Sentences with phrase «love with film at»

Again, this kind of film is easy to write off based on a simple description, but it's a genuinely touching, human piece of work that will also speak to anyone who fell in love with film at an early age.

Not exact matches

At the same time, the film harks back to Disney's first - ever fairy - tale feature, 1937's Snow White and the Seven Dwarfs, with its story of a princess in disguise living hidden in a forest; a villainess with access to supernatural powers; a supporting cast of lovable eccentrics; frolicking animal friends; and a handsome prince who awakens the heroine from a deathlike sleep with love's first kiss.

Hence at the end of the Asda film we see mum finally get to sit down with a glass of wine after 2 months» graft, as dad delivers the final, inevitable punchline: «What's for tea, love?».

Sign up with us now and it shouldn't take you take you much time at all to find someone who would love to shoot the breeze with you about the latest Miyazaki film.

A retired widower, keep busy with volunteer work, love travel at home and abroad, enjoy a meal in good company, going to the theater, films and relaxing at home.

If you really do love films, then think how amazing it would be to have a partner who loves going to the cinema with you rather than spending your Sunday's at the local sports centre!

Paris is my favorite city, so my short film was walking hand in hand along the Seine River with my lover on a sunny morning on our way to the Musee» D'Orsay to view Impressionist paintings, followed by lunch at a sidewalk cafe, and a walk back to the hotel for a late afternoon of making love.

easy going guy caring my frends say im good fun to out with like music films etc like to have fun easy to chat to a bit of a joker at times can be very loving when with the right guy but lets guys so it a bla bla bla from me so if you like what you see then mes me i do nt bite ok lol

After having a laugh at my expense, we found a suitable substitute and bonded over our love of raw fish and Bradley Cooper films, and I regressed to a high school kid with butterflies in his stomach when she laid her head on my shoulder during the movie.

a great music film this is the words which i can say about Justin Timberlake + the Tennessee Kids great work by Jonathan demme and great performance bt Justin Timberlake is this movie a history is counted they show the people the history not just the concert i love how jonathan direct this and i love the edition i love how justin timberlake is humble and lovely funny smart with everybody i'm more in love with him.this deserves an emmy and a grammy for best music film at grammys 2018 everybody should watch this movie is amazing congrats justin timberlake netflix and jonathan demme great music film truly amazing maybe we have this film in dvd soon i will love if its happen i» ll love some extras yes i will.

In Bridesmaids, Wiig (who co-wrote the film with her old Groundlings pal Annie Mumolo, with heavy input from Apatow) plays the lonely, single Annie, who ran a Milwaukee cake shop that went bust and now works fitfully in a jewelry store, where she routinely undermines her potential customers with passive - aggressive jabs at their supposed enduring love.

One of those «look at me, I'm so trendy» early 90s films that flirted with bisexuality and / or a girl - guy - girl love triangle; the desperation here is palpable and the writing, acting and direction are all sub-sub-par.

Knightley's character flirts with Manic Pixie Dream Girl preciousness, but imbues the character with a humanity that transcends the type; she's got a lovely monologue at a key moment in their arc (concerning her love of vinyl, of course) that moves the film into the realm of pathos with an almost invisible dexterity.

It does have a few holes story wise, but the performances from Granger and Walker alone make this worthy of a view, and it is not hard to fall in love with how Hitchcock shoots his films, as well as the music he selects to raise the hair on the back of your neck at the precise, appropriate time.

Director Karel Reisz and screenwriter Robert Getchell create a tightly woven drama with two strong main characters and a number of fine supporting roles, and the love story at the film's center is convincing.

«Slumdog Millionaire» is a somewhat predictable but lovely film, combining a honest look at poverty in India with one of the best love stories of recent years.

I have no problem at all with Harry loving or hating the film, but does he have to make a joke about thinking underage sex is funny?

With this second film, the story is pulling in more of the Katniss» motivation (less romance, more protecting those she loves at any cost) and the societal politics that was such an important undercurrent of the book series.

Even the film's title, which might reasonably apply to the honestly loving relationship at the center of the narrative, is deployed with a perfidious smirk, its title card appearing as it does the very moment a corpse is revealed.

