Sentences with phrase «little film by»

It's a nice little film by Netflix that it's worth the watch.

Not exact matches

According to 2009's «The Little Book of Curses and Maledictions for Everyday Use,» by Dawn Rae Downton, the actor who played Superman as an infant in the 1978 film, Lee Quigley, died at age 14 from inhalant abuse.

As far as the music goes, the film will have an original score written by Marc Shaiman and Scott Wittman, the duo who brought you a little show called Hairspray.

The resource pack, includes a Leaders Guide, a fully illustrated story book a story - time film narrated by The Night Manager star Natasha Little, a Pumpkin Heroes Hunt including Bible verses and prayers, and many other activities such as recipes and crafts.

As for Darrow, he was greeted on his arrival in Dayton by a crowd about as large and friendly as the one that had greeted Bryan — not, as Drummond is, by a little girl screaming «Devil» in the play or a scowling mountaineer in the film.

I used to grease my pan by adding a little oil, and then take a paper towel and wipe up all the excess, leaving just thin film on the pan.

If you want a step by step explanation on how to make this juice, I've filmed a little tutorial for you.

The thing I find most freaky about it is the «film» it seems to leave behind on the kitchen counter if you drop a bit (and by a «bit», I mean the teensiest amount):\ I've been meaning to investigate some more good GF baking binders (such as guar gum etc) Hopefully I find one a little less intimidating:)

I would encourage you to watch the film and make an informed decision about what is best for your health by doing a little research and not doing something because someone, including myself, says so.

The CM community manager who emailed us also wanted to set the record straight: «We know that there's been a little confusion surrounding the film — this is not a movie created by us.

The film is a little underwhelming which is partly due to the pacing by the filmmaker.

Much like for Chips himself, the film shows years as they begin to fly by in a blur, as new boys replace old boys, and new faces look the same as their fathers and grandfathers before them, in particular, little Colley, as played by Terry Kilburn (John Colley, Peter Colley, Peter Colley II, Peter Colley III).

Granted, Vickie didn't have a lot to do in this film other than scream and be rescued by Batman, but still, she offered little presence or zest to the movie.

American Pie Presents The Naked Mile's latter half, as a result, moves along at a plodding pace that's compounded by an episodic structure, as the movie lurches from one ill - conceived set - piece to the next with little thought towards momentum or consistency - which inevitably does confirm the film's place as just another interminable waste of time designed to cash in on the original trilogy's success.

Also unlike Hollywood's current slate of animated films, this one is decidedly less for adults and geared more toward a young audience, as most scenes depict the childish adventures of Ponyo (voiced with high - pitched glee by Miley Cyrus's little sister Noah) and her new best friend.

There's similarly little doubt that the film benefits substantially from the above - average efforts of its various stars, with Hemsworth and Brühl's stand - out work complemented by a supporting cast that includes, among others, Stephen Mangan, Christian McKay, and Olivia Wilde.

The film's pervasively underwhelming atmosphere is perpetuated by the inclusion of several eye - rollingly misguided sequences (eg Santa and a few elves are trapped inside a child's bedroom), with the resulting lack of momentum ensuring that the episodic midsection, which revolves primarily around Arthur's ongoing efforts at finding said little girl's house, fares especially poorly and is, for the most part, nothing short of interminable.

There's little doubt, too, that the film's hands - off vibe is perpetuated by Abdalla's sleepy, far - from - charismatic turn as the one - note central character, and it's clear that The Narrow Frame of Midnight's few moments of electricity are thanks entirely to Choutri's captivating, Vincent Cassel - like performance.

Even when playing leads on Broadway in the 1920s, Mitchell never completely gave up writing; his play Little Accident, co-written with Floyd Dell, would be filmed by Hollywood three times.

By effectively pulling off these ideas with Megamind, the filmmakers have created a clever little send - up to super-hero films that is just downright entertaining to watch.

That said, the bar was set pretty low by Simon West's horrid original film, meaning that Jan de Bant, while getting the pace a little better, finds himself slacking off in the pleasures of being Judas» son.

Early in the film Anthony visits his precocious little sister Grace, played by Shea Fowler.

Throughout the film you learn a little bit more, and by the end you are like HOLY S ***!

Little more than boring extended battle scenes between the two, framed by the killing of teenagers who usually deserve their demises, Freddy vs. Jason is one of the year's worst films.

Paltrow does what she can in the role of Mills» wife, but she has too little screen time to make any sort of impact; by the end of the film, she is quite literally reduced to the role of a prop.

Although the film is a little off - beat (it is definitely not what you would expect), the story will hook and reel you in, supported by excellent acting from the exceptional cast including Doug Jones as The Creature.

In retrospect, it is a little hard to take Hackman all that seriously in this film, when he was about three years away from getting his butt kicked by a flying alien in tights, but make no mistake, in this film, he's a good deal more groovy than Queens» «Another Bites the Dust»... if not the term «groovy».

One of the most inspiring underdog stories ever made, the Little 500 bicycle race in Bloomington, Indiana, is a local classic as made famous by this film.

