Sentences with phrase «moments in the thriller»

Blunt and simplistic, there's not a moment in this thriller that feels inspired by anything other than criminal TV shows.

Not exact matches

Amazon Editorial reviewsProduct Description A real - life thriller about the most tumultuous period in America's financial history by an acclaimed New York Times Reporter Andrew Ross Sorkin delivers the first true behind - the - scenes, moment - by - moment account of how the greatest financial crisis since...

There's a lot of things I'm obsessed with at the moment: An afternoon green smoothie followed by an energizing yoga class Everything fall and everything pumpkin Wine - colored lipstick Reading creepy thrillers (I'm in the middle of this one right now and I can't put it down) Afternoon naps on Sundays Making apple cider vinegar and homemade candles (tutorials...

On the whole, I was hardly interested in this snoozefest of a mystery «thriller», but there are moments in which I found myself genuinely invested in this layered and meditative drama, and for those moments, I give some credit to Refn for actually waking up, and even more credit to the real force behind this misguided character study.

A thriller like this can collapse under too much scrutiny, but in the moment, it does work as a nitty - gritty game of cat and mouse, especially when Shaun does break back into the house and outsmarts the numbskulled intruders.

That's another structural difficulty in this cryptic, cerebral and bleak thriller — it's emotionally flat save for that one moment.

A vital moment in the career of one of cinema's most important directors and a searingly tense thriller in its own right.

Though it has all the crackling energy and wit of many a»70s political thriller (with an unusually mobile, roving camera for a Spielberg drama), the movie boils down to a single stately moment, one in which a woman asserts her authority in a way that even her male subordinates, who technically report to her, are unprepared for.

Screenwriters William Nicholson and Michael Hirst care little about re-creating political history as it was, but relish shooting for the Barbie doll moments in the royal court and the occasional cloak - and - dagger thriller moment (the soon to be beheaded scheming Catholic Mary Stuart, Queen of the Scots (Samantha Morton), passing notes from her prison cell to approve the assassination attempt on cousin Elizabeth), and in keeping all the scenes with the athletic looking Raleigh intentionally playful and sexually inviting.

Interestingly Death Wish, the millennial - era remake of the gritty mid 70's crime thriller of the same name, notoriously arrives in theaters at an increasingly awkward moment in a divisive national climate (particularly in the aftermath of the most recent high school shooting) where the political stakes regarding gun violence in America are at an all - time high.

One of the most versatile actors in cinema at the moment, Tom Hardy has peppered his career with blockbusters like «The Dark Knight Rises», indie dramas like «Locke» and the gritty thrillers such as «The...

Combined with the naturalistic acting of the cast and the reserved hand by Marston, «Forgiveness» has an extremely grounded feeling that you don't generally get with dramas or thrillers — most feel put together in a petri dish, either a concoction with overly familiar elements or a collection of histrionic moments assembled to easily stir audience members.

Appearing Monday on CBS's «The Late Late Show» to promote his post-apocalyptic thriller «Maggie,» Arnold Schwarzenegger teamed with host James Corden to act out moments from his film career in six minutes.

Part of what makes German director Christian Petzold's pulp psychological thriller so special is the way it wrings complex shades of suspense and disquiet out of very basic techniques, and its finale — the most sublime gasp moment of the year in film — is a master class in simplicity of form, cut almost entirely from just two angles and carried by stars Nina Hoss and Ronald Zehrfeld, whose performances have been building to this one exchange of subtleties.

All they've got left is sex in this and that ultra-luxurious location (more shelter porn than porn porn here) interspersed with some very random thriller moments as a figure from the past wants to destroy the perfect prettiness of the romance.

Fans of Jason Statham will no doubt have some fun with Killer Elite and there's one show - stopping moment in the first Statham / Owen brawl that will certainly get a reaction from audiences, but for anyone looking for either an over-the-top action flick or a smart - witted political thriller, the film fails to live up to the sum of its respective parts.

This gives us an opportunity for a chase scene on a mountain road that turns out to be, like so much in the film, foreplay, plus some not at all tense would - be thriller moments and one pretty funny joke.

Suffice to say that, although as a genre piece it's nothing new, it's still tightly and cleverly handled and unravels as a satisfying psychological thriller that's worthy of some attention.There's a strong cinematic output from our Antipodean friends at the moment, of which, Edgerton seems to be spearheading and this will no doubt convince studios to invest further in his directorial endeavours.Mark Walker

A key moment in Not Quite Hollywood is a segment with Tarantino devoted to Fair Game (Mario Andreacchio, 1986), a thriller featuring Cassandra Delaney as a woman in the Australian outback who is terrorised by a group of men driving a menacing truck, eventually fighting back against her tormenters.

The early 1970s to the late 1980s was a unique moment in Australian cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and sounds unlike anything they had seen in Australia before.

This is less dark looking than his films usually are and it has this lovely way of mixing horror thriller and comic moments, sometimes in the same scene.

Filmed in Ireland by cinematographer Vilmos Zsigmond with an atmospheric score by John Williams, the film is artfully made, yet features a few thriller - style shock moments to emphasize Cathryn's descent into madness as she begins to have distorted visions of former lover Rene (Marcel Bozzuffi), who was killed years earlier in a plane crash.

Making a mark with a thriller, Intacto (you could argue that both Intacto and 28 Weeks Later deal with the ugliness of predestination), that boasts one of the most perfect scenes in cinema from 2001, Fresnadillo adopts the handheld ethic of Boyle's picture and injects it with the energy of the vertiginous opening moments of Narc.

