Sentences with phrase «lesser films into»

Not exact matches

In mixed plastics recycle streams such as this, using Fusabond ® improves impact resistance, surface finish, and processability of parts and films... so the recycled material can be made into more sustainable articles with less material loss and higher end - use value.

So yeah, I guess Jumanji, Pitch Perfect 3, Ferdinand, Coco, Wonder and Justice League could combine with the film's less crowd - pleasing elements, honest displeasure from some fans and the various factors that made The Last Jedi into less of an event than The Force Awakens, but that's still a $ 732 million domestic total.

It's probably hard to imagine all of Manhattan tumbling into the Hudson River and washing away in less than five minutes, but that's the equivalent of what you'll see in the film «Chasing Ice, as a city's worth of towering icebergs collapse violently into the ocean... Read More

The second direct - to - video sequel of the hit teen cheerleading film Bring It On, Bring It On: All or Nothing concerns one Britney Allen, who must make new friends when her rich family moves into less desirable environs.

The film feels a little less amateur than «Pusher», - a cheap debut feature for some underexperienced Dane trying to make abstract art - and it's that which brings the final product closer to decency, because many of the missteps that ruined «Pusher» feel more considerable in this superior, but still misguided effort, which has a good bit to commend, but even more to complain about as questionable «story «telling notes that ultimately send the final product crashing into mediocrity.

This wonderful film could have so easily been made into a silly comedy but is fortunately instead a bittersweet drama that relies on a captivating performance by the always talented Ryan Gosling, who gives life to a sensitive character that never seems less than real.

Many moviegoers are likely to like the film less than the discussions it drags them into.

It's funny how a «small» Spielberg film can feature an all - star cast led by Meryl Streep and Tom Hanks, much less leap into production on May 30 and be ready for audiences to see it by the beginning of November.

The first spoken word is almost a half hour into the film, and there's less than 40 minutes of dialogue in the entire film.

Boasting perhaps the strongest supporting characters yet among Marvel titles, director Ryan Coogler's visually dynamic film should transform a lesser - known comic - book hero into a household name.

Coming off the success of the horror film It Follows, writer - director David Robert Mitchell shifts into noir with his latest feature, but the results appear to be much less favorable.

It's clear that these kids have a genuine problem, and a more probing film might have questioned the cultural factors that contribute to it, as well as the efficacy of more or less kidnapping errant youths and trying to coerce them back into productivity.

Succeeds where so few Hollywood movies even venture - it builds a believable life, adds just enough nervous laughter to relieve the realistic tension, and constantly escapes the dumbed - down expectations beaten into us by lesser films.

One of the most impressive things of Bahrani and Bahareh Azimi «s script is that it sets up scenes which could have followed into much more dramatic outcomes but the writers chose to take the road less traveled and in an odd way, by taking the less dramatic approach, the film removes itself that much further from the majority of indie films that concern themselves with cramming the most amount of drama into the least amount of time.

When it was first suggested that the theatrical release of the unique, twin - experience of «The Disappearance of Eleanor Rigby: His and Her» might require a distillation of two complementing films into a more traditional single narrative release, Jessica Chastain was less than pleased.

Violet's philanthropic approach to higher education extends to dating preternaturally dim frat boys in an attempt to guide them towards becoming less inferior, a setup that could easily have been obnoxious but dovetails instead into one of the film's most sweet and surprising plot threads.

The Siegel film, though it also delved into the mind of the headmistress, more or less stayed within the thoughts and perspective of the corporal.

Granted, some of this has been generated by Malick, and the promotional efforts for the film, but, frankly, many big name, and lesser name critics, have simply imbued and misconstrued their own critical lack and imaginative dead rot into their reviews, and missed the boat on this film, from some of its most basic elements through its more nuanced themes and evocations.

There is less detail and clarity than many Blu - rays offer, but it's important to remember that the film is 25 years old and had a production budget of just $ 6 million (to put the latter number into context, fellow 1986 Charlie Sheen movie Ferris Bueller's Day Off cost the same amount).

But Clooney doesn't push the aesthetics of the film quite so far into hermetic beauty as the Coens, and he presents his characters with less distance and greater affection.

So I walked into this film with, more or less, a clean slate and waited for the director David Yates to colour me impressed yet another time.

As if filmed through a thin veil of delicate lace, Michael McDonough's cinematography saturates this religious commune in a glow that renders black (the colour of evil) into a less threatening palate of charcoal and grey.

So good is Cable that you wish the film would've allowed more room for growth with his inclusion into the story and while he plays a key role in proceedings, you still can't escape the feeling that the film would've grown as a whole had Brolin been allowed more spotlight, ditto for Dennisen and Reynolds budding mateship, that despite forming the core of the narrative thrust is never properly built up, making Wilson's mission as a whole less engaging than it could've been.

A lesser film would make the mother - who - lost - a-child protagonist into a victim who's constantly crying or a saint who bravely keeps her head up in spite of it all, but here, Becca is just pissed off.

As daffy father Clark, Chase turned the film into a huge hit, harnessing a likable befuddlement that kept the series going even as the sequels were increasingly less well received and tiresomely slapstick.Chase's other big hit came in 1985, when he starred as the title character in Fletch, the film widely considered the actor's best and most complimentary of his sharp talent for wordplay.

A good story gets stuck in a puddle of mood in «Dark Crimes,» a film that strays from its fascinating source - a real - life murder case - into a less successful attempt at noir.

