Sentences with phrase «kind of a family film»

While the «first movie is a love story masquerading as a comic book movie,» Reynolds says «this one is kind of a family film masquerading as a comic book film again» with the inclusion of X-Force and the young mutant that Josh Brolin's Cable is after.

«The first movie is a love story masquerading as a comic - book movie, and this one is kind of a family film masquerading as a comic - book film again.»

I simply don't think it was the kind of family film that seemed worthy of a sequel.

Instead, the sequel is about Wade Wilson wanting to have a kid even though he can't, which Reynolds says makes it «kind of a family film masquerading as a comic book film.»

«The first movie is a love story masquerading as a comic - book movie,» said Reynolds, «and this one is kind of a family film masquerading as a comic - book film again.»

Not exact matches

At a press event for Perry's newest film Madea's Big Happy Family, which came out on Friday, Perry addressed Spike Lee's criticisms in a most unexpected fashion — by railing at me for a question I was making about a completely different kind of potential backlash.

A nice change - of - pace from the kind of hip cynicism that seems to infuse even the most genial of Hollywood family films these days.»

While there are hints of humor, given the film's absurd, near - implausible scenario of a fugitive who plays daddy in a broken family home, Reitman is refreshingly not aiming for cheap laughs here, instead opting for the kind of sincerity required to sell the film's central idea about the visceral necessity of family love.

Blinded by love for her new boyfriend, Trent (Steve Carell), who preaches family values but continues to put him down, and a bratty step - sister (Zoe Levin) who thinks he's just plain weird, the first half an hour or so establishes this to the point where you kind of just want the film to get on with it.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

At its heart, the film is a kind of mystical fairy tale whose messages of belief, endurance, family and belonging transcend its memorably specific people and setting.

Currently one of the best - reviewed films of the year of any kind after rave reactions at Sundance, the story follows a family who unravels cryptic and increasingly terrifying secrets about their ancestry.

If you're not familiar with the film, the story centers on a bear (voiced by Ben Whishaw) who is lost at Paddington Station in London, adopted by a kind family, and then sets out in search of an explorer who inspired his family to visit London years before.

However, the best of them are the ones that intrigue an initial idea and elaborate upon it with the kind of well - developed characters, ingenious plots and emotional resonance that is rarely seen in films aimed at family audiences.

The film doesn't sugarcoat the senility that creeps up on Clarence, which Caine plays with a state of confusion and helplessness that can be terrifying, but by the end of the film it becomes a healing kind of mourning and a new start for our fractured family.

The female equivalent to the man - boy film (which describes far, far too many films) about someone who allegedly refuses to «grow up», or be the kind of adult that their families or society expects them to be?

So, just minutes into the film, after revealing that she is pregnant, Deadpool / Wade Wilson's fiancée, Vanessa (Morena Baccarin), is shot and killed in the couple's apartment — a tragedy that first puts him into a suicidal tailspin and then sends him on a journey to find a different kind of family.

The female equivalent to the man - boy film (which describes far, far too many films) about someone who allegedly refuses to «grow up», or be the kind of adult that their families...

It's interesting that while today's cinema seems to offer more violence, sex, and profanity than ever before, family films have kind of become more sterile.

It's kind of a family franchise type of film along the lines of «The Mighty Ducks.»

While Sherman's direction is kind of oafish (though who knows how much of this is attributable to the fact that the film's comedic aspects were toned down by its financiers in post-production, leaving what must have been sizable gaps in approach), with montage simply not his forte (he bungles a chase episode involving a family taking a detour through Potter's Bluff), he derives performances from his cast that elevate wafer - thin characterizations and stages the climax brilliantly, placing an unexpected emphasis on the moving image.

The upcoming horror film follows a family in the woods who have to live in silence unless they summon some kind of threat that is hyper - sensitive to sound.

Despite it's many tries, the film fails to establish any kind of family chemistry and thus fails to make the audience care about it's characters.

So just minutes into the film, after revealing that she is pregnant, Deadpool / Wade Wilson's fiancee, Vanessa (Morena Baccarin), is shot and killed in the couple's apartment — a tragedy that first puts him into a suicidal tailspin and then sends him on a journey to find a different kind of family.

