Sentences with phrase «middle section of the film»

Yet, despite the good acting, the middle section of the film, set at the Capitol, is attenuated and rhythmless — the filmmakers seem to be touching all the bases so that the trilogy's readers won't miss anything.

This middle section of the film concludes with a kind of slow - motion dance, as the six brothers sing about loneliness on the farm while listlessly doing their chores (the axe chops and wood saws of which provide rhythmic punctuation to the song, «Lonesome Polecat»).

Listen Up Philip meanders a bit for the middle section of the film, but it's largely hysterical and insightful.

It's worth mentioning that while the middle section of the film is a tad uneven, it all comes together thrillingly in the final movement, which closes things off with a bang and, as with so many good horror films, makes you rethink what you've seen, and want to watch again.

The long, conflict - free middle section of the film, which includes musical montages of clips from Alfredo's contributions to the encyclopedia, slackens the pace a bit.

While it concludes with epic hand - to - hand combat, it's the middle section of the film that drags within Middle - earth.

The middle section of the film is as intense an exploration as I've seen of the sadomasochism inherent in the teacher - student dynamic.

Then there is the whole middle section of the film where Bana and his crew rip Europe apart as they look for the terrorists responsible for killing Israeli athletes at the 1972 Olympics.

Not exact matches

After a strong start, the film's middle section sags into the most benign of observations about Edward and Florence and the elements that have pulled them together.

Most of the film's best moments come in this middle section, as we watch the couple deal with the strain and anxiety of deciding whose needs should be put first, and for how long.

Released smack in the middle of the»70s, Nashville would become the director's most decorated effort and, contrary to IMDb's «Known for» section, one of the films Altman is best remembered for today.

Unfortunately, their playful camaraderie isn't exploited nearly as much as it could be, because while the movie is incredibly lively in its opening and closing minutes (including one of the most ridiculous action sequences ever filmed), that sense of high - energy fun is absent for most of the middle section, when it starts to take itself too seriously.

Cianfrance asks questions about life and legacy too meandering for the film's good, resulting in an admittedly saggier middle section, but he reached way beyond the regular confines of indie cinema with Pines» episodic, decades - spanning tale, and that can not be ignored.

The International Panorama section of the festival, which showcases international films from Europe, the U.S., the Middle East and South America screened a mixture of prize - winners from major A-list festivals, particularly Berlin and Cannes.

Curiously, bar the middling Opening Night Eurasiapudding, A Prayer for Rain (Ravi Kumar), none of the disaster films from this section that I caught were terribly well attended.

The pacing is good, but the film also comes with many obvious markers of rough editing and recuts, which makes the middle section feel muddled and disjointed; it's hard to see certain scenes as sequential and purposed, rather than stitched together from parts of what was seemingly a deeper (and longer) character study.

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.

Many viewers will find themselves frustrated at the fact that a large section in the middle of the film revolves around Maureen exchanging text messages on her phone with a mystery contact who she thinks may be her deceased brother.

In fact the whole middle section when they settle in their hometown for a couple of days unsettles the film quite a bit as the humour and drama doesn't always hit the mark.

You get what Fluk is going for: The vibrant visuals (and intensified ambient sounds) of the film's middle section represent the world as James is experiencing it, literally through new eyes.

It's that middle section where a certain Hungarian filmmaker wins the foreign language film award or the director of a little - seen short injects mania and uncompromising glee into an evening full of been - there - done - that Meryl Streep stares.

The house is large, allowing for a good and robust cat and mouse game during the more stalk - y sections of the middle hour (and, to be honest, makes better use of the space than another film set in a giant house, August: Osage County).

We never full connect to Wilson and his relationship with Dern's ex-wife Pippi or his burgeoning friendship with Isabella Amara as his estranged daughter Claire, which makes a large portion of the films middle - section feel rather so - so.

Those scenes — and there are many of them — have a level of honesty that transcends the film's rough middle section.

It's a shame, too, that the film had to begin and end the way it did considering the strength of its middle section.

Some of those pacing issues still apply here as the film starts to drag again in the middle section.

It gets messy during a section in the middle of the film, when editor Elliot Graham (21, Milk) jumps from flashbacks to the height of an argument between Jobs and his former boss, John Sculley (Jeff Daniels).

The film's lighter tone becomes more somber as the strike progresses, slowing the narrative pace to a crawl and making the middle section of the story feel sluggish before developing events push things along to a dramatic finish.

What I did like about the film's middle section is that it constantly teases the audiences with small glimpses of Godzilla and the Muto monsters to get us invested.

They include: Negar Azimi, writer and senior editor at Bidoun, an award - winning publishing, curatorial, and educational initiative with a focus on the Middle East and its diasporas; Gean Moreno, curator of programs at the Institute of Contemporary Art Miami and founder of [NAME] Publications; Aily Nash, co-curator of Projections, the New York Film Festival's artists's film and video section, and Film and Media Curator at Basilica Hudson; and Wendy Yao, a publisher and founder of both the exhibition space 356 South Mission Road and Ooga Booga, a shop with two Los Angeles locations that specializes in independent books, music, art, and clothing.

The distance Hutton maintains from human subjects in the Korean shipyard creates the sense of an unpopulated world, a feeling reinforced in the film's middle section shot at sea.

Using computer - based rotoscoping — an animation technique in which animators trace over footage for use in live - action and animated films — Hironaka & Suib layer sections of films together to create the foreground, middle, and background scenes.

They include: Negar Azimi, writer and senior editor at Bidoun, an award - winning publishing, curatorial, and educational initiative with a focus on the Middle East and its diasporas; Gean Moreno, artistic director of Cannonball, a Miami — based nonprofit dedicated to the advancement of critical discourse and contemporary art through residencies, grants, commissions, and public programs; Aily Nash, co-curator of Projections, the New York Film Festival's artists» film and video section, and co-curator of the 2017 Whitney Biennial film program; and Wendy Yao, a publisher and founder of both the exhibition space 356 South Mission Road and Ooga Booga, a shop with two Los Angeles locations that specializes in independent books, music, art, and clothing.