Sentences with phrase «little film set»

It's a smart, well - made little film set in about an interracial romance at a boarding school.

Not exact matches

Before long, r / deepfakes users were building on each other's data sets to create even more convincing facial swapping models — like this training set illustrating the morphing of adult film actress Little Caprice into simulated versions of Watson and Kate Mara.

I remember as a kid, my brothers and I would set a huge trap to catch the little Irish man, including placing a video camera nearby so we could have it all on film.

Sleepy little Oconto resembled the set of one of the horror films for which the 1950s were so well known.

We rolled out a little striped blanket, snapped photos of our pup on our instant film camera and hung out while the sun set.

Try setting him the challenge of finding a nice restaurant for you to go to or film to see — this should be able to show you whether he's just a little lack lustre or whether he simply doesn't really care enough to plan ahead.

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.

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.

In the end, the movie is still a musical, entirely sung through with little or no spoken dialogue scenes, filmed on a big theatrical set.

Further pressing the internationality of this story, the original book this film is based on, Ismail Kadaré's Broken April, is set in Albania, though little else has been changed in the adaptation.

For all the little moments which successfully bring the Greek Myths to life, the film doesn't have enough dramatic energy to sustain itself, and its poor effects work against the power of its set - pieces.

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.

Clooney's presence and the little bits of English are the only things that set Corbijn's film apart from the clear influences of Italian masters like Fellini and Antonioni in just about every frame.

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.

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.

The plot is pretty much one set piece after another with little plot in between which normally would be poor but this film is practically a late entry in the 80's action genre so its easily forgiven.

There are worse films out there which have a Christmas setting, but you would struggle to find one which cares so little about the intelligence of its audience.

The film sets them up as polar opposites, with little much more to it than that.

This is also down to a strong set of performers and while it's rare to see an all - female ensemble in a film of this ilk, Garland has little time for gender, imagining a future where such distinctions don't warrant recognition.

Breathlessly paced and with bright colors amid an impoverished setting, Slumdog Millionaire is that remarkable little film find we've been waiting for all year.

It's not clear how autobiographical Lady Bird is — Gerwig is from Sacramento and graduated from high school around the time the film is set — but the little slice of universe she shows us feels deeply and lovingly observed.

Their relationship is not explored enough in my opinion, leaving little to no impact on me for the future setting of this film.

The film, wanting to be seen as more than a comedy, sets up trite little character arcs for the two protagonists.

The film may live as little more than a supplement on a future box set, but Noah Baumbach and Jake Paltrow do well enough to give a sense of the breadth De Palma's career while letting the iconoclastic director write his history in his own way.

A kind of low - level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He's outfitted it with garish colors and costumes and set designs, some not - entirely - perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean - Claude Van Damme flick.

Though Zemeckis spends a little too long setting up the story, once Petit arrives in New York, «The Walk» springs to life as it transforms into a classic heist film.

Normally, we'd dock a point any time a Criterion set doesn't include a commentary track, but it seems clear here that a conscious decision was made to ensure the disc containing the main feature had as little else on it as possible, to devote every available byte to presenting the film's images alone.

Look at Halloween, The Fog, The Thing, Big Trouble in Little China, They Live, and this review's subject, Escape from New York: That's quite a run of films that are well remembered by many fans today, even if they didn't all set the box office ablaze.

However, sometimes films that feature such inconsistencies can still succeed as entertainment, despite making very little logical sense in terms of adhering to a set of tangible rules, whether real or concocted.

The guys over at Arrow films have been doing the lord's work for a long while now, having recently given birth to such bouncing bundles of joy as as a box set of films by Rainer Werner Fassbinder, and a clutch of little - seen films by French maestro, Jacques Rivette.

, valued laughs over character or theme, and preferred a thousand little gags over a few big laughs (it had no comedic set pieces; the film was the set piece).

Little does Dante know, the tone of the film becomes completely unraveled, and by prolonging the hysteria, a certain numbness to the proceedings sets in, with boredom the final result.

The same could be said about Jeff Baena's wacky «The Little Hours,» a film with echoes of Mel Brooks in its non-contemporary setting, broad physical comedy, unexpected punchlines, and gigantic ensemble (seriously, every other face is a recognizable one).

And while the storyline, characters and sets could only come from the quirky imaginations of the Coen brothers, the film remains critical and engaged with the world we live in — a world where the little guy struggles to change their own tough situation, let alone the world at large, and the big ones who don't give a damn.

Plenty of chase sequences and elaborate set pieces fill this brisk and breezy film, but the story itself feels a little thin.

It does little more than set still frames to the film's score, tacking on a list of its seven Academy Award nominations at the end.

While the spareness and seriousness of the film are to be admired, and Gibson makes for a sympathetic protagonist, there is little here that we have not seen before (even if it may have been set after), and even less that rivets the attention.

I could've used a little more subtlety around the set piece at the end of the film (abandoned gulag, really?)

Set in an America that has been overrun by fast - moving undead, the film follows four survivors: Columbus (Jesse Eisenberg), a neurotic nebbish; Tallahassee, a kick - ass, macho zombie slayer (Woody Harrelson); Wichita (Emma Stone); and her 12 - year - old sister, Little Rock (Abigail Breslin).

Needless to say, this hyper - atmospheric art film is a little too reliant on its environment, but the deep snow setting of this lyrically bleak drama was always going to be instrumental in the establishment of both tone and aesthetic value, and sure enough, this film's beautiful environment goes complimented by cinematography by Bedřich Baťka which, while held back by a black - and - white palette, is playful enough in lighting and scope to attract you into this film's handsome world.

Masterminds was originally set to release in August of last year, but those plans fell through due to a bankruptcy within the film's distributor, although honestly the fact that the movie is now releasing in the month of September a little over a year later might actually benefit its box office performance, as the movie actually co-stars 3/4 of the Ghostbusters reboot (Kristen Wiig, Kate McKinnon, and Leslie Jones).

It is shot with the usual High Definition glitz we've come to expect from any film set even a little bit in the seventies, which works a dream for the highly - charged performances but jars uneasily with the murkier aspects of Brown's life Taylor attempts to tackle, which is perhaps why he spends so few times in those moments.

And sticking to «The Danish Girl ``, a lovely picture of Eddie on the set of the film with his «little fella ``, the Oscar for Best Actor in a Leading Role was released this week which you can check out in our gallery!

This means there's too little time for the meat of the film — the caper itself — to be satisfactorily set up and staged.

It's all more than a little obvious, a red, white, and blue pastiche of Forties war films set to an amped - up techno beat — maybe just what the masses demand on the eve of our next great conflagration.

The main reason why it doesn't work is due to the fact that the most bizarre set of coincidences, as well as the most befuddling character motivations, are necessary in order for this film to come close to working, and even then it makes very little sense from a practical standpoint.

Aside from that, however, there's little to set this film apart from the other kinda - sorta creepy stories that have come before it; there's nothing here we haven't seen before, and in better films.

Little else is know about the film, which * may * be set in the suburbs and * may * feature a 10 - foot - tall, genetically - enhanced Predator.

This emotional twist, while exhilarating, means that the comic set - piece that forms the climax of the film feels a little underwhelming.

Netflix films have been released with comparatively little fanfare (the Grand Jury prize winner of Sundance, I Don't Feel at Home in This World Anymore dropped onto the platform in February and registered nary a blip, with Bong Joon - ho's Okja also not succeeding in moving the needle all that much), as they seemed content with simply putting it up on the service and setting up a few awards qualifying runs in New York and LA and leaving it at that.