Sentences with phrase «lines in the film goes»

One of the best lines in the film goes to Lorenzo when he tells Julieta that he may be «turning into one of Patricia Highsmith's obsessive characters» only the real mystery here is why Almodóvar's latest lacks the timbre and matronly mettle it promises.

Not exact matches

This approach would call foul on all sorts of things: Moses wielding a sword but not a staff; Moses being chatty but Aaron having almost no lines; Moses killing lots of people and fighting in the Egyptian army; no «staff - to - snake» scene; no repeated utterances of «let my people go»; no «baby Moses in the Nile» scene; and every other deviation the film takes from the narrative in Exodus 1 - 14.

Set in 1959, the narrator reflects back on the events from the present, highlighting the novelty of the encounter in the film's opening line: «I was twelve going on thirteen the first time I saw a dead human being.»

«This goes in line with the acceleration in the technology developed by film line manufacturers with wider and faster machines.

In fact, after the Sooners» coaches studied all their game film of 1967, Fairbanks said that «our average gain on all plays going over Kalsu, including short yardage and goal line plays, is 6.2 net yards rushing... This is what we coaches grade as... near perfection.»

Compared to Malick's sumptuous art film, Marton's old Line looks awfully naive, and yet it goes a great deal further in grappling with the author's touchy subtext of soldierly love.

If you go back to 2007 there was this really big line up for a new film getting promoted in my country and was made there called D - War.

In the case of Silver Linings Playbook, which is one of the best films of the year, there is a popcorn bowl of glory to go around.

The kind of character who spouts pithy lines like, «when science shits the bed, I'm the one they call to change the sheets,» with a smile on his face, Morgan's Russell is a definite winner in a film that already has a lot going for it.

Goold shoots the film with a fine restraint, never coming off dull or dry in the two - hander and courtroom scenes and never going over the line into exploitative sensationalism for a story about a grisly crime.

There's plenty of interesting and potentially incredible films hidden in the 2017 line - up, so let's get going.

Sam's sudden reappearance in their lives is further complicated by the onset of the soldier's post-traumatic stress, but gone are the heavy - handed lines about the nature of good, evil, and death from Bier's film.

Perhaps New Line films are treated differently from Warner ones because though the combo's design is identical to others from the parent company, Going the Distance does not suffer from the video woes that have become increasingly common from them in recent years.

, eventually going so far as to agree to let her life be filmed 24/7 and broadcast to the world, going «fully transparent», as she coins it, in one of the many cheesy sell lines the movie gives its characters to shill out.

But Marvel, like most major studios with hundreds of millions of dollars on the line, is not known for calling an audible just prior to production of arguably the most massive tentpole film in their roster, any more than it's going to green - light a Black Widow film until well after Jennifer Lawrence has made one of her own.

Per the film's trailer, it appears this time returning auteur Adam McKay will be fearlessly tackling the period's race politics with a similarly incisive eye to that he previously brought to bear on gender perception in the 1970s, and with a laundry list of Hollywood power players lining up for cameo roles like this is goddamn Altman or something, suffice to say that it's going to be an effort to stay classy till Christmas, but we're going to have to try.

In this episode, she begs off the premiere party for the film Brett worked on, goes to a bar for some «me» time and winds up meeting a divorced father (John Ortiz, Silver Linings Playbook).

She went on to cite a specific line: «the silent image of woman still tied to her place of bearer of meaning, not maker of meaning,» revealing that the line triggered a memory that she will use in her new film.

It's an agreeable flawed film, in other words: Officially reduced to a commentator for blind audience members («Damn, I ripped the fuel line,» Marty blurts out to a puddle forming beneath the De Lorean), Fox's comic spark is almost out in this go «round — and don't get me started on Elisabeth Shue (replacing Claudia Wells in the sequels as Marty's gal, she turns in generic work that only aggravates Jennifer's maddening disposability).

I'm a Fantastic Four fan as it is, and I hope bringing the franchise in line with the X-Men films, tonally, if not chronologically, will go a long way toward perhaps getting some of the detractors to change their tune.

Going down the line in the Director predictions, we can feasibly see a name like Kathryn Bigelow pop up during the precursors for «Detroit,» though the film's divisive last - third will likely keep her out of the hunt.

This comes after it was revealed actor Spiderman actor Tom Holland improvised the line «I don't want to go» before he died in the arms of Tony Stark — we did warn you about the spoilers — making it pretty clear that directors Joe and Anthony Russo are pretty relaxed about letting actors come up with their own suggestions during the shoot of the film.

The fear in 1990 as reflected by the film is more along the lines of a surety that we were all going to kill ourselves, though its themes are so inconsistent and muddled, even down to the lore (do the zombies feel pain?

We see Tommy go through endless re-takes involving only a few lines of dialogue, an awkwardly staged sex scene, a scene that has no significance to the rest of the film, and a suicide in which the actor writhes on the floor in pain after shooting himself in the head.

Elsewhere, one is pleased to see Ida among a foreign film line - up that includes a rare entry from Estonia, and any mention of the blisteringly exciting Whiplash goes down well with me: supporting actor JK Simmons must be one of the firmest locks on the award in Oscar history.

I suppose it's sort of damning with faint praise in a way, but it's remarkable that some composers seem to emerge from the production line formerly known as Media Ventures as excellent film composers in their own right who go on to bigger and better things.

The multimedia display of iconic film costumes opened Wednesday night with a VIP preview, welcoming Oscar - nominated and winning costume designers like Martin Scorsese «s go - to Sandy Powell, Julie Weiss («Frida»), and the man behind Bradley Cooper «s trash bag look in «Silver Linings Playbook», Mark Bridges.

