Sentences with phrase «many films of this ilk»

This is also down to a strong set of performers and while it's rare to see an all - female ensemble in a film of this ilk, Garland has little time for gender, imagining a future where such distinctions don't warrant recognition.

As in so many films of its ilk, we observe as the improbable wads of cash are amassed and then, at the point where things just get a little too loco, everything goes to shit.

It's hard to separate a sequel from its original counterpart, especially with a movie like The Conjuring, which is quite simply one of the very best haunted house movies ever — not only that, but it pretty much set the bar for all future films of its ilk; that's a hell of an accomplishment, to say the least.

This writer is not usually a fan of films of this ilk, but thankfully TWO NIGHT STAND is harmless and actually rather charming.

It delivers exactly the sort of cinema experience that it promises to deliver with more integrity and a little more substance than many other films of its ilk.

Kosinski's leisurely pacing, often setting up a hangout environment similar to those in the more laidback work of Hawks and Richard Linklater, gives Only the Brave a raw authenticity that's often overshadowed by melodramatic flourishes or superhuman heroics in other films of its ilk.

Not that the film doesn't revel in cheesiness, but compared to other films of its ilk, it manages to at least avoid drowning in the cheese.

Twitch's Kwenton Bellette recommended to «See Berberian Sound Studio immediately; I have not been this excited for a mind - bending puzzle film of this ilk since Mulholland Drive, an absolutely dark treat for the unchallenged mind and a terrifying technical achievement.»

It's hard to think of many other films of this ilk with characters, dialogue and detail this complex, which is probably why it gets exponentially better on every viewing.

It's hard to separate a sequel from its original counterpart, especially with a movie like The Conjuring, which is quite simply one of the very best haunted house movies ever — not only that, but it pretty much set the bar for all future films of its ilk; that's a hell of an accomplishment, to say the -LSB-...]

Even if the characters don't always seem anything more than puppets at the hands of a storyteller, the bits of human insight underneath provides more than enough food for thought than most films of this ilk allow, and even some moments of bittersweet, and even comical, irony.

But much like Babe or even the Shiloh films, a decently made film of this ilk will surprise grown - ups in how successfully they can transfix their target audience.

Most films of its ilk would establish the third wheel character of the current husband as a lout deserving of a break - up, and while Ira is certainly a cad, Simon wisely never paints the character in a negative light, creating some interesting conflicts in the dynamic of the newly reunited partners in crime.

There's a sense of glee even when things are pretty dire on the battlefront, and that's better than sullen or dreary as sometimes befalls films of this ilk.

Just as other films of its ilk (The Phantom, The Shadow), the updating of the material involves keeping the core of what makes the Green Hornet the Green Hornet, while stuffing it into a modern - day action and comedy style.

And something else that Halloween does that too few films of its ilk have managed is to leave us all uncomfortably questioning the thin filament intervening fact and fiction, tangibility and nightmare, as well as the texture and verisimilitude of evil.

The less you know, the better, but suffice it to say that you'll be thrilled and entertained like few films of this ilk are able to pull off.

While the ingredients are there for this game to be a memorable one, I'm afraid this latest film about Turing fails its own test, feeling robotic and wooden, and free from the humanity and complexity that great films of this ilk can bring to audiences.

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.

Judging from past films of this ilk and what we're expecting from the trailer, it seems that this is a nonstop adrenaline rush of intensity and nail biting.

Standing in the shadows of other supernatural horror films of this ilk, «Winchester» is a creaky misfire with little going for it beyond window dressing.

Like most films of its ilk, Walk Hard may go too over-the-top to prove itself, but there is something charming about it, underscored by its genuine love of music and affinity for musicians.

The subject matter is darker than other similar films of its ilk, dealing with gang rapes, strangulation and kinky sexual acts that seem placed in the film in ways that titillate rather than educate.

See Berberian Sound Studio immediately, I have not been this excited for a mind - bending puzzle film of this ilk since Mulholland Drive, an absolutely dark treat for the unchallenged mind and a terrifying technical achievement.

There is the element of power and control which appears in other fantasy films of this ilk, but also a question of the ethics of its use.

