Sentences with phrase «more film material»

Not exact matches

Serious Materials has also pumped dollars into improving technology that layers glass, coated film, and inert gas to make windows more energy efficient than almost anything else on the market.

Signing the Potter deal makes sense in part because NBCUniversal already has a Potter - themed attraction at its parks (it now gets access to more material from the films), and because the movies are also a huge draw with younger TV viewers.

While most of its peers make silicon - based panels, First Solar manufactures thin - film panels made with cadmium - telluride, which absorbs more frequencies of light and uses fewer materials.

Packaging printing materials include anti-set-off spray powder, abs and pla filaments, benzophenone, blacklight paint, compatible ink, drafting film, foil, frisket, more

In mixed plastics recycle streams such as this, using Fusabond ® improves impact resistance, surface finish, and processability of parts and films... so the recycled material can be made into more sustainable articles with less material loss and higher end - use value.

NatureFlex ™ is a range of speciality packaging films developed by Futamura to offer packaging material options that give strong environmental support towards increasing consumer demand for more environmentally responsible packaging.

Four years later the organization was printing and selling books, films, manuals and other source material to pregnant women wanting more information about pregnancy and the birthing process.

Based on a novel by P. D. James, the film is considerably more radical than the source material.

Mr. Jackson (also known as Sekou Molefi Baako) is an East Elmhurst resident with a long history of community service, including 36 years as Executive Director of the Queens Library's Langston Hughes Community Library and Cultural Center, a full - service, general circulation library with an extensive reference collection of materials related to African American history and culture, and a cultural arts program that offers a variety of programming of independent film video screenings, stage presentations, panel discussions, concerts, art exhibitions and more.

This process enhanced the material's optical response to electrical signals by allowing more of the thin film to contribute to coloration reactions.

A film with higher resistance has lower electrical conductivity, meaning that more voltage must be applied to send a signal through it, which further degrades the material.

The thin - film solar cells can be used in more flexible applications, such as so - called solar shingles, roofing materials that double as electricity generators.

Researchers from North Carolina State University have found a way to reduce the coercivity of nickel ferrite (NFO) thin films by as much as 80 percent by patterning the surface of the material, opening the door to more energy efficient high - frequency electronics, such as sensors, microwave devices and antennas.

The idea is that the film, when applied to different surfaces such as glass or brick, can produce solar energy more efficiently than conventional silicon wafer — based solar cells — which are made of materials similar to those used to fabricate computer chips.

The CNT films made using the microcombing technique had more than twice the tensile strength of the uncombed CNT films — greater than 3 gigapascals for the microcombed material, versus less than 1.5 gigapascals for the uncombed material.

The new perovskite film, with the formula SrxLa1 - xCrO3, (x up to 0.25), conducts electricity more effectively than the unmodified oxide and yet retains much of the transparency to visible light exhibited by the pure material.

New nanoparticle - based films that are more than 80 times thinner than a human hair may help to fill this need by providing materials that can holographically archive more than 1000 times more data than a DVD in a 10 - by -10-centimeter piece of film.

The film plunges deep into waters left uncharted since the mid -»80s, leading to a strange, deeply sentimental but oddly touching climax that manages to say more about its source «material» than any toy movie to date.

It's clear almost immediately that filmmaker Shawn Levy just doesn't have the right sensibility for this material, as the director, known for his fluffy, decidedly comedic offerings, has infused This Is Where I Leave You with a terminally lightweight feel that grows more and more problematic as time progresses - as the absence of authentically heartfelt moments ultimately proves disastrous (ie the film possesses the feel of a glorified sitcom, for the most part).

Even more diverse than the film's historical material is its eccentric mash - up of styles and approaches.

More detailed gore and suffering were likely shorn to ensure an already budget - bloated production had the best possible chances of recouping its cost with the broadest possible audience, but a zombie film does need gore, and the restored material could've been a little bit nastier.

Taking the film on its own material terms, there's a perverse frisson of pleasure — of sweet, egregiously unequal justice — to be had in watching two people this immaculately beautiful finally unite in quite such accordingly beautiful fashion, and it's here where James (once more acting as producer) and the filmmakers have us right where they want us.

