Sentences with phrase «lesser films like»

And for every Superbad, there are four or five lesser films like Project X. And sure, occasionally you'll get a high school movie that actually has something to say about the academic and societal pressures of being a student (Justin Lin's Better Luck Tomorrow is a great example), but even that focused primarily on male characters.

Not exact matches

It plays less like the kind of blockbusters we are all used to and more like a horror film.

While classification freed directors to use explicit language in marvelous films like Platoon and Something Wild and has allowed films like Out of Africa and Children of a Lesser God to explore the complex nature of human sexuality, it has also given us a series of slasher films — Friday the 13th, with its many parts; The Texas Chainsaw Massacre, parts one and two — and films like Brian DePalma's artistically significant but deplorably explicit Body Double.

In truth, there are times when the film feels less like an addition to the franchise than it does a remake of the original movie.

«I see us being less of a paper - feeding machine and rather a dispenser of value added substrates like water - soluble flavorings or ingredient - bonded films used for flavor transfer.

In a recent YouTube campaign film, he complained that «we have gone down the road of mediocracy and compromise, we don't like the idea of excelling of anything because we worry that it implies that somebody is less good».

A thin, stretchable film that coils light waves like a Slinky could one day lead to more precise, less expensive monitoring for cancer survivors.

When researchers asked women to watch either an erotic film, a sports video, or a «neutral» video of a train, and then perform a series of unpleasant acts (like drinking out of a cup with a bug in it), they found that those who'd watched the sexual acts rated the tasks as less disgusting — and were also able to complete more of them.

Even though Bloody Days tries to walk the walk and talk the talk, ultimately it feels less like a creative homage to a cult film classic and more like a shallow imitation with a hint of Tarantino flair.

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.

seems less like a sequel to than a parody of the first 48 Hrs., especially when Nick Nolte, repeating his role from the earlier film, begins commenting on the cliched absurdity of the goings on.

It's an action - adventure origin myth which plays less like a conventional superhero film and more like a radical Brigadoon or a delirious adventure by Jules Verne or Edgar Rice Burroughs.

and I like that its a WWII propaganda film, that doesn't really feel like a propaganda film... probably because the «heroes» and «villains» are less clearly defined than most stuff from that era.

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

The film reminded me of films like The Prime Gig, Boiler Room, Less Than Zero, Nothing in Common, Up in the Air, American Psycho, and Glen Gary Glen Ross.

Studi, a great actor who has a long career playing fearsome warriors in films like Dances With Wolves and The Last of the Mohicans, is equally stoic but is given even less character shading.

In a less well - written film, Cody and Reitman could have lost their way with the path the film takes, and while it feels like a bit of a jarring bait and switch in the moment, it never cheapens anything.

For all the value of his three most recent period pictures, they feel less vital as direct responses to the world around us than as filmed civics lessons, like popcorn Rossellini in his historical films era.

With these three films, Spielberg has crafted something like a Trilogy of Good Decisions, in which, at pivotal moments in our nation's history, more or less decent people took the opportunity to make the right choices based on fundamental beliefs in foundational American values.

Less than three years after the film made its theatrical debut (to many boos and jeers), the director comes back to tweak Alexander AGAIN with what I like to call the This Time for Real Cut.

While the film never reaches the kind of emotional peaks of James» best work like «Hoop Dreams» or «The Interrupters,» Abacus: Small Enough To Jail is no less compelling.

The film has about five sets and they never feel like they connect together, but this is less an attempt at disorienting the viewer than simply cutting corners; the grisly, overdone lighting, meanwhile, makes you want to hide behind your fingers for all the wrong reasons.

Like many of Tom Keene's Crescent Productions vehicles, Raw Timber is less of a western and more of a straight adventure film.

Probably one of the less interesting films of such great names like Freeman or Cusack.

If the abundance of agriculture may be too much for some tastes, the film subtly reveals how farming methods grew increasingly industrialized over the years: Just as the armies of the Great War employed modern weapons like tanks and airplanes for the first time, so the Paridiers begin to use combines and tractors to yield more crops with less labor.

On a basic level, for those of us with less free time (or spending money) than we'd like, and with a seemingly endless array of films always being released, there's always an element of benefit - cost ratio involved in our assessment of the films we drop our cash on and park our asses in a dark theater for two hours to see.

