst film I saw at the festival, (that title would belong to Gravity), La última película remains an interesting, yet trying and monotonous take on «the death of cinema.»

The film is probably hardest on Abe, who encounters romance for the first time in his life, but the Hellboy / Liz relationship takes some interesting and powerful turns as well.

Starting off as an almost parodic take on a Hughesian high school with its map of the cafeteria cliques, the film becomes darker and much more interesting once the Burn Book comes into play.

Opening in September: Kirsten Dunst and Isla Fisher take a turn in the comic bridesmaid well in «Bachelorette» (Friday); Bradley Cooper is an author whose stolen work becomes a hit in «The Words» (Friday), a thriller co-starring Jeremy Irons and Dennis Quaid (see story on Page 17); Pixar adds another dimension to one of its most popular films in «Finding Nemo 3 - D» (Sept. 14); Milla Jovovich returns for one more zombie slaughter in «Resident Evil: Retribution» (Sept. 14); Jake Gyllenhaal and Michael Peña are Los Angeles cops in «End of Watch» (Sept. 21), which aims for a realistic look at inner - city law enforcement; Elizabeth Shue and Jennifer Lawrence are mother and daughter, discovering a horror - tinged secret in «House at the End of the Street» (Sept. 21); Karl Urban plays «Dredd» (Sept. 21), a helmeted avenger who cleans up the futuristic Mega City as its judge, jury and (wait for it...) executioner; In the animated «Hotel Transylvania,» Dracula (voiced by Adam Sandler) struggles to cope with his daughter's new non-vampire love interest (Sept. 28).

The actor, 43, who has taken on the role of Jesus in new film Mary Magdalene, said when he first decided to return to work there were no projects that interested him, before he ended up working back - to - back on four films including the biblical story, and Lynne Ramsay's new film You Were Never Really Here.

WHY SEE IT: An interesting and creative premise for a film that is clearly a labor of love — kind of an indie comedy take on CUBE and LABYRINTH, with a touch of ALICE IN WONDERLAND and Terry Gilliam insanity thrown in for good measure — DAVE MADE A MAZE is an amusing diversion for fans of budget filmmaking who can appreciate a smirk - inducing comedy with a light touch of horror and fantasy.

Mendes» film takes an interesting «hands off» approach to the politics of the situation, or wars in general, and instead focuses simply on what it's like to be a combatant.

This first feature film from director and co-writer Jeremy Garelick has an interesting premise... a much better premise than HITCH... and benefits from an on screen connection between Hart and Josh Gad, despite scene after scene taking the cheap laugh rather than the smart one.

Speaking as someone that has never seen the musical on stage, or who went into this film with any preconceived notions of how it should or shouldn't be, my personal take on Rent is that it is an interesting, ambitious, but somewhat flawed endeavor that has enough good moments to recommend, but enough weaker elements to keep me from becoming ecstatic over it.

Tom Green's follow - up to Gareth Edwards» inventive «Monsters» does at least attempt something interesting: Just as the first film fused monster - movie sci - fi paranoia with a gentle indie love story to become an offbeat take on genre, «Dark Continent» basically wants to be a war movie with vague sci - fi elements.

I can understand why the take on the material threw some, but even those who are skeptics, or who aren't interested in the source material, should give «Anna Karenina» a try, because it was, for me, the single richest and most rewarding film of 2012.

Based on the Jeffrey Eugenides book, the film is a mystery investigating why a group of sisters eventually all took their lives which happens here via a group of young men in their neighborhood interested in them.

The film is currently shooting in Los Angeles with Aubrey Peeples playing Jem, Stefanie Scott, Aurora Perrineau and Hayley Kiyoko as the Holograms, Ryan Guzman stepping in as Gem's love interest, Rio, and Juliette Lewis taking on an unknown role, too.

HollywoodNews.com: Clinical Psychologist, Dr. Deborah Hoffman, immediately took interest in the film «Last Day On Earth,» in which her daughter Tara Shayne stars, after reading the script.

Loosely based on the true tale of the infamous 1971 bank heist on Baker Street, London, The Bank Job is a mildly effective political thriller and heist flick that only generates honest interest if you take into account the events and conversations of the film as actually what happened.

1984 is certainly an interesting take on Orwell's novel, and while it can be enjoyed (if you can enjoy a film this dour) completely as its own entity, it is still just the essence of the book.

Four decades on, Kenneth Branagh finds interesting ways to grease the wheels of this new take on the oft - filmed novel.

The contentious debate over whether quotas are needed to reverse the appalling statistics on women - directed films took an interesting turn this year when the UK's BFI Film Fund, a # 27 million pot of government money, announced a «three ticks» policy which ensures a certain level of diversity behind and in front of the camera on any films they support.

As a Latina film journalist who hopes to make genre films in the future, I took the opportunity to ask Del Toro his thoughts on the assumption that women simply aren't interested in making monster, dinosaur and superhero studio films.

During the film's climax, which sees Wiley taking on the vaunted Harvard debate team (in real life, this never happened — they did battle wits with USC however), the content of the arguments, while discussing weighty issues, barely passes for interesting public discourse.

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.

The most interesting thing about Nacho Vigalondo's Open Windows is how the entire film takes place on open windows, referring to the multiple windows or browsers we can have open on one screen.

The actual poll can be found at: www.indiewire.com/critics2007/, it is a survey of over 100 leading North American film critics and is an incredible resource and interesting take on the previous year in cinema.

Genre - juggler Ang Lee was a curious director to take on such a project, and while he played around with the effects as much he could, he was far more interested in the underlying psychology of Bruce Banner's rage and the formal constructs of a film literally based on a comic book movie, with editing flowing between on - screen panels — everything short of speech bubbles.

Instead, Hadzihalilovic's film becomes an allegory of a young girl's development into womanhood, and when taken on this level the film suddenly becomes a great deal more interesting.