Isabelle's love life is at the center of the film, but there is always a sense that it's conducted in the frantic margins of her actual life, in the parentheses when her daughter — viewed only once, briefly — is staying with dad, the clock always ticking.

Lee knows his failings all too well — his face says it all — but he keeps regret and depression at bay with frequent visits to his pal Jeremy (Nick Offerman), a former actor who now deals in high - quality weed and who shares Lee's love of reggae and Buster Keaton films.

Cameron Crowe's film about a blacklisted sports agent was arguably Cruise's first great performance as a grown - up, a supremely nuanced turn expressing love and loss — with a layer of slick professionalism that slides on and off at will.

I love the idea of Robohamlet and I had a good chuckle at how you told me off for apparently claiming to tell the «ultimate truth» and then you say, «The sad and bitter truth is that there is nothing wrong with the film.»

Taken for granted is Engels's love affair with the poverty - stricken Mary, which might've been used as a device to explicate his evolving empathy and political philosophy, or to at least inform the film with a hint of non-dialectical drama.

Individuals have come with different agendas - love - making, a shot at stardom or political advancement, aspirations within the music business, and longing desperation, to name just a few of their motivations in this exhilarating film:

Cut down somewhat from the original release, it would have benefited from still more cutting as, if you're not totally in love with the characters, it can feel flabby and tedious at times in what IS a long «film».

New films from Terrence Malick, whose The Tree of Life took the top prize last year, and There Will Be Blood director Paul Thomas Anderson, were not ready in time for inclusion, while Woody Allen's latest, To Rome with Love, is anticipated to be added to the lineup at a later date.

An interview with Michael J. Bassett (8:51) allows the filmmaker to speak at greater length of his love of fantasy fare, his intention for a serious tone, the film's casting, dismissed ideas, and religious themes.

The story flirts with young love (and love potions) at Hogwarts but also moves into a darker and more adult direction and Yates follows suit with a film that is more intimate and somber.

In the post-Moonlight age (and with nominations this year for gay - themed films such as Call Me By Your Name, or those with mild gay content like Lady Bird), we thought it might be time to look back at 10 LGBTQ movies that despite deserving some Academy Awards love got no Oscar nomination (including one — believe it or not — from 2017!).

I love the way that Yates continues the dark tone of the film with a glimmer of hope as Potter and the gang continue to deal with their day to day lives at school and at times try to engross themselves in such truly childish things and forgetting about the fact that Voldermort is out there looking for blood.

At the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile GerimAt the film festival: Bruce LaBruce's subversive masterpiece, Gerontophilia, a lovely rom - com in which everybody fucks one another across all age and gender borders — desire shall bind us together; Juno Mak's Rigor Mortis, a touching albeit grim look at loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerimat loss and damnation in the form of a Chinese hopping - vampire movie, with many a nod to the subgenre's clichés and conventions; Jealousy, Philippe Garrel's latest tale of love ground down by the mill of daily life, raw and naked even by his ascetic standards; Hayao Miyazaki's troublesome The Wind Rises, which frames the story of a fighter - plane designer as a grand romance of struggle and failure, with animation's supreme living master contemplating the price mankind can sometimes pay in the name of one dreamer's self - fulfillment, and the willful blindness and egocentricity it takes to realize one's vision; and finally to Yorgos Lanthimos's Necktie and Athina Rachel Tsangari's 24 Frames Per Century, their contributions to the Venice 70: Future Reloaded omnibus, not to mention the untitled pieces by Jean - Marie Straub, Monte Hellman, Amit Dutta, and Haile Gerima.

As we start to move away from films «about» POC and into the territory of movies «with» POC, let's look at big POC actors and actresses who could cash in on some love.

Ana Lily Amirpour follows up her alt - cult sensation A GIRL WALKS HOME ALONE AT NIGHT with her sand - blasted, dystopian love story THE BAD BATCH; Maren Ade delivers what will be the most uncomfortable film of the festival, the desert - dry black comedy TONI ERDMANN; and Julia Ducournau's directorial debut, RAW, takes us on a cannibalistic coming - of - age shock ride that resonates long after its stunning finale.

February and High - Rise proved to be the most polarizing out of all of the films at the festival, with half of the attendees either loving or hating them with no middle ground (I loved February and absolutely loathed High - Rise).