A mess of a film this one.Plot lines confused and blurred.It seems to have been made up as they filmed.All the American cliques are there.Ugly brutal men in a one horse town, yet the place is full of emotionally wounded gorgeous women.The men are macho and the women inconsequential.The acting is rather uneven, veering from impressive, going down to Benny Hill.This is Cages best role thus far, but his normal low standards means his acting is still below par.The plots descends into a quagmire of nuttiness and by the end is daft romantic nonsense.A tighter script was needed, the director needed to be replaced to stop the film's plot wandering off in all directions and finally someone with greater gravitas was needed to take on Nicholas Cage's part...

Ira Levin's novel The Stepford Wives was first filmed in 1975 by Bryan Forbes — a dark thriller about the lengths the men of the town of Stepford will go to in order to keep their wives in line, with a chilling score by Michael Small; it wasn't a huge success at first but went on to become something of a cult favourite and had its own kind of cultural impact.

It doesn't matter that nearly all Ben's moments in the film are all strictly by the book, in a strain of gangster humor going back at least to George Raft's insouciant line about his lawyers, «all Harvard men,» in Some Like It Hot.

Well, we know he does because this is based on a true story, and while Zwick does give that 1972 match the appropriate space in the film, he's wisely more concerned about the line between genius and madness, and if it was worth Fischer essentially going crazy for the world to be gifted with his still unparalleled play.

Went to see it based on the earlier positive review but my opinion of the film falls more in line with this one.

Yul Brynner (The Magnificent Seven, The Ten Commandments) may have only five lines in the film, but he is brilliant as the gunslinger gone berserk, chasing after the hapless Richard Benjamin (Love at First Bite, Saturday the 14th) for the latter half of the film.

The film loses some of its imaginative pop as the frenetic pacing of Christmas subsides and Arthur decides to go against the orders of Santa and Steve, who assumes he will be next in line to take on the mantle of Santa Claus (There's a rich history to the tile, although we have to wonder what happened to Santa Claus the 18th, whose portrait is missing from the wall), to transport Gwen's gift directly to her home.

While it's likely that this will get a better edition down the line, the film itself isn't going to be able to look or sound any better in HD than it does here.

Poor line readings often go hand in hand with badly written dialogue, but when the stale narration stops and Lively's character and her stilted line deliveries are pushed into the background of the film, things immediately improve.

Discussions were going on in the line about the film actually being real, some even talking about how they heard the bodies of the three filmmakers were never found.

Worst offenders are Stallone's screenplay (which, aside from its tin ear and stunning stretches, unerringly goes on for one line too long in every exchange) and Stallone's decision to have his brother Frank not only provide a handful of remarkably bad songs for the picture but also appear in the movie in the most unintentionally hilarious moment, thrusting his guitar like a stringed phallus in an already unintentionally hilarious film.

These numbers fall in line with the early indications that Deadpool 2 was going to surpass the box office success of the original film.

There other flubs in The Next Best Thing (such as a line where Robert mentions it's the 21st Century in a scene that, in the film's time frame, should be set around 1993; or the fact that Robert's sole love interest, a cardiologist, has no name and is rather comically listed in the closing credits as «Cardiologist»), but to go over them would be as pointless an exercise as the entire film is.

According to a Sony casting call that went out in Chicago, New York and Los Angeles, Anna Faris is already listed as being the first new cast member on board in addition to the original line - up from the first two films.

In a droll exchange with his former bandmate Ivan Schrank, played by Rhys Ifans, Schrank recalls the old adage «Youth is wasted on the young», to which Greenberg replies, «I'd go further, I'd go life is wasted on... people» — one of the few really funny lines in the film, basically summing up the message of the moviIn a droll exchange with his former bandmate Ivan Schrank, played by Rhys Ifans, Schrank recalls the old adage «Youth is wasted on the young», to which Greenberg replies, «I'd go further, I'd go life is wasted on... people» — one of the few really funny lines in the film, basically summing up the message of the moviin the film, basically summing up the message of the movie.

When America went to war in 1941 after the attack on Pearl Harbor, Hollywood did too: Marquee film directors, struck by patriotism, became officers overnight and shipped out to the front lines with cameras, mounting their own propaganda campaigns.

Unfortunately, the paper - thin chain of events that could be called a plot turn our heroes away from playing around in the sky, and the film quickly goes from «Flight of the Navigator» meets «The Fast and the Furious» to a watered - down version of «Behind Enemy Lines.»

Naturally, there's a lot of playing around with duality, repetition, mirrors, doubles, from the get - go, and although the film's not explicitly wrapped up (the ending is a bit of a mystery / clusterfuck) there are a lot of clues and lines in there; namely that our lead may have a split personality.

The line of films I'm grateful to have seen in 1976 goes clear around the block, especially in the category of non - ’76 reruns which I have just managed to catch up with.

As film went on, Heineman was struck by the way in which the lines between good and evil became increasingly blurry, and became obsessed with the pursuit of clarity.

Your enjoyment of the film will primarily depend on what sort of entertainment you're looking for going in, as it delivers plenty for action junkies, and a decent amount of sex and violence, but somewhere along the line, Don Winslow's original book gets lost in place of the more sensational side of things.

But top honors — and surely an Oscar nomination — go to Robert Mitchum as Eddie Coyle, here denied the customary sardonic heroism that has seen him through previous loser roles (some perfect «Mitchum lines» in the novel have been dropped from, or toned down in, the film).

They had to make their choices and they didn't go for the film except in the crafts categories (7 nominations, all below the line).