It's a moment, really the only one in the entire film, that does what horror thrillers are supposed to do: It makes you feel as if the universe is stacked against you.

Why it's worth a watch: From the insane car chases, to the twisted «70s thriller vibe, to * that * elevator moment, there's no other film in the MCU that touches its prowess.

Instead, it's a film that understands exactly what it is and what space it occupies, and at the end it's not merely an extraordinary character piece (Blair's turn would be star - making in a just universe), it's also a nimble thriller full of outrageous fortune and stunning reversals meted out perfectly between its breathless moments and the moments where it breathes.

Co-written by estimable Frownland director Ronald Bronstein, it's inspired by the experiences of street kid Arielle Holmes, who plays a fictional version of herself alongside actor Caleb Landry Jones in what's described as «a tumultuous drama about a New York City couple battling addiction in the midst of a love affair»... And finally, the prize for oddest remake of the week: French thriller specialist Jean - François Richet is changing gear rather alarmingly with his, er, «reboot» is the word I'm looking for, of Claude Berri's 1977 comedy Un moment d'égarement, in which two fathers take their sexy adolescent daughters on vacation — and one of them is seduced by the other's jeune fille.

The trailer begins in serious political thriller mode before the real plan is revealed and it moves into an Oceans Eleven tone for a moment.

There are moments early in Erased where you think and hope it could sustain an intriguing premise and end up a decent little European thriller.

In the opening moments of writer / director Trey Edward Shults» mysterious horror / thriller, we are presented with such a symbol, a warning sign right from the off that this one is going to take us down some dark, ominous alleys, figuratively, before our time with it is up.

As in his most effective thriller, «The Hand that Rocks the Cradle,» director Curtis Hanson provides some good, creepy moments in the process of slowly revealing to Streep and her family that the somewhat appealing stranger in their midst is, in fact, a psychopath.

Michael Pearce's hugely impressive debut is an unsettling thriller that holds you in suspense until its final moments.

Michael Pearce's hugely impressive first film Beast is an unsettling thriller that holds you in suspense until its final moments - and we're lucky enough to welcome Michael on to the show to discuss his intoxicating debut.

A bit lengthy run time for a thriller, but absorbing throughout nonetheless, this murder mystery, somewhat loosely based on the dense best - selling novel by the late Stieg Larsson (which in its native Swedish literally translates to «Men Who Hate Women», the first in his «Millennium» trilogy), is dark, and more than a little sensationalized (involving perverts, murderers, rapists, Nazis, and literal Biblical interpretations) to be believable, but, like most good thrillers, it's riveting in a way that you won't be able to turn away from it, even during some of the film's most brutal moments.

Two outstanding thrillers featuring female protagonists unable to speak strikingly communicate that nightmare - inducing sense of helplessness in desperate moments — in this case, the fear and frustration of not being able to articulate, with words anyway, as quickly as the situation may require.

For those not as invested, the film version does manage to be one of the better thrillers in recent years, with solid characterizations, a capable cast of actors, and, for those not averse to some of the film's harsher moments of sexual abuse and sadism, enough lurid developments in its story to make you squirm in your seat.

The title of «Good Time,» a nerve - jangling new thriller from New York - based directors Josh and Benny Safdie, is uttered briefly in the movie's final moments by a character of little consequence.

The movie fits more in the thriller category than horror, even though there are some very horrific moments.

Do the false - alarm moments, like a group of girls screaming playfully in a parking lot, come a little too close to suspense - thriller jump scares?

The comedic thriller plays rough, and is replete with violent moments of eye - opening nastiness, including an edited - in - the - nick - of - time near - depiction of a toe amputation.

Not a horror film or thriller, nor exactly a ghost story, it is a deeply uncanny portrait of a home, most effective in its close attention to domestic spaces and its moments of intimate chamber drama.

Tyger Williams» screenplay is strictly formulaic, with only the occasional bizarre moment — such as when Carter, after having broken into Leah's house, uses her toothbrush in fetish - like fashion — hinting at the stylishly baroque thriller the film might have been.

But what starts off as a well - done but fairly standard crime thriller turns into a surreal fable somewhere in the middle, and at that moment, jumps from «good film» to «film you will be able to get out of your head NEVER.»

Most of Mann's projects are in the action / crime / thriller genre, which usually isn't the type of thing you'd generally want to throw in slow - developing, sullen moments of moody reflections.

Identity Thief is all over the map when it comes to the kind of film it wants to be, sometimes playing like a wacky farce, sometimes as a black humor raunch-fest, sometimes as a silly thriller with laughs, and sometimes trying to draw out even some touching moments in a mismatched buddy road - trip comedy, a la Trains Planes and Automobiles.

I will merely recommend 10 Cloverfield Lane as a clever, canny thriller, and endorse an insight that Howard offers in a moment of uncharacteristic self - knowledge: «People are strange creatures.»

First - time feature maker Yann Demange and man - of - the - moment Jack O'Connell teamed up for a pulsing thriller that carried audiences into the maelstrom of Belfast's Troubles in 1971.

Psychological thriller «Split» is, as revealed in its final moments, a spin - off from the writer - director's well - received 2000 superhero drama «Unbreakable.»

In addition to these thematics, this movie delivers a solid horror - thriller plot that involves creepy dolls and body horror, but also includes some darkly comic moments, most of which involve Cassel (who also produced).

Split was a spectacular return to form for writer / director M. Night Shyamalan, who also capitalized on his horror roots with The Visit, but returned to a familiar world in the closing moments of this latest thriller.