Not exact matches

I am not much of an aficionado of these films, as I have grown weary of the entire «follow your heart» mantra of so many of their ilk.

It's a commercial movie rather than an art film, but a great deal less compromised than most of its ilk.

While I can certainly agree with both films not falling squarely in line with the zombies, slashers, and extreme gore features that proudly wave their horror flags, Get Out and The Shape of Water do exist in the peripherals of genre, both featuring monsters of very different ilk.

Given that conformity is the scourge of the «Divergent» series and much of its young - adult ilk, it's a shame that the films, including the new «Insurgent,» do so little to stray from well - worn YA paths.

Though the film isn't great enough to stop what you're doing and buy, it's more enjoyable than many of its ilk.

Thematically, this is family friendly stuff, of the Ron Howard Apollo 13 ilk, and the film's visual power, featuring the work of Scott's returning DoP Dariusz Wolski, makes this 3D space epic seem superbly outfitted.

And what mostly sets this film apart from its ilk proves to be the uncommon intelligence of the overall approach.

In order for more actors of color to be nominated they need to be featured in more films overall of this ilk.

As an episode of «Twilight Zone» or any one of its ilk, this would have made for a fascinating shorter film, and would not have suffered from the heavy padding and flaccid side stories that bog all momentum down to a crawl.

Along with its Rambo pedigree, Homefront definitely feels like a film that would have been par for the course as a release in the 1980s, when Stallone himself, along with Arnie, Chuck Norris, Van Damme, and the rest of the Expendables ilk, would all make films with this very basic formula.

Like the comics of its ilk, the film never seems to be going much of anywhere or doing anything, but by the end of the film we understand why.

Although we've seen many films of similar ilk in science fiction, from Sphere to Event Horizon, the writers are well aware of audience expectations, putting enough fog and mirrors in the mix so that we are never exactly sure.

Good performances by the main actors does make it a cut above most horror films if its ilk (though Joe Anderson's German accent is far from authentic), and there is a very effective creep factor involved in the choice of antagonist, a wildly growing, mimicking plant that can grab, infest and devour its victims in the most grisly and stomach churning ways possible.

Nevertheless the one thing that separates this from other films of similar ilk is that we actually learn to love George.

Ramsay's film comes fascinatingly close to being a one - note genre exercise, albeit one that's perhaps a tad more ambitious than most of its ilk.

But especially given that, according to my friends who are its fans, Scott Pilgrim the comic is a story that tries to combat much of the misogyny that underlies Scott Pilgrim the film and other works of its ilk, it's a shame that this is the best Edgar Wright could come up with — a film that uses flashing lights and bright colors to distract its viewers from the unpleasantness at its core.

Every brief tale compels attention with sinister storytelling, the occasional wicked bit of humor and great performances, but it's the look of the film that sets it far above the others of its ilk.

But while many people may think that the action scene has moved on to other parts (mostly Thailand and South Korea, plus a mini-boom of excellent American direct - to - video films like «Universal Soldier: Day of Reckoning» and its ilk), there's still a lot to offer from the once reigning king of cinematic punches and gunshots.

Originally titled Townies, this is a film where all of the themes are in some way, shape or form recycled from comedies of an Apatow ilk.

It's similar to a lot of other films of different ilk, and many may find some striking similarities with Point Break in particular, and that's dipping pretty deep in the bad action movie barrel for inspiration.

If you want to see a film of the same ilk but with more realistic characters, a smarter script and powerful impact, check out Mother & Child (2009).

Say what you will the R - rated superhero flick — like for instance that it falls in line with many of the same familiar tropes it purports to mock — but the gleefully violent and «adult» - oriented box office smash opened the flood gates for more of its R - rated ilk, showing studios through the ever influential power of green (not Green Lantern mind you), that audiences were more than receptive to «mature» content in their superhero films.

I'm a big fan of American films of the»80s and I wanted it to be part of that ilk.

«Homecoming» works by allowing itself to become an actual genre film, the first of its ilk to recognize that superhero movies might be more interesting if they were also something else.

It's also a derivative one, adding nothing to the «madness» ilk of genre films that we have haven't seen done better in movies like Repulsion, The Shining and Black Swan.