Sentences with phrase «kept out of the film»

But, there is no further explanation for what plans the filmmakers had for these elements and why they were kept out of the film.

Not exact matches

I was eager to watch the film from Monday night when the Bills found a way to both limit Gronk to season lows in receptions (2) and yards (37) while also keeping him out of the end zone.

Frank Cottrell - Boyce proposed the film project to Baby Milk Action after reading our newsletter article about Syed Aamir Raza's evidence of Nestlé baby milk marketing practices in Pakistan — and Nestlé's efforts to keep this out of the media.

Loach stated: «Thank you to the academy for endorsing the truths of what the film says, which hundreds and thousands of people in this country know, the most vulnerable and poorest are treated by the Government with a callous brutality that is disgraceful, a brutality that extends to keeping out refugee children we promised to help and that's a disgrace too.»

Perhaps the most famous example of making do is the scene immortalized in the 1995 film «Apollo 13,» when ground - based engineers figured out how to make a carbon dioxide filter that would keep the astronauts from suffocating — using only parts available to the astronauts aboard the spacecraft.

Khloe and Kim Kardashian spotted out in Beverly Hills filming the upcoming 10th season of «Keeping Up with the Kardashians» on December 19, 2014

Yet although Gordon - Levitt presence helps to keep us invested in the story, you'll be left wondering how this dull, overlong film might have turned out in the hands of a less bombastic filmmaker.

Fincher keeps the film moving at a grimly frenetic pace, using intertitles to keep track of time (it's always raining here) and knocking you out with a one - two conclusion that you may see coming but that rocks you anyhow.

But while the film does insist on its own irreverence a bit too much at the outset — it opens with a group of birds inspirationally singing, «You're only as small as your dreams,» before they get abruptly knocked out of the sky — it offers plenty of lively fun once it settles down, and wisely keeps the pandering to a minimum.

The film keeps Renner's Brandt out of the action for a long time, and when he does finally join Hunt in the field there's a real sense of distrust; is Brandt truly part of the Impossible Mission Force family or is he planning on betraying Ethan?

Keeping in perspective when it was made the film is not bad, Muni a fine actor when not in costume, say in Chain Gang, brings the hambone out as Zola ages and many of the rest of the cast are stiff and overly grand.

I think this beautiful adaptation gets no justice, the melodic storytelling and dramatic performances don't seem out of place in this tragic film, it keeps to the Shakespearean roots by maintaining the language which in its form sounds poetic, the story has however been updated to suit

I think this beautiful adaptation gets no justice, the melodic storytelling and dramatic performances don't seem out of place in this tragic film, it keeps to the Shakespearean roots by maintaining the language which in its form sounds poetic, the story has however been updated to suit today's audience.

One thing that makes this film enjoyable is the young William Holden as Raft's younger brother.Raft has seen the errors of his ways and is forced to go back to crime in a effort to keep his brother out.

Actress Mary Field kept her private life such a well - guarded secret that not even her most devoted fans (including several film historians who've attempted to write biographies of the actress) have ever been able to find out anything about her background.

Most of all, it contains a powerful, deeply felt performance by Kruger that is both the best thing that she has ever done in a film and worthy of all the accolades that it has received — even during the ludicrous final section, she keeps things from totally spinning out of control.

That spirit of giddy flippancy keeps the film pleasantly engaging, but it also practically ensures that, unlike the books on which it's based, Peter Rabbit is rather unlikely to be recalled with misty - eyed adoration by the time the year's out, much less over a century after its creation.

Pellington and screenwriter Alex Ross Perry make their point within the film's first few minutes and keep making it — establishing that, yes, certain objects obviously do matter to us as harbingers of the narratives we assemble out of the incidents in our lives — as if they're the first artists to broach the subject.

Yes, I am quite aware of what it takes to create a film and many beloved things in the books have to be taken out, but some of the things they did keep seemed unessessary and could have been replaced with another sceen somewhere else in the script.

After all, «Abandon» came out in 2002 and it's now 2011, and after almost 10 years I still keep coming back to this film, regardless of it's popular dislike.

If Sono's intention was to get his viewers to examine the subtleties of the film, perhaps he could have kept the voiceover out of it, one of the most overbearing narrations in any recent film.

Most of the film is about a love story between down and out Andrew and epileptic Sam, who is making her way through life while keeping her disability a secret and trying to connect to someone besides her loving and yet embarrassing mother.

This is a very simplistic film that follows these two competitors as they await the match, and then the movie goes out with a bang in keeping you on the edge of your seat as you await the victor.

It's always amusing — Tarantino is skilled enough to keep them from getting out of hand — but it can't always keep the film's energy up.