But the festival focuses on lesser - known films that have fallen into obscurity but still pack a punch.

This weekly column digs into the deeper cuts and lesser - known films from legendary directors — the good, the bad, and the amazing.

After all, underground cinema is less in thrall to the establishment of a name (filmmakers may often either move on to independent film or into other areas of activity), and much more likely to be a scene of greater experimentation.

Whilst known for his own vivid and controversial novels LESS THAN ZERO, AMERICAN PSYCHO and THE RULES OF ATTRACTION (each adapted into acclaimed films),...

For its 25th anniversary celebration, which more or less coincides with the first century of film, the Telluride Film Festival is plunging gleefully into the past.

Although this film falls into the ever - bulging genre of inspirational stories of courage and hope against all odds, director David Gordon Green has given Bauman's story a grittier, less predictable edge with Gyllenhaal never going for cheap sentiment or movie cliches.

It shows the influence of Cassavetes in its comic dramatization of the trials of male bonding and the struggle for emotional integrity, but where Cassavetes captures the tooth - and - nail wildness of first - generation Americans clawing their way into the middle class, Anderson's film recalls an older, more disciplined, although no less self - excoriating, tradition — the WASP modernism exemplified by Ernest Hemingway and Howard Hawks.

Though the film is less racy than De Palma's somewhat voyeuristic version, Peirce relies on a «womanhood» motif that seems quite unsavory given the visceral nature of Carrie's messy birth and her introduction into puberty: blood and cracks.

Following a single father who works as a human billboard in Taipei, and his left - to - their - own - devices kids, with the presence of their mother represented by three different actresses, the film has the barest thread of story (Tsai has admitted that he no longer has any real interest in narrative), and seems determined to provoke less patient audience members into walking out, with a series of shots that last upwards of ten minutes without all that much movement in them.

There are three for Michael Humphrey and Hannah Hall (little Forrest and Little Jenny), each running around half a minute; two (approx. 2 minutes apiece) with Robin Wright playing against Tom Hanks playing it straight — and demonstrating in the process that the film mighta been a helluva lot less offensive were retardation not transmogrified into sacred sideshow; and finally two with Haley Joel Osment, again playing off Hanks playing it straight.

The twist in Lakeview Terrace is that the bigot front and centre is a black man (named after Biblical Abel, no less) and that it's all been genre - mixed in the cop - gone - rogue, Internal Affairs / Unlawful Entry tradition, speaking ultimately to the distinct»70s feeling of paranoia towards authority that's resurfaced in films of the last eight Bush years while trying, with some success, to refocus racism into generalized rage, confusion, frustration, and intolerance.

Both principal actors have a strong enough sense of their characters, even as they're pulled into increasingly harrowing places, to make the film a more successful one than Loach's last few, but it's still schematic and predictable, and it aggressively stacks the deck against Blake and Kattie in a way that makes it more effective as social activism, and less so as drama.

Allen's appeared less and less in his films over the years, but famously casts other actors into the roles he would have played.

However, from the arrival of Rey onwards, the film attempts to juxtapose into this dark universe something of the buddy movie, albeit, in a much less frivolous manner than in pictures such as Midnight Run and 48 Hours.

The found - footage horror flick The Visit — a film that's only a little less self - reflexive than Split — gave the one - time Hollywood golden boy a chance to start over after a couple of misguided forays into the world of effects - driven fantasy blockbusters.

Despite cinematographer Shelly Johnson's admirable attempts to ape Janusz Kaminski's lighting style — covered up by the color grading, which A.V. Club contributor Adam Nayman likened to camouflage meant to hide the fact that anyone had put any effort into this movie — this basically looks and moves like an over-heated fan film, and Montiel's tin - eared use of country music doesn't make it seem any less amateurish.

Even in sub-par films such as The Darkest Hour, she's never less then 100 per cent convincing, and here even sidesteps into an action role effortlessly.

Zoolander and the gang have mostly ossified into pullstring See»n Says, though to encore the greatest hits of a fifteen - year - old movie whose footprint on popular culture has long since dissipated is to masturbate, really, and the celebrity cameos — about the same number as the previous film's, but much more elaborately integrated this time around — feel no less onanistic.

Sonia cracks less than ten minutes into the film and whilst I wanted to knock some sense into her students myself, it was a little too soon to see her go over the edge.

The premise is interesting enough to bring me into this film, but somehow the director gets bogged down with the problem of inserting too much ridiculous blood and gore into every scene that it becomes less than a mediocre movie.

While this film could benefit from a remake with todays technology it seems less thought has gone into it than many horror fans would have liked.

Indeed, without giving away where the movie heads after that, it's safe to say that it starts to reveal itself less as a story about righting a wrong and more about reconciliation — one that still blends McDonagh's signature dark humor and sudden swerves into laughs into gasps, yet also taps into an emotional depth that closer to his theater projects than his film work.

The film struggles to create a context in which the climactic murder seems inevitable, but the facts don't support a psychological case study — all indications are that du Pont more or less lost his mind in the weeks leading up to the murder, whereas most of Foxcatcher takes place almost a decade earlier — and screenwriters Dan Futterman (who also wrote Capote) and E. Max Frye (Something Wild — this is not) never manage to build a series of petty rivalries and resentments into tragedy.

The film does an admirable job of condensing the graphic novel series into a little less than two hours, but — in the process — Scott's character is a smidge de-jerkified and Ramona's given way less to do.