Like Ceylan — like many a fine director — Coixet has made her film less as a drama than as the traversal of a state of mind, a mLike Ceylan — like many a fine director — Coixet has made her film less as a drama than as the traversal of a state of mind, a mlike many a fine director — Coixet has made her film less as a drama than as the traversal of a state of mind, a mood.

The smooth jazz score which punctuates the film gives certain sections the feeling of a silent movie, while the long awkward silences in the second act are like a lighter, less absurdist variant on the work of Samuel Beckett or Harold Pinter.

It would seem foolish to complain about shallow characterization in a film like this, though in my opinion it should have either actually developed compelling human characters or dwelt less on them.

Oddly, Hot Girls Wanted made me less mad at the porn sites and purveyors themselves than at films like Taken, Don Jon, and Pretty Woman.

The film, like Nikita herself, becomes more conventionally sleek and less interestingly bizarre as it moves along.

For better and for worse, this feels less like a feature film than a stretched - out Daily Show segment.

I liked this documentary because it was as damning as a Michael Moore film and much less sentimental, and the message was stronger because of it.

Liking the film less is Variety, concluding, «Seven Psychopaths feels like either an older script knocking around the bottom of a drawer or a new one hastily tossed off between more ambitious projects,» and giving it a «C,» The Playlist finds even less to enjoy in a picture both «manic and exhausting.»

In Turner Classic Movies: Must - See Sci - Fi, fifty unforgettable films are profiled, including beloved favorites like The Day the Earth Stood Still (1951) and Fantastic Voyage (1966), groundbreaking shockers like Planet of the Apes (1968) and Alien (1979), and lesser - known landmarks like Things to Come (1936) and Solaris (1972).

I was almost sick during the film, it had got to the point when I was getting worried about how much less interesting things could get - until it looked like Eleanor and Dr Moreau were going to fall in love, and then I actually was sick.

There are a few new funny bits and in other cases, the film's rhythm and pacing seems mildly hindered by adding a less potent comedic coda or non-essential moment (like Doug being gifted the Mercedes from his new father - in - law, played by Jeffrey Tambor).

Despite huge hits like the final Harry Potter film (2011's highest - grossing title) and, to a lesser extent, the second Hangover movie, Warner Bros. also experienced a surprisingly large number of flops last year.

I like the World War II films that cover the stuff everyone knows, but I'm stating to get even more appreciative of the ones that bring the lesser known parts to a wider audience.

The main contradiction to all of this praise, of course, is that the events that occurred in the first film (like killing off the entire team in the opening mission) lead to the less - than - impressive sequel.

Ronald never returns, but his cameo sets the tone for the rest of the film, which plays out like less of a narrative than it does the most expensive ASMR video ever made.

Criticisms like this all point to an underlying question: would it have been better to just give us The Hobbit, on its own with none of the appendices, and let it be a lesser film?

Much of the time, «Station to Station» feels less like a film than a very well - produced music video.

Like many films by Besson — «The Professional,» «The Fifth Element,» «The Messenger» and other high - octane shoot -»em - ups — «Lucy» starts out riveting but becomes less engaging as it goes along.

Its terribly exploitative in using the decrepitude of death to scare the viewer and shatter his resolve - the same way lesser horror films use tactics like gore and startling noise after lulling the viewer to boredom.

Shorts may sound like a less promising option when compared to the feature length films that may find their way to theaters.

This film feels like the musical genre's missing link, bridging the gap between the classic MGM musicals of the Freed Unit, and the more modern, less sanitised genre it eventually became.

The strength of Julianne Moore and Still Alice gives breath to a possible Kristen Stewart nomination and Jessica Chastain's wobbly Best Actress possibilities could be paving a way for a possible déjà vu in which her roles in less seen films merely boost her chances for a nomination for a big blockbuster like she did for The Help, this time for Interstellar.

Hell, I enjoyed the naughtiness of last years Super, and this film feels like the road trip version of that one with less spandex and more fire arms.

It's the combination of character development, action and pure emotion that drives the film, where even secondary characters have motivations; a wonderful moment a lesser film would have cut for time finds the shapeshifting Mystique (Rebecca Romijn) propositioning Wolverine, at first disguising herself as Wolvie's crush, Jean Grey (Famke Janssen), then purring, «No one has left scars like you.»