Sentences with phrase «long after i see films»

One thing they all share is memorable scenes, the type that stay with you long after you see the film.

Not exact matches

Married to a Mexican industrialist, Samuel Ramos (Marc Anthony), Lisa apparently endures their stressful existence because she likes to party and have her hair done; though you see none of this during the film's very long - seeming 142 minutes, she expresses remorse about her choices, later, after disaster befalls them.

You Don't Know Jack is a well crafted picture that in the end, might make you ask some important questions, and it's a film that will stay with you long after you've seen it.

The details are no long important, but after legal wrangles and creative fights, a 150 - minute cut was released in a few cities in 2011, and then it practically disappeared, resurfacing in early 2012 after a long campaign by fans, supporters, and folks like me who never had a chance to see the film on its original release.

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

Even with long scenes of action utilizing modern effects, the approach doesn't seem gratuitous, which is an impressive accomplishment after having seen so many action films already this year.

But a serious film such as Fences is a privilege to see, not just as a dramatic entertainment but because it reverberates long after it ends.

Watching this play out, you can see where a lesser film would have stopped the action: after Steve agrees to sleep next to Diana, after his flirting falters, after a generic statement about how long it'll take them to reach land.

Now after 13 long years away see's director «Robert Zemeckis» return to the physical world for his first live - action film since 2000's Cast Away, so as you can imagine excitement and expectations are at an all time high.

It was three years before Day - Lewis would appear in another film, having collapsed onstage during «Hamlet» after claiming to have seen the ghost of his father (poet Cecil Day - Lewis); what seemed like an atypically long break for an Oscar - winner became a harbinger of things to come, but that absence also informs his work in Michael Mann's «The Last of the Mohicans.»

This was not long after I'd read Stephen King's creepy short story of the same name and so I thought I was about to see a film version of it.

After reporting that the third and final season had finished filming back in mid-July, it's felt like a long time since we've seen anything new but today it's finally here, and it's set for a 9th November date on HBO in the USA.

«Having nine nominations is really fantastic for a film like «Carol,» and to see Todd's work and Todd recognized in this way, which hasn't fully happened until this point, is incredibly gratifying because he is one of the great contemporary American filmmakers, and his films and «Carol» will be here long after we are all gone,» she said, although she added that she would have liked to have seen the contribution of Carter Burwell and Affonso Goncalves recognized as well, for music and editing respectively.

I've seen some suggest that Spielberg needed to make a film like Ready Player One — a return to blockbuster filmmaking after a long sojourn into smaller, more intimate films.

All the hallmarks to compare Atomic Blonde to John Wick are there: one - half of the John Dick directorial team, the stunt - choreographer - cum - filmmaker David Leitch is directing this film; the protagonist is an efficient, reputable, and skilful killer; the fight sequences are visually incredible, with Atomic Blonde offering one sequence that many will talk about long after seeing it (more shall be discussed later); it has the retro - aesthetic reminiscent of action years from the 80s and 90s, which in Atomic Blonde «s instance the film is set in the late 80s; Charlize Theron signed - up to do Atomic Blonde because she greatly appreciated John Wick.

Although not many people are a huge fan of this upcoming remake of Chan - wook Park's classic, it is nice to see that after a long list of actors that turned down these roles they have finally landed three solid actors who are willing to bring the classic film back to life.

After about 15 minutes, you've seen all the film really has to offer, and while it certainly unfolds entertainingly from that point (it's VERY funny), I longed for something deeper.

But if Krieps felt an immediate bond to Alma, the relationship between her character and Reynolds took longer to puzzle through — a process that the actress says continues to this day, even after having seen the film multiple times.

I saw Proud Mary at the end of last week, long after the complaints about under - promotion gave way to complaints about the film's glaring flaws.

To see this film so long after the 1950s, takes away the significance it had when it first played in theaters.

Running from 1973 to 1976, «Panther's Rage» saw the Panther return to his nation and people after a long absence, only to deal with both distrust and anger from his court and a violent revolution led by the sadistic, calculating Erik Killmonger (who, as played by Michael B. Jordan, serves as the villain of the Black Panther film).

That same one can be forgiven if one had expected more from Trey Parker and Matt Stone, those deliciously subversive elves who nail popular culture in all its absurdist splendor on their television show, «South Park», and who had us all humming «Blame Canada» as we left the theater after seeing the film version, suggestively, but correctly subtitled: BIGGER LONGER & UNCUT.

But he lapses into unnecessarily long discussions of what the characters are thinking and what drives them to do what they are doing on screen, which gets bland after a while because by the time you've gotten to the commentary, of course you've already seen the film and don't need to be told what's happening.

We are excited that our friend Tamara Glynn is returning to acting after a long hiatus away from the screen, having recently joined the cast of the Halloween horror film I See You, and now she has also been announced to join Bill Oberst Jr. in another upcoming independent horror film, On a Dark and Bloody Ground.

Theoretically the most accessible film to date from the long absent Mr. Urbane of American comedy, I saw the film a couple of days after its disastrous reception as the surprise film at the London Film Festival, where more than one person I love and trust walked out on the screening.

The twins reunite, after years without seeing each other, at the wedding of their mother, Helen (Glenn Close, not in the film long enough for it to stick to her reputation), to their new stepfather.

Set during a long, hot summer in 1982, the film — opening in New York and Los Angeles on May 2, from Paramount Vantage — revolves around two 11 - year old scamps who, after seeing First Blood for the first time, decide to film their own sequel with nothing more than a camcorder and, natch, some imagination.

Comeback film «The Deep Blue Sea» has a few, but one of them forms the moment of the film (a beautifully acted, but rather low - key drama) that has lingered long after we saw it.

Peter Jackson may have given us the great LOTR trilogy but after that he was given free reign to due his passion project, King Kong, which turned out to be one of the longest and most boring films I've ever seen.

In this film, Luke Skywalker Eragon (Speleers) is a young farmboy who lives with his uncle Owen Garrow (Armstrong, Van Helsing) in the land of Alagaesia, which is currently under the cruel rule of Darth Vader King Galbatorix (Malkovich, Art School Confidential), not long after a bloody war which saw the destruction of an elite, magical army of warriors known as the Jedi Dragon Riders.

In the 15 - odd years since he started acting — on a whim after seeing a flyer for a sketch comedy group while walking across his college campus — he's starred in a long - running, much - beloved network sitcom, landed supporting roles alongside some of Hollywood's heaviest hitters, become a bona fide leading man in an action film, and donned both a writer's and director's hat.

The topic came up when we asked Bernard how long he and his partner at Sony Picture Classics, Michael Barker, waited after seeing the opening - night film, Whiplash, before bidding on it in what would become the first major sale of the festival.

Many of the films I saw confirmed ideas and truths that I held, but it was listening to a filmmaker from Sweden, Amanda Kernell, who was showing her film Sami Blood, that stuck with me long after the excitement of the festival.

He sees the short film as working «like a trailer, a clip for a longer narrative, setting into motion a sense of occupation and activity that runs before, during and after any visiting time» (quoted in Liam Gillick: Annlee You Proposes, p. 12).

About Blog A selection of intelligent cinema from around the world that entertains and provokes a mature viewer to reflect on what the viewer saw, long after the film ends — extending the entertainment value.

About Blog A selection of intelligent cinema from around the world that entertains and provokes a mature viewer to reflect on what the viewer saw, long after the film ends — extending the entertainment value.