The one - liners tossed out during the heat of battle are mild enough to keep the film in PG territory, which means they're so neutered as to be uninteresting.

It's by far the dullest and least inspired of the three films, and despite a robust Dan Stevens performance as the comically heroic Sir Lancelot, the juice has definitely run out of the batteries that is keeping this series alive.

A lot was left out of this film that its predecessor had, but the new movie can't keep every little detail.

Trier masterfully navigates the mystery elements of the story, dishing out just the right hints to potential supernatural elements while keeping the film grounded in Thelma's point of view.

«Get Out» is not a film that takes breaks for comedy routines (even if Howery allows a little relief, it's often in the context of how he's convinced all white people want black sex slaves), keeping us on edge and uncertain from the opening scene to the final one.

The film is set to hit theaters in September of this year and be sure to keep an eye out for this one because it looks to be an unforgettable journey into the sci - fi genre.

At first, Panahi announces that he is going to act out some scenes from the film he was planning to make at the time of his arrest — a Romeo and Juliet — esque love story involving a girl herself kept under lock and key by her strict parents.

We get a glimpse at a day in the life of Mannix, as he sorts out a pregnancy scandal with a single actress (Scarlett Johansson), manages a cowboy star's (Alden Ehrenreich) miscasting in an art film, and searches for a missing debauched Hollywood favorite (George Clooney); all while keeping twin journalists (both played by Tilda Swinton) off his back.

8:00 pm — Sundance — A Town Called Panic One of the most delightful films I saw in 2009, a whacked out stop - motion film from Belgium that follows Horse, Cowboy, and Indian throughout a series of adventures, mostly focused on trying to rebuild their house which keeps getting stolen every night.

Usually, I'd be able to point out a slight issue keeping the transfer short of perfection, but I spotted nothing troubling here, aside from two blink - and - miss visual quirks that presumably and definitely date back to the original filming.

Reminding myself of the film's best asset kept me from walking out.

It may have been the film's humble nature that kept it out of the Oscar spotlight; the film centers on two people uncomfortably trying to shrug off their own historical significance instead of owning it in the way that the women of Hidden Figures did.

There are so many films coming out in 2018, but we've got our eyes on some of the biggest, most interesting, and peculiar ones that keep us checking for release dates and ticket pre-sales.

The film is very funny thanks to great direction and a talented cast, which keeps things entertaining while the plot goes out of control.

The first section of the podcast my guest, Gold Rush Gang member Matt Dinn, and I talk about the impact of this on the current landscape of the Oscar race, specifically to The Weinstein Company's awards efforts and the surprising news last week that Ridley Scott would cut Kevin Spacey out of his Getty kidnapping drama All the Money in the World, replace him with Christopher Plummer (the actor he originally wanted for the role of Getty) and the race to do this and keep the film's December 22nd release date.

In keeping with the director's late style, it's a series of disjointed and overlapping ruminations and jokes, half - oblique narrative and half - essay film, shot in an experimental digital 3D that is guaranteed to slice out your eyeballs.

Part of me hopes that he'll direct a flat - out horror film someday, but until then, we have Jurassic Park to keep us warm.

As always, I suggest everyone keep their eyes on all of these films and everything else good coming out of Sundance.

Going down the line in the Director predictions, we can feasibly see a name like Kathryn Bigelow pop up during the precursors for «Detroit,» though the film's divisive last - third will likely keep her out of the hunt.

McAvoy would like to see his character Charles Xavier «getting himself out of a mess» in future films, saying «In First Class he uses Cerebro for the first time and maybe it unlocks something in his head — maybe he can't keep the voices out or something.»

Like Michael Apted in his 7 - Up docs, Depardon keeps returning to the same people, using his films as a record of their weathering skin, the passing of the years and the out - with - the - old decline of small - farm agriculture.

It got raves out of Toronto and Fantastic Fest back in 2011, but Lionsgate stubbornly kept the film on the back burner of their release slate for what seemed like forever.

Were this coming from In The Loop and Veep creator Armando Iannucci, you could see these scenes handled with a satirical touch (and keep a look out for that in his upcoming film The Death of Stalin).

Not only has he kept up his blistering pace of pushing out a movie a year, but this time he's really delivered two films, only loosely connected by jangling neurosis.

Neeson gives a strong, assured performance as Felt, and in some of the film's best moments you can see the toll this leaking is taking on Felt, who has to keep it entirely from everyone he holds dear all the while Nixon's men and Gray are putting the pressure on Felt to find out who the leaker is.

I read and read and kept thinking «Uh hello... James McAvoy, brilliant stage and film actor, plays THE MAN HIMSELF, Victor Frankenstein, but you mention a bunch of Sherlock actors and put his name in «details», like the insignificant actor he must be to Time Out?»