Sentences with phrase «longer than any other film»

Fair or not, Plan 9 has been known as «the worst movie ever made» for longer than any other film.

And it is said that Michael Moore's «Fahrenheit 9/11» will win one of the top prizes; it was cheered longer than any other film in festival history.

Not exact matches

The «Batman» television show (1966 - 1968) cast a long, pop art - infused, camp shadow over the property and, after the big budget failures of a series of superhero films in the 1980s (some more campy than others) such as Howard the Duck (1986), WB apparently had cold feet.

What we get instead, in light of the critical and commercial success of Volume 1, is a film which is longer, baggier and more needlessly wordy than its predecessor - in other words, a film which has all the faults of Volume 1, but which is more boring to boot.

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

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

While the opening scene, which serves only as back - story and general reasons as to why it takes so long for Raleigh (Charlie Hunnam) to return to the Jaeger game, is fluff for the film and even in the moment felt unnecessary as opposed to just being retro - actively less awesome than the other greater action sequences.

The Buzz: The first two «Pirates» films made buckets of money — despite scathing reviews, in the case of the second installment — so there's no reason to expect «At World's End» to be anything other than a tentpole picture for Disney all summer long.

Fox gave Bryan Singer money to finish the longer version, so there's no noticeable difference in the new footage, and the film looks and sounds excellent, though some sequences look more digitally shot than others.

Scenes tend to linger for longer than they should at times, while others are strung together in rapid succession; journeying through Spike Lee's late - 90s sports drama is a little like flipping through the pages of a photo album — you tend to gloss over several photos and pages and stay on others, and that's precisely how the film is paced.

And until then, the film is so remarkable at synching its picturesque style to Moonee's seemingly limitless freedom that the one time they do fall out of sync feels jarring, almost offensive: In long shot, Moonee and her friends charge past a series of stores and toward the promise of ice cream, and even after the children have exited the frame, the camera lingers on the sight of an obese person on a scooter riding in the other direction, the sound of the scooter going over a speed bump nothing more than a punchline, an easy potshot, at the expense of a person who isn't even a bystander to Moonee's life.

Of the three clips, Year One has me the most intrigued, although it is a lot longer than the others (and, strangely, doesn't even mention the name of the film).

Other than more Cleese narration and an alternate ending, there's not much else of note here and the film didn't need to be any longer than the 100 minutes of its theatrical cut.

Although it is a short 85 minutes, it is padded much more than other films of its ilk, with scenes that are either needless or carry on way too long.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

The list of icons making appearances was truly unprecedented: Superman soars twice — once in the «return» and the other as Ben Affleck; Crockett and Tubbs exude cool; Ethan Hunt falls short; Captain Jack Sparrow sets the stage for the finale; Jack Black sometimes wears stretchy pants; Huey Long is resurrected and somehow over-played by Sean Penn; the mass appeal of the DaVinci Code novel fizzled onscreen; Robert Altman's amazing career ended with an excellent adaptation of a radio series starring Garrison Keillor's made for radio face; Johnny Depp tried to untrack his career with The Libertine; Nicolas Cage was front and center in the disastrous remake of The Wicker Man, but if the preview is any indication, his sleep - walk was merely a tune - up for this year's Ghost Rider; Woody Allen (with Scarlett Johansson as his muse) re-emerged with his best comedy since Crimes and Misdemeanors; amazingly, Jen and Vince's real life break - up was more entertaining than the film version; and while on - set hook - ups seem to the norm, how could the dreadful You, Me and Dupree have been an aphrodisiac for Kate and Owen?

The films of Nicholas Ray, more than any other contemporary American director's, were singled out by the up - and - coming Cahiers du Cinéma crowd (on the cusp of their own splashy Nouvelle Vague) as justification for their politique des auteurs — more a personal stance on critical practice than dogmatic superstructure, and long since codified and ossified by academic film criticism into hierarchy - happy «auteur theory.»

A few loose ends went without satisfactory conclusions but other than that, this is a film where the performances and harrowing nature linger long after viewing it.

Other than crystallizing that Powers Boothe's Senator Roark - who has already been established as vicious - is also utterly heartless, «The Long Bad Night» adds little to the film as a whole.

MOVIE 43 is the newest film from Peter Farrelly, James Gunn, Brett Ratner, Bob Odenkirk, and many others, It's a comedy with more talent than plot, as we see 12 directors leading an all star cast that includes regular comedy maestros such as Jason Sudeikis and Justin Long, as well as those more serious thespians, Kate Winslet, Hugh Jackman, Naomi Watts, and Richard Gere.

Celebrating «The Artist» for its originality may seem a tad contradictory — after all, silent movies have been around longer than any other form of cinema — but when compared to today's crop of films, it certainly feels fitting.

«X-Men,» more than any other film, is responsible for the glut of superhero movies we now have — the film was the first in a long time to treat the source material with respect (after the 90s «Batman» movies and things like «The Phantom,» this proved important), and showed that they could work without A-list stars, with the property doing the heavy lifting.

It's something that should be borne in mind when it comes to awards voting, which work on a «survival of the fittest» basis: some films simply take longer than others to make a collective (or selective) impact.

After all, counted within the 1994 film's ensemble are none other than Mood lovers Maggie Cheung and Tony Leung; and with its theme of romantic longing played against spirited swordplay, admirers of the box office phenom Crouching Tiger, Hidden Dragon are sure to take notice.

It's in the one extended sequence with Moore that the film works best as a cohesive package, in which Ford restrains himself and lets Firth and Moore create a potently passionate portrait of long - term friendship, with all the unspoken history, tender affection, and the not - so - paradoxical simmering bitterness that can sometimes go along with that... particularly when one friend may want something different out of the relationship than the other does.

For the twentieth anniversary of the film, Spielberg made some changes to the film, which upset others a lot more than I, but for all of us, this long - awaited hi def edition takes us back thirty years ago when g - men carried guns rather than walkie talkies.

If she makes a film work it could mean visitors lingering longer than they have for other commissions.

Before showing the film, «Defending Gideon», Chief Counsel Benedetti gave a brief history of the right to counsel in Massachusetts, noting, «In Massachusetts, we have unwaveringly upheld this freedom far longer than most other states with the right to counsel having a long and legendary history.