Sentences with phrase «less than a genre»

Not exact matches

They scour Kindle for me, put together a list of books of a various genre that are less than one dollar and send me an email to let me know.

So what better time to look back at some other classics of the genre, unsurprisingly featuring the great feuds between Arsenal and Manchester United no less than three times!

The scariest thing to be found in this pointless horror film is that its director, Rob Schmidt, has less prowess as a genre filmmaker in his third film than Eli Roth did in his first.

Resident Evil: Revelations is less of a «fans of the genre» title than it is a «fans of the series» title.

Its a rogue - like (Binding of Isaac / Faster Than Light genre), meaning its less about trying to beat the game and more about trying to see how

This apocalyptic horror thriller is a movie that will appeal less to fans of the genre than to technophobic grumps who reckon mobile phones turn people into mindless zombies.

Critic Consensus: Free Fire aims squarely for genre thrills, and hits its target repeatedly and with great gusto — albeit with something less than pure cinematic grace.

For all the generic and simplistic stuff served up in Rampage's script (by no less than four writers, including genre - TV veteran Carlton Cuse), the movie delivers where it counts.

It does offer an uncommon thoughtfulness that makes it far less exploitative or sensationalistic than most examples of its genre.

Penned by Max Landis and directed by Josh Trank, while «reinvention» would be too strong a word, «Chronicle» does a nice job of twisting the standard genre tropes into a pleasantly refreshing, highly entertaining story that features no costumes, no villains, no score, and even at less than 90 minutes, a fair amount of substance.

The good parts are worth sitting through the slow parts — particularly if, like me, you're a sucker for the genre to begin with — but it feels less a giddy merger of what's great about TV and movies than a reluctant alliance.

, by contrast, are clearly products of a post-musical era, in which the genre itself is treated like a joke, where musical numbers are less displays of technical virtuosity than extended gags, sometimes at the expense of the performers themselves (in Hairspray, John Travolta's pseudo-drag performance becomes a running punchline; Mamma Mia!

Less relentlessly bleak than Winter's Bone, which along with Frozen River is an obvious inspiration here, the life - on - the - margins drama makes a fine, tense vehicle for Tessa Thompson, who in the last few years has stood out in a variety of genres.

Though not as stupid as some horror films, it is less exciting and fun than most modern films of any genre.

However, leaving genre expectation aside, it's really kind of a great little picture, in which «SNL» regular Molly Shannon, a dog lover grieving the death of her beloved beagle goes through, essentially, a slow breakdown that may see her end up a less likable, supportive friend, sister, employee and aunt than she once was, but perhaps a more true - to - herself person instead.

«I sat down and would smoke a little weed and try to write a mind - bending horror film, my favourite genre and at some point I followed the truth and I realized there are people locked up for smoking less weed than I smoked writing the movie.»

Here we are though, less than a month out and Mario + Rabbids: Battle Kingdom is shaping up to be a nice take on the strategy genre.

With the zombie genre, I imagine you get the diehard fans that get really upset when a zombie movie is less than what they have in their mind.

: I realize I'm going to take some heat for putting this widely loathed film on my best list, especially since I was less than enthused by the overrated critic faves «Three Billboards Outside Ebbing, Missouri» and «Call Me by Your Name,» but Darren Aronofsky's fantasia about a self - infatuated poet (Javier Bardem) and his suffering muse of a wife (Jennifer Lawrence) is, like «Get Out,» both horrific and satiric in ways that move beyond the easy confines of genre.

Outside of its gestures toward genre heritage, Saulnier's story says less than it seems set on, despite its silences.

Some might call it a parade of genre clichés, but the film is less about the destination than the journey.

Yet Friedkin is less interested in the tenets of the genre than in the idea of pushing the audience to its limits.

But it also has a degree of grace and imaginative elegance — which is why it feels less like an alien - visitation genre movie than a chin - stroking art film in VFX disguise.

But the genre mash - up that is a combination love story, sci - fi fantasy, Cold War thriller and a musical seemed to stir up less controversy than its two main rivals, «Get Out» and «Three Billboards.»

Putting the «mental» in «environmental,» the not - screened - for - critics «Geostorm» is less a scare picture about ignoring climate change than a cautionary flop about trying to do too much in conjuring a perfect storm of genres: end - of - the - world porn, save - the - world triumphalism, space adventure, political thriller, family drama, and workplace romance.

Coogler's attempt at genre revision is part of Marvel indoctrination, so it's less interesting than Zack Snyder's battle with Warner Bros. over artistic expression in the D.C. Comics Universe.

Blame The Ring (but not too much; it works for what it is) for the way components from the genre have seeped into the modern horror arena, giving us a bunch of watered - down entries that might be less likely to offend than their bloody, nihilistic counterparts but usually earn more laughs than shocks.