Retardation to momentum is further well - secured by unevenness to pacing, because, at 106 minutes, this film's seemingly tight runtime is achieved through a combination of thinning and bloating, placing little attention to exposition, and plenty of attention to repetitious, almost episodic filler, which wear down momentum until aimlessness sets in, slowly, but surely wearing down dramatic bite.

There's consequently little doubt that the film, while always watchable, suffers from an opening half hour that's simply not all that engrossing, with Eyes Wide Shut's transformation from decent to electrifying triggered by a fantastic sequence detailing William and Alice's stoned confessions to one another.

It is an artfully crafted exercise in high - octane style, bolstered by a stronger cast than most horror films could ever hope to assemble, but it's a bitter, sleazy little pill that leaves an ugly aftertaste.

Some of it is so predictable you could set your watch by it, but there is a welcome (and surprising) layer of complexity running through the film that makes it a little bit more than your standard fare.

But by far the biggest blunder is in how seriously it takes itself; a little campiness and a self - deprecating sense of humour would have gone a long way to making the film a lot more likeable.

Beginning with the heart attack of star Martin Sheen, the film suffered catastrophe after catastrophe, quickly going over budget and over schedule; as Coppola himself later noted, «little by little we went crazy.»

Mary Field is the actress who played Huntz Hall's sister in the 1941 Universal serial Sea Raiders; the spinsterish sponsor of Danny Kaye's doctoral thesis in A Song of Born (1947); the nice lady standing in Macy's «Santa Claus» line with the little Dutch girl in Miracle on 34th Street (1947); the long - suffering music teacher in Cheaper by the Dozen (1950); and Harold Peary's bespectacled vis - a-vis in The Great Gildersleeve (1942)-- to name just four films among hundreds.

Prior to that, he produced and starred in Phil Morrison's black comedy ALL IS BRIGHT alongside Paul Rudd and lent his vocal talents to the English - language version of the Oscar - nominated French animated feature, ERNEST & CELESTINE, and the highly anticipated feature - film adaptation of THE LITTLE PRINCE, directed by Mark Osborne.

Much of the film's emotional punch comes from the ever - optimistic Dug and his relationships with three key supporting characters: caveman tribe chief Chief (Timothy Spall), who admits he's old for... 32, Goona, a female football phenom who Dug digs (she's voiced by Maisie Williams of «Game of Thrones») and Hognob, Dug's pig pal, who's much more than a pet (he's got a little Gromit in him).

There's little doubt that Perfect Stranger, for the most part, resembles one of those made - for - Lifetime thrillers that seem to crop up on a weekly basis, as the movie has been infused with an atmosphere of almost stunning artificiality that's exacerbated by director James Foley's disappointingly tame sensibilities (ie the lack of sex and violence perpetuates the film's TV - ready feel).

Her first American film was WILLOW for George Lucas and directed by Ron Howard, followed by the noir film KILL ME AGAIN for John Dahl, NAVY SEALS with Charlie Sheen, SHATTERED with Tom Berenger, THE GUILTY with Bill Pullman, THE MAN WHO KNEW TOO LITTLE with Bill Murray, and A TEXAS FUNERAL with Martin Sheen.

Impressed by the combination of «physical scale and human emotion,» The Guardian gives the film four out of five stars, but Indiewire is a little less enamored, claiming the film «stumbles on its earnestness» even though it «never ceases to be a visual marvel.»

This well - meaning film winds up seeming more than a little obtuse in its flat avoidance of geopolitical detail, not helped by disproportionately faint sketching of its non-western characters...

The one thing I will mention is that I felt so bad for Donny (Steve Buscemi), who was constantly being tormented by John Goodman, but it added an extra little treat to the film that the Dude never directly talked to him throughout the 117 minute run time.

It is not until well into the third act that the medley «One More Day» properly electrifies the film, followed swiftly by the show - stopping «Do You Hear the People Sing»; but it's too little too late.

Civilization is comprised of little islands of humanity (we call them cliques) and this film takes a look at one such pocket led by a curious individual who hides his persona beneath a paper mache head of some cartoon character.

There is little new insight, although the film does create an instructive tension between admiring bravery and sacrifice and being appalled by war itself.

It's the right film at the right time, a cathartic moment in which audiences will shed tears for a little machine made of silicon and aluminium, wrapped in tin foil and running on less computing power than our smartphones, yet which will outlive us all — perhaps by billions of years.

The plot really takes a while to pick up with very little in the way of dialogue; by the time the lead characters reveal a portion of themselves, it is already deep into the film and it seems late, granted the run time is just under 90 minutes.

What's most stunning about the anecdotes recounted by Dick's interviewees is how alike they are, and if his film doesn't delve quite deeply enough into the type of culture that breeds such conduct (specifically, the way in which the army projects strength as a masculine trait, thereby subconsciously disparaging female victimhood as an undesirable weakness), its spartan use of graphics and statistics conveys arguments with little grandstanding.

Gorgeously photographed by Billy Williams, On Golden Pond is a wonderful valedictory for Henry Fonda, who died not long after the film's completion; Katharine Hepburn has less to do, but few can do so much with so little.

Graciously filmed by Martin Brest and imaginatively performed by Robert De Niro and Charles Grodin, the tired concept yields a steady stream of little discoveries and surprising insights that add up to some uncommonly rich comedy.