Sentences with phrase «majority of the film does»

In fact, the majority of the film doesn't even have any direct connection to its kinda - sorta predecessor.

But the vast majority of the film doesn't operate with nearly that sort of clockwork precision.

Not exact matches

This is not to say the «other» is always morally superior or anything, but it's a crucial fact in understanding apartheid that, it bears repeating, it was the NATIVE population, the MAJORITY of the country (do the aliens outnumber the humans in this film?)

They are basically the stars of the film, and I don't really understand why, since the majority of audience members are women who came because they read the books, think Christian is hot, and want to see their own secret fantasies portrayed on camera.

It doesn't help matters that the actors seem to be heavily sedated through a majority of the film.

While this does not rule out seeing Stewart and McKellen in future X-Men films, the fact that these two actors will not be in Apocalypse is a bit of a surprise considering that both actors have appeared in a majority of the films in the X-Men franchise.

At a time when the vast majority of people could not — or did not — travel far from home, these short films gave them a glimpse of the world they could not get anywhere else.

The majority of the scenes in the film do not take place in

«Black Panther» manages something the majority of MCU films don't — a compelling villain.

Perhaps due to the choices to cover older works, they're more able than ever to produce intelligent, thoughtful, and informative criticism — while this article maligns their production value as no better than «the average Youtube video,» editing a video review to provide context via clips of the film is a step beyond what the vast majority of populist or even academic film criticism has done in the past, let alone other related films in the genre and in the director's oeuvre for context.

Writer / director Martin McDonagh - making his debut here - has infused the majority of In Bruges with a deliberately - paced, overly talky sensibility that undoubtedly reflects his background as a playwright, and it's certainly difficult not to admire the fervor with which both Farrell and Gleeson tackle their respective characters and the film's ample dialogue (the actors» heavy accents does make it difficult to make out every word, admittedly).

However, rather than getting us to invest in these stock characters, the vast majority of the opening hour is ineffectual, with the film continuously hampered by a poor script that does little to add layers to its cast of players.

The majority of movies at film festivals don't release trailers beforehand, so we often choose which films to see based on the filmmakers involved, the cast, and a brief description.

If you ask most people (a.k.a. the white male majority that covers film criticism now and holds most of the power that drives the US film industry to churn out the kind of crap it does every summer) what they think of Lincoln they will tell you probably something similar to what this anonymous dude wandering out of a screening just transmitted to the NY Post's Lou Lumenick, who then posted it as credible:

I apologize on behalf of my Online Film Critics Society, who didn't give the film a single nomination despite screeners having been sent in a timely fashion to our American majority.

I didn't find the majority of the film to be bad, per se, just unoriginal.

Johnson and Efron certainly have a chemistry, but by placing them at odds for the majority of the film Baywatch does itself a disservice by not allowing these two to truly connect.

The vast majority of people don't get sent awards screeners, they don't live near an art house cinema showing the films that all critics rave about.

However, given that the subject is, to say the least, touchy, the fact that this film was even made is worthy of at least some kudos to Maher for having the guts to potentially offend the vast majority of people in the country, and perhaps the world, with his expression of doubt in their beliefs and his own belief that, though many individuals have found great benefit from the ancient scriptures, religion ultimately does more harm than good when looking at it in its totality from a global historical scale.

A majority of the role was performed via motion capture by stunt performer Andre Tricoteux; it wasn't until mid-December that Kapicic was cast, though he did manage to complete some minor physical work for the film.

How I look for films I think MIGHT do well is simply by watching how the audience responds, asking around to find out what the majority of the people liked.

He doesn't» have a lot of dialogue for a good majority of the film (getting your tongue cut out and your femurs filed down into Walrus tusks will do that to you), but he conveys so much through his emotions and body movement that it is impossible to become invested in his arc.

Simien's film takes place at Winchester University, a predominantly white, prestigious university where we're introduced to six significant characters: Sam White (Tessa Thompson), the biracial activist who overcompensates her blackness; Lionel Higgins (Tyler James Williams), the black homosexual who lives in an all - white residence building, and feels little sense of belonging; Colandrea «CoCo» Conners (Teyonah Parris), the white - washed blogger who acknowledges racism yet chooses to ignore it in fear of non-acceptance from the white majority; The Dean (Dennis Haysbert), who has worked hard his whole life solely to over-emphasize his superiority and intelligence towards white corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchester.

