Sentences with phrase «lighter than her other films»

Not exact matches

What we get instead, in light of the critical and commercial success of Volume 1, is a film which is longer, baggier and more needlessly wordy than its predecessor - in other words, a film which has all the faults of Volume 1, but which is more boring to boot.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Madonna plays Amber Leighton, the rich - bitch wife of an entrepreneur (Bruce Greenwood, in an understated turn frankly better than anything he's done in American pictures up'til now) whose business is chemicals, a profession intended to draw his conservatism in neon lights: Not only does he prove to be a capitalistic pig, but his profit comes from a dangerous - sounding line of products that would be the MacGuffin in any other film, too.

Other ’79 films remembered with more - than - average fondness include: Nicholas Meyer's Time after Time, Ettore Scola's Down and Dirty, John Hanson and Rob Nilsson's Northern Lights, Arthur Hiller's (and Andrew Bergman's) The In - Laws, Diane Kurys's Peppermint Soda, Sydney Pollack's The Electric Horseman, Oldrich Lipsky's Nick Carter in Prague, or Dinner for Adele, Jim Henson and James Frawley's The Muppet Movie, and Don Sharp's The Thirty - nine Steps.

Dial M for Murder premiered at the Westminster Theatre in London in 1952, only for it to be made into an expert crime mystery thriller by Alfred Hitchcock two years later, while Wait Until Dark, another complex and dark play in the vein of Hitchcock's interests directed by Arthur Penn (who would helm Bonnie and Clyde the very next year), saw the light of day in early 1966 on Broadway, where it instantly attracted the attention of both the audience and Warner Brothers, determined to turn it into a feature film starring none other than Hollywood's sweetheart Audrey Hepburn in a much darker, insidious story than her filmography had ever witnessed.

And yet this film feels considerably less a matter of treading water than 2006's somewhat weary Lights in the Dusk — and besides, Kaurismäki recycling himself with panache and conviction can be a hell of a lot more fruitful than many other directors» originality.

These questions, and many more, bring the script of Episode III into the light of reality far more than any of the five other films.

Granted, great portions of the film have a lively, razor - sharp appearance here (all it takes is a decent light source other than the moon's natural luminescence), but the real saving grace of this presentation is the lossless audio.

Other than a single instance of banding the film looks terrific in HD, with plenty of detail and sharp edges even in low - lit or nightime scenes.

More effort is put forth into the look of the film than in every other aspect, and I suspect that viewers prone to being mindlessly entertained by sparkling lights and whirring sounds will be mollified by the many scenes of bombastic flash and sizzle.

It's not a film that needs to be seen on the big screen, but Life of the Party is more light - hearted and jovial than most other movies playing in theaters right now (independent and big - budget films alike) and should please the steadfast members of McCarthy's fanbase.

There is slight disappointment in this Blu - ray being lighter on bonus features than past Farrelly films and other New Line comedies, both of which have produced their fair of share of fun extras.

The glammiest scenes of the film are as wild as Haynes has ever gotten, with Maryse Alberti using stage lighting to dim everything around its roman - à - clef rock stars to maximum the chromatic pop of their outlandish costumes and the frenzy of their sexual liberation, which goes one further than the heterosexual revolution of the «50s and «60s by venturing into other orientations.

In this sense, her work is more aligned with artists who prioritized sensorial experience, like James Turrell, Mary Corse, and others of the Light and Space movement of the 1960s, than with film or other such time / media - based art.