Sentences with phrase «love with the film so»

Not exact matches

So in 2011, he began filming the show with Channel 4, a «fly - on - the - wall drama» following the love lives, arguments and parties of his friends who were (and still are) constantly visiting London's best restaurants, bars, shops and club openings.

So let's say this movie is about a woman whose life was shaped by love of her father; the making of the film Mary Poppins (as well as the writing of the book) is about her coming to terms with the truth about personal love and death and all that.

I love how you tied the recipe in with one of your favorite films, so sweet!

from Michelle Jorgenson (more this week)-- congrats to her for being so creative and resourceful with her spectacular garden (which will be featured on the GreenSmoothieGirl Makeover TV show, which we are almost done filming): I love summer eating, because I try and use as much from the garden as I can.

I think the fact that they put so much love and attention into the details of each and every shoot and do not cut corners in making these basically full blown film productions is what has drawn the top trainers in the world to want to work with them.

She loves filming so much, you guys I'm sure have seen that joy in her eyes when she films with me.

I forgot my camera yesterday and had to use my dad's (which hadn't been used is years) and the pictures came out with this interesting grey - washed film on them... its so moody and elegant - I just love it!

I filmed a quick little haul video, because I wanted to share these purchases with you, I'm truly in love with some of these beauty products, plus, they're all so inexpensive!

Then, over phone calls, not so average first dates of midnight showings of «The Big Lebowski» (Lord knows I love a good weasel in a bathtub scene), actual theatre screenings of my favorite film «Gone with the Wind» accompanied by my most adored meal out — diner grilled cheese with a milkshake (Yes, really.)

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

i have 2 children so i spend most of my time with them, when i do get time alone i like 2 go out for meals go 2 the cinema and watch films indoors, im a very caring and loving person and i like 2 be affectionate.

i am a widow of 6 years, do nt want to be on myof my life, so i am looking for lady to share my life with, love holidays staying home watching a good film, or going out for a meal and a glass of winei love cruising not nice on your own, i am very broad minded, i drive i also have a caravan to escape...

The pressure off, they're free to make out like teenagers and fall in love, a happy interlude the film covers with smart economy, so as to spend more time on getting to know this «hot grandma» (she's struggling to keep her middle daughter pregnancy - free through high school), as well as the couple's first big fight, occasioned when she wonders why he still doesn't want to sleep with her after nearly 20 dates.

Within Stone's oeuvre, Alexander ranks as his most exasperatingly off - target film, completely lacking the director's mordant, stick - in - the - eye humor (so apparent in Natural Born Killers and Salvador), his love of Rubik's Cube-esque conspiracy (à la JFK), and even his able hand with battlefield glory and its blackened flipside (as in Platoon).

We also have Catherine Denueve's lonely housewife who is so starved of any meaningful connection in her life, that she falls in love with a gorilla and enters into a relationship with it - leading to the films most hilarious scene when her husband walks in on them post coitus.

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.

Then, over the course of a series of more dramatic rebellions, the film reveals more about Moll's past, her capacity to justify violence, and the very real possibility that she might allow a serial killer to get away with his crimes, just so she can be with someone who says he loves her.

While The Big Sick isn't always a complete success — it's another film bearing the name of Judd Apatow (he produced with Barry Mendel) that could stand to lose 15 or 20 minutes — it's the kind of sweetly funny love story that's so bizarre that it has to be real.

Chronicling that magic of how perfect strangers can connect so intimately over a short period of time and analyzing that indescribable feeling that creates a strong, trusting bond between two people - a bond that will inevitably turn to love - Linklater's films provide a nice template for how to both simply and intricately weave together the innocence of falling for someone and the complex emotions that will inevitably come with circumstance.

For a film that is so consumed with the burning complications of first, early love, «On Chesil Beach» more resembles a wilted relationship, one that offers up no excitement about the future and little respect for the past.

Though a child of the colonial civil servant caste, Denis is by sentiment and inclination one of the last viable working - class filmmakers in the white - collar west, and so it is only appropriate that her film should be capped off with an appearance by Depardieu, the hulking star of Maurice Pialat's Loulou (1980), that bruising film of interclass love.

One of the greatest films of the last 15 years, Jane Campion's Bright Star is a nearly understated tragedy about a couple so physically chaste by emotionally vulnerability and pulsing with love that the ending nearly bowls the viewer over.

A very fun film that reminded me exactly why I loved this franchise so much to begin with.

I have seen it, and while I didn't love it like so many others, I thought it was a very solid film with an amazing performance from the mother.

With so much going on, I believe it's too soon to fall in love with this first fWith so much going on, I believe it's too soon to fall in love with this first fwith this first film.

Blinded by love for her new boyfriend, Trent (Steve Carell), who preaches family values but continues to put him down, and a bratty step - sister (Zoe Levin) who thinks he's just plain weird, the first half an hour or so establishes this to the point where you kind of just want the film to get on with it.

It is always impressive to see how Haneke can be so subtle and forceful as with this magnificent and devastating oeuvre about aging, devotion, love and death - a film that surprises us for its deep tenderness and honesty while striking us with an overwhelming emotional power.

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.

With the film receiving so much love from the actors tonight, we can only assume that the film continues to be the frontrunner for the Best Picture Oscar.

