Sentences with phrase «interesting than the film»

Somehow the Q&A seems more interesting than the film.

I don't know how or if the experience of watching 10 Cloverfield Lane Lane would have differed if it had followed a conventional marketing campaign, but the way that it ended up being marketed and hidden for so long ended up being more interesting than the film itself, as it drew this air over it that made the film seem like something far more fascinating than what it actually was.

It's actually more interesting than the film itself.

In one sense, there is a counter-narrative here about the creation of propaganda which is much more interesting than the film's tale of the oddities of North Korea.

In a way, the in - development movie version of «Asteroids,» as ludicrous a proposition as that is, has a better chance of doing something new and interesting than a film of «God Of War,» which risks coming off as «Clash Of The Titans 3.»

(The reaction of the scientific establishment to the Swindle has been so much more interesting than the film itself.)

Not exact matches

Suddenly, the freshness rating of a film became more important than audience interest in terms of success — even though data scientists have found that the score doesn't affect the box office.

(Indeed, ESPNW is doing some of the most interesting and important work in sports journalism right now: look no further than its recent profile of Christy Mack, an adult film star who was brutally assaulted by her boyfriend, a mixed martial arts fighter.)

The rabid interest around his film arose from his commitment to descriptive rather than prescriptive truth.

Kingdom of Heaven is a far, far more interesting film than most of its reviews have suggested and a far, far more morally complex film than any of Ridley...

the program would afford an unparalleled opportunity to dramatize the interest of the Christian Church in the creative process in the arts, would encourage the production of films and programs of the highest standards, would give public support to those individuals in the film and broadcast industries who are striving to lift the general level of production, would present the Church in a positive rather than a negative stance in relation to these media, and would provide the opportunity for the Church in general and the B.F.C. and its members in particular to enter into significant conversations with the entertainment industry on standards, values, and goals.

That Avatar «s melodramatic attacks on corporate interests and its defense of simple, natural living come packaged as one of the most expensive, and probably the most technically advanced, corporate films in history would seem to indicate that only quality bigger than the movie's stupidity is its head - in - the - clouds hypocrisy.

Mark, 37, is a lot dishier than the others, and according to the screen, shares two common interests with her (amazon.co.uk and films not exactly niche matches).

-- This film looks very different than the birth movies I've seen / heard about in the past, but seems very interesting as well.

A much smaller contract to supply office furniture for the film hub built by COR, worth less than two hundred thousand dollars, attracted interest from twelve companies after being advertised more widely.

What we're interested in is the sentence near the bottom, which the film's producers apparently didn't notice: «In all, 30 rats on the high - protein diet and 12 on the low - protein diet survived for more than a year.»

The top 10 lies told by men are as follows: 1) having a better job than they do, 2) taller than they really are 3) weight is less than it really is 4) more athletic than they really are 5) have more money than they really do 6) have more work seniority than they do 7) are in a more interesting profession than they really are 8) know celebrities 9) have employees or an assistant and 10) work in the film industry.

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.

Shunted to France via an undistinguished battle sequence, we meet our hero, and the film's one slight opportunity for interest: rather than a disenfranchised nobleman, Russell Crowe's Robin is a simple yeoman archer in the crusading army of the vainglorious Richard the Lionheart (Danny Huston, bellowing).

Which is to say that the film's interpretation of apartheid may reflect most poorly on the film not because it's wrong but because it's intellectually lazy and, here's the real kicker, LESS INTERESTING than it would have been to show the aliens as not yet another oppressed minority (which has been done to death) but a mass suppressed by an elite group, made to feel like an «other» when, in fact, it's imprisoned in its own homeland.

Sylvester Stallone has made far better films than this, and here he delivers a painfully dull performance that simply doesn't do anything to keep you interested.

This is a better film than what most people say and it delivers effective chills with a good enough story to keep you interested till the end.

More interesting than the actual film is the timing of the film just before the start of the Second World War.

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.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

Aside from this being a lot less interesting than the original stories, it also gives us a film with more characters than the story has any use for, and that in turn makes what there is of a story feel baggy and drawn out.

