Sentences with phrase «little less film»

There's a little less film on Jackson than most of his peers at the top of the class, but his play in 2017 was so good that there shouldn't be many questions about him.

Not exact matches

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 filmed this one a while back when I was a little less experienced with our new gear.

a predictable film that could have benefited from a little more thought and perhaps less reliance on clichés.

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.

The film feels a little less amateur than «Pusher», - a cheap debut feature for some underexperienced Dane trying to make abstract art - and it's that which brings the final product closer to decency, because many of the missteps that ruined «Pusher» feel more considerable in this superior, but still misguided effort, which has a good bit to commend, but even more to complain about as questionable «story «telling notes that ultimately send the final product crashing into mediocrity.

The film offers little more depth about the writer than his Wikipedia article and considerably less than one would get from reading the semi-autobiographical The Catcher in the Rye.

The actual sound design of the film is a little less impressive; while wholly clean and clear in presentation, dialogue is a bit flat and the use of the surrounds is a little erratic.

Little appears to be filmed for the movie itself, or at least within the last decade, and the caliber tends to be less than a Bravo profile.

There is, as such, little doubt that the film takes a serious dive in its increasingly underwhelming third act, with Ganz and Mandel's script emphasizing elements that couldn't possibly be less interesting - including Chuck's decision to break away from both Long and Keaton's respective characters (ie it's a twist on the dreaded fake break - up cliche).

Though Tony Gilroy, who shared writing credit on all three previous Bourne films and directed the excellent Michael Clayton 82 (and much less excellent Duplicity 69), handles both writing and directing duties here, critics found that Legacy added little in the way of originality, while Renner proved a less captivating action star than Damon.

To the film's credit, these facts are conveyed with a remarkable of degree of restraint though the fact that you actually see very little of this shocking mayhem doesn't make you feel any less sullied and violated for the mere idea of these crimes having penetrated your consciousness.

It was an adiquitly entertaining film that does nothing more than what you would expect (perhaps a little less) and leaves you compleatly undazzeled.

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.»

It appears that I've done little else but praise the film and it's true that the strength of Django far outnumber weaknesses — though that doesn't mean that the less well - handled elements do not take away from the picture.

With many noticeable green screen effects and animals that looked a little less than artificial, the visuals clashed with the plot of the film for me.

Jolie's directorial debut was the little - seen «In the Land of Blood and Honey,» a film that traded epic sweep for a more intimate but no less brutal story, about a woman's sexual subjugation during the Bosnia - Serbia conflict.

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.

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.

The final result is a hopelessly uneven endeavor that's good for a few laughs but little else, with the film's almost total absence of palpable scares cementing its place as a less - than - stellar horror offering.

And with the human side of it, which is a little less clear of how that would follow, but basically there is an aftermath to this film which would need to be completed.

Just because I am my most powerful doesn't mean that I threaten your position as a man and hopefully, it's a film that can encourage us to be a little less scared of the other in that regard.»

Of course, if you're not a Northern Californian, these insignificant amusements will be lost on you completely — in which case the movie has even less to offer, save this one piece of trivia: Heather Donahue, in her first film role since «The Blair Witch Project,» shows a little range in a small part, doing a tittering Annette Bening riff as a pretty blonde preppy Prinze dates while he and Forlani are in mutual denial.

10 Items or Less is the «express lane» of film; it looks like a quick and easy proposition, but once you're in line, it almost invariably takes just as long for getting so little.

A little soapier, perhaps, than the masterful A Separation, yet when it comes down to it, Asghar Farhadi's newest film is no less emotionally gripping.

If someone is looking for a fault in the film it's that perhaps the issue is handled a little less than subtly in the pulse - pounding conclusion but that's so incredibly secondary to the fact that he has taken this issue seriously, as it ought to be.

The Tom Hardy - Charlize Theron action epic, the only R - rated film in the top ten, is expected to pick up steam and finish with a little less than $ 30 million over the four days for Warner Bros..

Much like the Hobbits in the Lord of the Rings films, most of the main elves are played by actors who are rather tall, but shortened thanks to a great deal of CGI work (pretty much utilizing Little Man's copy - paste head technique, only less effectively).

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 just want to give a few off - the - cuff comments, as I happened to see the film a little less than a week ago.

Hoping to weigh in on the Christmas film cannon, the project proves to be nothing more than a cheesy, stupid, overly - sentimental comedy with little heart and less brain.

It's not as if they are bad, but that they just feel less eventful or a little inadequate in reflection to the rest of the film.