Darkest Hour Rated PG - 13 for some thematic material Rotten Tomatoes Score: 86 % Available on Disc and Streaming There is so much to love with this remarkable film about Winston Churchill that it is hard to know where to start.

With the Oscars coming up I've been rethinking a lot about the Cinematography of 2010 and there're so many brilliant shots in films I love.

You may have heard that Paddington 2 was not only the BEST REVIEWED FILM of 2017 but in all of Rotten Tomatoes history... we saw it feature on a number of respected critics» top 10 lists and we want to know what all the fuss is about so, keeping in line with the explicit, fringe and classic programming you've come to grow and love from Academy we've decided to put on a Paddington double feature....

The rest of the DVD includes a commentary with the film's co - writers / directors Friedberg and Seltzer (who continue to showcase their lack of humor), a separate audio track («Breaking Wind») with additional fart and burb sounds, several featurettes of the cast / crew riffing on - set («Everyone Loves the Beaver,» «Epic Porn,» «Hot or Not,» «What Makes Aslo So Irresistible?»)

He's just such a lover of film, so the second he got on set we all just fell in love with him, both as a person but also we're in awe of him as a performer.

It's hard to believe that any film that starts so promisingly, with Ryan Phillippe full - on punching Sarah Silverman in the mouth, can go so far downhill, but despite its gonzo and engaging opening half hour, the film soon sinks under its own weight, hampered by thin characterization, ludicrous overplotting and a director way, way too much in love with the prose on the page to bother trying to make it sound like dialogue from a human mouth.

In fact, it so desperately wants to capture that beatnik - y place and tone where crime films and swinging London met that it just seems to try too hard, slathering the movie with music, trippy visuals and other elements that just can't make up for the deficit of a weak and blandly told story about a ex-con (Colin Farrell) hired to look after a reclusive young actress (Keira Knightley) who finds himself falling in love, which of course puts himself in direct confrontation with one of London's most vicious gangsters.

I love talking with Derek, especially because his ideas in his films are so deep and personal, and he gets into that in even greater detail.

But Stern wanted Private Parts to introduce us to Howard the man, not just Howard the radio giant, so much of the film focuses on his long and loving relationship with Alison.

Punch - Drunk Love is full of so many rich elements and well - developed subtexts, that with only some minor tweaking here and there, it would have been a great film.

Director James Ponsoldt gives us all of the teen awkwardness and curiosity with none (or at least very little) of the melodrama, and Miles Teller and Shailene Woodley are spectacular leads; though the film is primarily about Sutter, Woodley steals the show with her quiet love and concern that manifest themselves so plainly in her every expression.

Part of what makes the film so great is the juxtaposition of Marge's unflappable police persona with her home life, where she's the loving wife to a very kind husband.

So much more than the protective momma bear that you often see in this kind of film, Davis makes» Amelia's struggle to connect with a child that she loves but may not like very much a palpable thing, while also showing the basic human needs — sexuality, some fucking sleep — that lesser films brush over.

As someone who loves films and television, I know so many people who are obsessed with popular culture things such as comics, superheroes, and yes, even My Little Pony.

I fell in love with film as a kid and remain as passionate about it as the day I started acting so it's great to see what inspired and eloquent detectives you are when it comes to all things cinematic.

Jim Jarmusch's Paterson is already one of my all - time favorites, seriously, it's a perfect film and I went to see it twice because I'm so in love with it.

With their powerful moral undercurrents, minimalist acting and ascetic style, Bresson's films (Mouchette would make an excellent companion piece to The Kid with a Bike) weren't concerned so much with stories and characters as with the ideas they helped to illuminate — namely the continual war between man's baser and higher instincts, between the evils of mistrust and crime, and the virtues of charity, compassion and lWith their powerful moral undercurrents, minimalist acting and ascetic style, Bresson's films (Mouchette would make an excellent companion piece to The Kid with a Bike) weren't concerned so much with stories and characters as with the ideas they helped to illuminate — namely the continual war between man's baser and higher instincts, between the evils of mistrust and crime, and the virtues of charity, compassion and lwith a Bike) weren't concerned so much with stories and characters as with the ideas they helped to illuminate — namely the continual war between man's baser and higher instincts, between the evils of mistrust and crime, and the virtues of charity, compassion and lwith stories and characters as with the ideas they helped to illuminate — namely the continual war between man's baser and higher instincts, between the evils of mistrust and crime, and the virtues of charity, compassion and lwith the ideas they helped to illuminate — namely the continual war between man's baser and higher instincts, between the evils of mistrust and crime, and the virtues of charity, compassion and love.

Absolutely loved it, no horror film has ever actually scared me because I know the in and outs of how most of them are based but this film started like I would not have expected, it works based on the primal fears of people and it's so simple but Wan works with that and terrifies you.

With elements of Footloose and Step Up, the story is continually brought crashing back around us with clips from Platoon — a film Josh so loves that it plays a central role in the film's climax and redemption for all involWith elements of Footloose and Step Up, the story is continually brought crashing back around us with clips from Platoon — a film Josh so loves that it plays a central role in the film's climax and redemption for all involwith clips from Platoon — a film Josh so loves that it plays a central role in the film's climax and redemption for all involved.

1) The / Filmcast: Transformers: The Last Knight review with Paul Scheer — Paul Scheer's comedy career has been ascendant recently (I loved him in The Disaster Artist) so it was a delight to have him on the / Filmcast to dismantle this atrocity of a franchise film.