This fact gives the film more credibility than it would have and as so becomes far more interesting.

This film is much more interesting to read about than to actually sit through.

The script is phoned in and rather than focus on the Autobots like in the cartoon the film focuses on the poorly written human characters who aren't that interesting.

Don't get me wrong, I like to punk out on more than a few occasions, but it's interesting to look back at a time in which the talent was getting commercial promotion, because in this day and age, you have to go either underground or, well, bona fide prog - rock to find real quality music, though not necessarily quality film.

Gillespie, working from a script by Steven Rogers, does an effective job of painting a somewhat less - than - flattering portrayal of the protagonist's hard - scrabble existence, with the strength of the film's opening stretch standing in sharp contrast to a middling midsection that grows less and less interesting as time progresses.

The film offers interesting characters, but raises more questions than it answers, leaving the film in a bit of a meandering spot.

a visually striking, but emotionally flat mash - up of romantic drama, film noir, and science fiction that sounds much more interesting than it turns out to be

It's ultimately clear, however, that Fear and Desire simply isn't able to justify its feature - length running time (ie the whole thing feels padded - out even at 61 minutes), with the movie's less - than - consistent vibe paving the way for a second half that could hardly be less interesting or anti-climactic - which does, in the end, confirm the film's place as a fairly ineffective first effort that does, at least, highlight the eye - catching visual sensibilities of its preternaturally - talented director.

Warner again has more than 20 films lined up for 2015, which should be an interesting year for the studio, with plenty of films (Jupiter Ascending, Mad Max: Fury Road, Pan, The Man from U.N.C.L.E.) that could potentially go either way with critics and with moviegoers.

Though infused with impressive bursts of style, Johannes Roberts» 47 Meters Down is, for the most part, a disappointingly generic offering that contains few elements designed to capture and sustain one's interest - with the film's less - than - captivating opening stretch, which establishes the somewhat one - dimensional protagonists, unable to cultivate the atmosphere of abject suspense that director Johannes Roberts is clearly striving for.

While I didn't adore the film when I checked it out in 1999, I definitely found it to be more interesting than I had in the past.

Surely Ginsburg is far more interesting than her devotees, her enemies, or this film make her out to be.

The film's cool, sober texture and its clever characters are often more interesting than the larger plot.

With more than 25 major speaking roles, the film is a kaleidoscope of interesting characters and equally fascinating situations.

Depressing, cliche, and quite unwatchable at times, Dear John really doesn't have an interesting story to tell, and despite it being in the romantic genre, the film makes the viewer feel nothing more than annoyance.

Yep, it's The Running Man for a new decade [those older than us can input the name of the their generation's film here] but not nearly as interesting

Sadly, while the film is undeniably interesting on an anecdotal level, it often feels like an interesting special feature on a Criterion Blu - ray disc (it would have fit perfectly on their upcoming release of «The Graduate») more than it does a documentary feature that stands on its own.

Ironically, much of what is spoken of in the voice - overs is far more interesting than some of the portions of the film that are acted out.

As the title suggests, it's a film more interested in the birth and nurturing of ideas and their relationship to society than it is in extracting a crude drama from Darwin nervously pressing a knife to God's throat.

The unseen events bookending Easy Rawlins» (Denzel Washington) transition from disaffected war veteran to private investigator - namely his former criminal escapades with a trigger - happy associate in Texas (Don Cheadle) versus his further adventures as a fully - fledged gumshoe - unfortunately sound a lot more interesting than the story we are being told, making this feel like a sequel to, or a two - hour trailer for, an even better film.

While some of the stories are interesting, the film is much longer than it needs to be.

Both Thor and Thor: The Dark World presented us with something drastically different than what was before it, including expanding beyond the cosmos and accepting the God - like characters as normal, which really pushed the medium of comic book films, while also blending humor and action in a way that made the character both interesting and viable.

The experimental nature of the film also proves a charm, the ten minute shots make interesting viewing and a high budget cyclorama backdrop that includes the empire state building makes the film look much more modern than anything else from the 1940's.

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.