I've often wondered how a film starring substantial, popular actors like John Cusack (One Crazy Summer, Stand by Me) and Tim Robbins (Bull Durham, Top Gun) could remain so obscure to the majority of video renters that the majority of video stores don't even carry it.

Also, a majority of the bonus material that appears on the second disc is completely worthless, but it begs to ask the question: why doesn't every film get such a grand DVD release?

Admittedly, the film's ending does fall apart a bit, but the vast majority of the film is engaging and original, so I am willing to look past the ending to see the excellent filmmaking here.

If Wright does decide the take the job, it will reunite him with the star of the majority of his films, Simon Pegg.

It's the first film in awhile where I don't agree with the majority of critics.

I don't know about others but I would really appreciate some closure at the end of these types of films but sadly I guess the majority of people just say «Oh well, they beat the spirit.

«If anything, having seen «Dogtooth» and «Alps,» [«The Lobster»] was less of a risk than the majority of films I've done, because his work is so strong,» he said.

The film, the majority of which takes place in a weed - filled Rolls Royce travelling from Seattle to Los Angeles, has as much heart as it does laughs.

The majority of the film has been done in front of a greenscreen, and Snyder has to be given credit for somehow making an $ 80 million film look like it had twice the budget.

I didn't feel the need for this movie, but the majority of Shrek films have been good.

Unlike the majority of time - travel films, it doesn't make the mistake of having the travellers acclimatise easily to their new environment — Thibault and André remain confused innocents throughout, constantly amazed at the wonders of modern life.

With Falk and Arkin doing the majority of the heavy lifting, filled to the brim with one memorable sequence one after the other, without a doubt this is one of the great buddy comedies ever made, and for those who have never seen it I suggest giving the film a look right away.

Director Sidney Lumet - working from Kelly Masterson's screenplay - has infused Before the Devil Knows You're Dead with a complex, time - shifting structure that doesn't work quite as well as one might've hoped, though there's little doubt that it effectively keeps the viewer guessing through the majority of the film's running time.

He can do this role in his sleep, and conveniently enough, his character spends a majority of the film with his head down or completely asleep.

The majority of the film finds Will trying to adjust to a life in a new environment, where he tries to impress Clio and Colette (real life twin sisters Aundrea and Gia Gadsby) with his laid - back parenting, a strategy that soon breaks down and calls into question his ability to do all that is necessary to be a truly responsible parent.

It doesn't take much to realize that even in this era of Best Picture / Best Director splits, the majority of the Director winners whose films lost Best Picture still had the # 2 film in the race.

A majority of the first act of the film is spent focusing on the love story between Webber and Miriam (Holliday Grainger), which is fine, but the romance just gets in the way for the other two acts and does not add anything to the film.

Perhaps if Pegg and Wright had only done Shaun and Hot Fuzz at this point, the majority fans might only be willing to accept the same kind of film (change: bad!)

The line - up also sets Sundance apart from the other major film festivals that have aimed to include TV programming, because the majority of the 17 series do not have pre-established distribution.

And you can't say the film doesn't self - referentially warn you about the majority of its final hour — a talky detour into Joshua Tree National Park where Billy and Hans each take a crack at fleshing out the themes of Marty's script.

Between co-writing and directing, Iñárritu does a very nice job of keeping all the major supporting characters in the audience's mind — even as he concentrates the majority of the film's 156 minutes on Glass» travails.

I don't mean that the film isn't as enjoyable now as ever and more enjoyable than the vast majority of 1950s cinema.

Some have called it pretentious, some WTI staffers didn't care for it, but the majority of us beg to differ (personally, it's my second favorite film of the decade so far).

Melfi stays out of the way for the most part, relying on his actors to do a majority of the heavy lifting, but he deserves credit for the ease in which he navigates between the film's three storylines.

Fesenko does a majority of the heavy lifting but each performance had to line up to deliver such a powerful film.

Much of the sneak peek actually has been seen in other trailers and ads, but we do get a brand new look at Riley, the 11 - year - old girl in whose head the majority of the film takes place.

Although it doesn't seem that extravagant on paper — heck, the vast majority of the Avengers films hit that runtime anyway — quite whether Rian Johnston uses that time wisely is another story.