Clocking in at barely more than a minute in length, it features brief, eerie looks at the film, spliced together with famous quotes from everyone from Aristotle to Charles Manson about the overlap between paranoia, love, fear, and pain.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

A literal minute after dropping their senior - year daughter back at fictional Decatur University (the movie was filmed in the Atlanta area), Deanna (McCarthy) receives news from her husband (Matt Walsh) that he's in love with a real estate agent (Julie Bowen).

When the story takes a long detour to tell how Lux becomes involved with Trip Fontaine (Josh Harnett), a high school stud who recently emerged from puberty to the delight of all the girls at school, the film becomes a compelling evocation of growing adolescent sexuality and the pangs and longing of true first love.

The result is odd and not always successful, and at over two hours may be too much of a good thing, but it is full of magnificent moments and loving details, and together with Volume 1 it is the ultimate homage to the films that shaped the creative identity of Tarantino.

Goofy and entertainingly cartoonish, the seriousness and the darkness of the original is nowhere to be found in this latest action - adventure bonanza — a strength and a weakness at the same time depending on your love for the original film — with director Jake Kusdan ensuring that a steady pace of undertakings and jokes is kept throughout its reasonable runtime.

Not bad at all.this film keeps you guessing in ways you never do a lot in horror films.Rob Zombie directs theses actors like I've never seen a horror director do before.this movie is truly amazing, people are calling it «terrible» I call it «good» it's the kind of horror film that actually deals with characters and not just pointless blood and guts.I felt like all these characters really did go through something, and this movie is truly just about them overcoming it.I don't consider this a horror film, I consider this a drama / horror film, cause that is what it is, and I love it.this mvie isn't just about a killer killing people, it actually deals with the people he's after anf even deals with himself at times, which I truly loved.Rob Zombie has proved to me again that he could direct.perfect seq...

It's pretty rare for SXSW to play a film that played at Fantastic Fest but Austin loves them some Tim League and Colossal will be the first film his new company with Tom Quinn, Neon, releases (on April 7).

Winging between deadly serious starts (this is a film that opens with an incinerated baby, for chrissakes), heartbreaking lost loves, kingdom - destroying action scenes and Blunt and Theron yelling at each other to the point of camp, the film never even comes close to striking a balance.

My love - hate relationship with Noah Baumbach's films lurched firmly into love when Greta Gerwig became his collaborator: as star, as muse, and most importantly as screenwriter, Gerwig's contribution appeared — from the outside, at least — to help push Baumbach's works into a new class, with 2012's Frances Ha and 2015's Mistress America both perfectly - executed chronicles of the modern millennial.

Mazer, whose main claim to fame is his comedic association with Sacha Baron Cohen, writing for such films as Borat and Bruno, goes one step beyond, by introducing the characters these two seem more of a natural fit to be with, and the result is two people trying their best to stay faithful to their vows with a partner they love but aren't really sure they like, while keeping their feelings for their natural suitors at bay.

What It Could Win: Another small film with legs, Loving premiered at Cannes and early praise seems to have cemented stars Ruth Negga and Joel Edgerton's places in the Best Actress / Actor races.

In addition to Jack Goes Boating, which was in the Premieres category at the 2010 Film Festival, Philip Seymour Hoffman was an actor in Mary and Max (2009), The Savages (2007), the Park City at Midnight film Strangers with Candy (2005), Owning Mahowny (2003), Love Liza (2002), and Montana from the 1998 Film Festival.

Without nagging time - lapse problems, a few sloppy matching shots, central questions glossed (Gandalf's resurrection — without a reading of The Silmarillion, of course — is obscure at best), and a few story conveniences (Cate Blanchett's Galadriel makes a lame cameo, the abovementioned gauzy Arwen love scenes), the film would be something of a masterpiece (and even with its problems, it's among the best fantasies ever made).

«I am a Flatbush girl», first - time feature director Eliza Hittman said proudly at the world premiere of It Felt Like Love in the Next section (it later went to Competition in Rotterdam), and, while not entirely autobiographical, the film draws from her experience of growing up in this largely working - class neighbourhood of New York City's most populous borough, of these endless summers where you have to escape to the sea with your friends for fear of melting like the asphalt under your feet.