It is a shame that this film isn't as good as it should be, but if you throw everything else out the window for a little less than 90 minutes, some fun can be found in this foreign language film.

The film's final sequence - a side - by - side recreations of scenes from The Room - suggests the intended takeaway is simply how well Franco's actors imitate Wiseau's (i.e. with mechanical precision, but a little less genuine chaos).

Meanwhile something girlier: Sally Field's little film is doing great with older moviegoers and enters the top ten in its 3rd week despite being on less than 500 screens.

It Needs: A more rounded, less saintly heroine; less grotesque caricaturing of its middle class characters (a regular feature in Leighs films); and a little less tea - drinking (it is hard on the bladder by the second hour).

We never get a clue as to what Kick - Ass himself wants to do — he's even less sure of himself than in the first film, and more wantonly rude toward his father — and the former Red Mist pouts and postures like a petulant little child, an impression not countered by Mint - Plasse's flailing about like a man drowning in syrup.

By the time Oren Moverman was releasing «The Messenger,» he knew his next film out would be «Rampart» and was on message about that — but now that «Rampart» is upon us, things are a little less clear for the writer / director, who is still figuring out what's on his slate.

I wish the film had been a little tougher and less genial — Lord knows he can handle it.

There are three for Michael Humphrey and Hannah Hall (little Forrest and Little Jenny), each running around half a minute; two (approx. 2 minutes apiece) with Robin Wright playing against Tom Hanks playing it straight — and demonstrating in the process that the film mighta been a helluva lot less offensive were retardation not transmogrified into sacred sideshow; and finally two with Haley Joel Osment, again playing off Hanks playing it strlittle Forrest and Little Jenny), each running around half a minute; two (approx. 2 minutes apiece) with Robin Wright playing against Tom Hanks playing it straight — and demonstrating in the process that the film mighta been a helluva lot less offensive were retardation not transmogrified into sacred sideshow; and finally two with Haley Joel Osment, again playing off Hanks playing it strLittle Jenny), each running around half a minute; two (approx. 2 minutes apiece) with Robin Wright playing against Tom Hanks playing it straight — and demonstrating in the process that the film mighta been a helluva lot less offensive were retardation not transmogrified into sacred sideshow; and finally two with Haley Joel Osment, again playing off Hanks playing it straight.

«I sat down and would smoke a little weed and try to write a mind - bending horror film, my favourite genre and at some point I followed the truth and I realized there are people locked up for smoking less weed than I smoked writing the movie.»

The idea that the fate of this little racehorse that could (and ultimately, even the idea that the horse is an underdog is a bit of a cheat, since Seabiscuit's lineage was sterling — less «underdog» than «underachiever») galvanized a nation reeling under the Great Depression is the only idea that remains in the film, seized by Ross as an opportunity to insert archive stills of the period — complete with voice - over from historian David McCullough — to lend his horse opera the sort of gravitas he's not able to provide through narrative.

Just a little less then 24 hours after I found out we will not be getting a new Pixar film until 2015, I came across this gem and my life has purpose again!

The found - footage horror flick The Visit — a film that's only a little less self - reflexive than Split — gave the one - time Hollywood golden boy a chance to start over after a couple of misguided forays into the world of effects - driven fantasy blockbusters.

At a little over two hours, the film isn't excessively long for a serious drama, but it feels lengthier due to the brutal subject matter that offers little room for levity and even less hope.

Sonia cracks less than ten minutes into the film and whilst I wanted to knock some sense into her students myself, it was a little too soon to see her go over the edge.

The child actors are terrific little Duracell batteries of rambunctious energy, and as the trio cuts an unsupervised path of mischief across the property — spitting on cars, roughhousing in abandoned buildings, chattering nonstop — The Florida Project conjures a sense of carefree everyday adventure that lesser films about childhood only wish they could summon.

The sexuality might be a little less subtextual (though there's nothing explicit here), but the testy, shifting power plays in the relationship between Tom and Frances, which serves as the heart of the film, bring to mind a contemporary update of Highsmith's work, albeit seen through Dolan's lens, making it of a piece with his earlier films, particularly once Sarah (Evelyne Brochu), the co-worker posing as the late Guillaume's girlfriend, arrives on the scene to complicate things further.

The conclusion feels a little too convenient — everyone, more or less, gets what he or she want or need — but the film nevertheless delivers on its promise of cinematic redemption.

The religious film about the power of prayer remained in the top five at the box office this weekend and has now earned a little less than 40 million.