I think with this genre, more than any other, the less you know the better.

I confess that I hadn't seen Krull in years, but I'm happy to report that I still prefer Krull — which seems a lot weirder and less booby - obsessed than Sword and The Sorcerer — to most of the films in the 1980s» sword - and - sandal genre.

Dern's chapter is engrossing, but when it demurs from paying off its ticking timebombs it feels less like an elevation of genre conventions than a haughty dismissal of them.

Alden Ehrenreich, previously unknown to me, frequently steals the movie (when he isn't sparring with a superb Ralph Fiennes) as the talented, but limited star of several Great American Westerns (cue a myriad nods to that grand old genre) finding his comfortable image being given a shake - up he is less than suited to.

The whole may be less memorable than its 2012 predecessor, but for genre fans, it's always fascinating to glimpse work from new filmmakers and to see what established directors can do with three minutes and a letter.

I can see this being a genre and title whose fans demand the utmost picture and sound quality from, and I appreciate the BD's gains, but it wouldn't be a stretch to say that the majority of the population would be less than satisfied with the DVD's presentation.

While the thin story is divided into tonally conflicting parts that move at different paces, it is less tiring than following one indestructible character through dull set pieces — an annoying staple of this genre until now.

Everything about it promises negligibility, and the promise is kept: a less - than - super star (Coburn), a female lead whose potential has scarcely ever been fully realized (Lee Grant), some character actors who stopped getting — or making — good parts some time ago (Andrews, Hendry), a forgettable British sub-leading man who muffed his one big chance (Jayston — Nicholas of Nicholas and Alexandra), an anonymously pneumatic foreign blonde (Christiane Kruger), an English hack with conspicuously unimaginative pretensions to distinction (Hughes), and above all the tiresomely formulaic genre in which doublecrosses are so taken - for - granted by the audience that no degree of geometric complication can do more than increase the boredom.

It's disappointing to note, then, that director Tim Miller can't help but indulge in genre conventions during the movie's overblown, CGI - heavy climax, which ultimately does ensure that Deadpool concludes on a decidedly less - than - enthralling note - and yet Miller's inability to stick the landing can't entirely diminish what is mostly a solid big - budget extravaganza.

Just like Sony's handling of Heaven is For Real, this project is less Christian than most films of the genre, and chooses to be «spiritual» instead, glossing over much of the Christian message.

The movie is less set in the horror genre, than a survival movie about a family, that happens to have monsters.

Which is another way of saying that genre cinema is sometimes spawned by little more than a sausage factory mentality with even less style than substance.

His writing is less successful than his direction: the derivative nature of the plot clangs up against some poorly executed references to other horror films (one reference to The Thing is flat - out terrible), resulting in another example of a genre film - maker trying to appeal through referencing better work than doing good work themselves.

Many entries to the genre are of moderate value artistically and less than wholly entertaining, but they still get their due from intellectuals, the media, and the Oscars» technical categories.

I sat down and would smoke a little weed and try to write a mind - bending horror film, my favorite genre and at some point I followed the truth and I realized there are people locked up for smoking less weed than I smoked writing the movie.»

Many people are going to be quick to compare «Kingsman» to «Kick - Ass,» but while the former boasts the same punk - rock attitude, dark plot twists, and kinetic, no - holds - barred action sequences (including an extremely violent set piece inside of a church that rivals Hit - Girl's blood - soaked exploits), «Kingsman» feels less like a satire of an entire genre than the product of a filmmaker who grew up loving spy movies.

I'm not talking about the extremely entertaining Captain America: Civil War, because it made the uninspired decision to have Captain America's genre - jumping land in the less - than - storied genre of «Marvel Movie,» or the similarly enjoyable X-Men: Apocalypse, because I apparently liked it more than almost anyone else.

Now, that might mean a movie that's marginally less dopey than most mainstream films that deal with the occult, but in the days of this and Rosemary's Baby, etc., the emphasis was much more on smart than on genre.

He did say, however, that «the light, amusing bits can not overcome the grinding, hectic emptiness, the bloated cynicism that is less a shortcoming of this particular film than a feature of the genre.»

After the huge success of Grand Theft Auto III, many other publishers wanted in on the open - world action genre, and True Crime: Streets of LA was Activision's less - than - stellar 2003 attempt.

It gets hip genre credibility from the story contributions of «Hellboy» creator Mike Mignola and «Buffy» scribe Joss Whedon, but the best of intentions often lead to the worst of eventualities, and Atlantis is ultimately less «wow» than «oh, boy» and, eventually, «huh?»

I can see how in theory or on paper while being developed, that this looked like a strong action drama, but ultimately it turned out to be a borderline less than average genre film.

The latest example of this less - than - glorious genre for anyone older than eight is Show Dogs, which has its first trailer online.