This film is undeniably Disney, and I may be going soft in the head amidst the festive flurry, but there's something kind of enchanting about this very family - friendly little flick... a warm - hearted fairytale with a few cheery chuckles...

When she hears about the missing family later while driving in the van, we might just see some kind of recognition, and soon after, the film begins to demolish its custom.

This film is undeniably Disney, and I may be going soft in the head amidst the festive flurry, but there's something kind of enchanting about this very family - friendly little flick... a warm - hearted fairytale with a few cheery chuckles... Full Review

It's a film about family, specifically the kind of family where everyone is a cop.

In recent years, «The Artist» and «Argo» have both been critical and commercial successes (and not coincidentally, Best Picture Oscar winners), and Disney are clearly hoping that the same kind of success follows for «Saving Mr. Banks,» which examines one of the family friendly company's most beloved films, 1964's «Mary Poppins,» and their own founder and figurehead, Walt Disney, here played by megastar Tom Hanks.

This is the kind of film that was all the rage in the early «60s: aging male star, once a romantic lead, is cast as head of a really annoying family that puts him through absolute hell, until the denouement that insists that family life is in fact splendid and really the ONLY THING WORTH EXISTING FOR.

Advertised as a quasi-sequel to «Jumanji» (the books were written by the same author), «Zathura» is a mediocre family film that's kind of interesting as the bridge between Favreau's early films («Swingers,» «Elf») and the action stuff he would do later («Iron Man,» «Cowboys vs. Aliens»).

Whatever the truth of this, Poltergeist had far more in common with the positive vision of bourgeois suburbia found in Spielberg's own Close Encounters of the Third Kind (1977) or E.T. — The Extra-Terrestrial (released within a week of Poltergeist) than with any unnerving Texploitation made by Hooper, and often seemed to be a feel - good family film merely masquerading as horror.

We join a film in production — a kind of kosher Tennessee Williams melodrama about a Jewish family in the South during the war, called «Home for Purim.»

But between Michael Giacchino's inspired interpretations of Lalo Schifrin's familiar theme and the film centering on a kind of dysfunctional family of four, there are some hints of The Incredibles, which is certainly not a bad thing.

This is the kind of film where that ugly old thing doesn't just survive the various attempts, it's embraced as a part of the family home.

Attack the Block director Joe Cornish finally helms another film, this one a family adventure about a group of kids fighting some kind of medieval threat.

The eponymous «white ribbon» is a kind of scarlet letter used by one family in the film to single out impure behavior.

Barnum's actual and extended families, who should be the beating heart of the film and the rudder that keeps Barnum on course, are at best a kind of icing on the cake — all sugar but no substance.

We are big fans in these parts of director Jim Mickle (who was even kind enough to guest spot on the cinecast), the director previously made dramatically driven genre pictures, Mulberry St. and Stakeland, films that paid very close attention to keeping «the family unit» close together.

Jason Reitman's film excels in giving the delicate family balance a kind of rewarding poignancy.

It's a feel - good family film that follows a standard biopic model, the kind of movie that grandparents are thrilled to be able to take their grandchildren to see.

A ten - minute clip (or shorter) from a film like The Story of the Weeping Camel from Mongolia might suffice to create a powerful discussion prompt on geography and language, on different perspectives about material luxuries, survival, family, how loved ones are cared for, being kind and considerate, what different living environments look like and how they are built, and how kids play or entertain themselves in different settings.

Adapted for both film and television, The Shell Seekers is the kind of engrossing family saga that makes it an ideal beach read.

GROSS: So there's a scene in the first «Beethoven» film, which you both worked on that - you and your father, that's the kind of family - friendly comedy version of a scene in «White God,» the Hungarian drama.

ARNO partners with «Rescue Dogs» Busted Buggy Entertainment's first - of - its - kind family film actually stars real rescue animals Busted Buggy Entertainment is embarking on a unique release plan for its family film «Rescue Dogs,» which is slated to bound into theaters next spring.