With the fan expectations, the iconic nature of the original material, and the development hell that lasted more than a decade, the film just had too much going against it.

Issues regarding pacing and structural tightness are among the more considerable in this film, which promises to be rather extensive as a biopic, only to succumb to anything from repetitious filler, - at its worst with the forceful and recurrent insertion of a recital of Oscar Wilde's own short story «The Selfish Giant» - to meandering material whose being backed by steady directorial storytelling by Brian Gilbert leads to moderate bland spells.

Not only are these scenes a lot longer and more expository than they need to be, but they give the sense of a film crew fighting against the material; the camera chases after the story, rather than grabbing it by the scruff of the neck like a proper adaptation would.

While not quite as polished and satisfying overall as Chicago, the strength of the music, production and commentary on the ups and downs of the music industry do make for an interesting, thoughtful, and enriching experience to justify making a film version of, despite some of the more dated aspects of the original material.

Sadly, Cheech & Chong would end up using their best material for this movie, and subsequent films would only offer second and third - rate regurgitations, while also injecting even more sex, drugs and tacky humor.

While this second promo for Tate Taylor's film borrows some of the footage, there's enough new material here to get more of a feel for the movie.

Patrick Marber, who is no stranger to controversial material, having adapted his play into film script with Closer, makes some alterations to the more subtle tone in Heller's book, but does make it more compelling for the purpose of a feature film experience.

The film often veers into the realms of «torture porn» while trying to make comment on our interest in such material, and this is more than a little dishonest.

More than a sports film, the story is a family drama that served as great material for a magnificent ensemble cast.

Of course, this is the type of fact - based film that probably would have benefited from taking more dramatic license with the material, because some of the sensational events that occur (including one character's supposed death) are presented so matter - of - factly that it sucks the fun out of the movie.

EXTRAS: In addition to both the theatrical and extended cut of the film (featuring 10 minutes of never - before - seen footage), there's a brand new collection of bonus material, including an audio commentary by director Ridley Scott, writer Drew Goddard and author Andy Weir, a making - of featurette, deleted scenes and more.

Paul Thomas Andeerson's new film INHERENT VICE is carefully edging its way towards cinemas, and as we move ever closer to its US release dat (December 12th limited, January 9th wide), we're starting to get more and more promotional material for it.

I'm more sceptical, though a lot depends on what tonal approach the film takes to outlandish - sounding material.

It focuses more on location shooting and other practical matters of film production, and it repeats a bit of the material found elsewhere on this set, but it's still a worthwhile listen for fans.

Perhaps if the film played out more as a straight drama with a comical eccentric at its core, a la Reversal of Fortune, this material might have been better served.

A lot of the film resembles those trashy fall - from - grace rock «n» roll biopics where the rock star gets lost in a whirlwind of sex and drugs, but Ulliel elevates the material by accentuating Saint Laurent's more sinister, predatory side.

The same would hold true of a Lead Actor bid for Boseman — though James Brown is an enormously compelling real - life figure whose life is replete with the material that wins actors awards, the Best Actor race more than any other acting category is closely tied to the Best Picture race, and Boseman will likely struggle against competitors in stronger films overall.

EXTRAS: The Criterion release features hours of new bonus material, including an audio commentary by writer / director Richard Linklater and various cast and crew, a making - of documentary, a Q&A with Linklater and actors Patricia Arquette and Ellar Coltrane, a video essay by film critic Michael Koresky and much more.

Kimberly Elise, who deserves better material, stars as Helen, a woman who in the course of the film will confuse learning how to lose her temper... Read More»

if you'd be interested in a more emotionally varied and accessibly ethnic alternative to the domineering action material written by Jerry Goldsmith for the previous two films.

I felt that the characters gained in depth from the new material, with both Maximus and Commodus becoming slightly more well - rounded as characters in this cut of the film.

Its fidelity to the source material sadly lets the film down instead of making it more authentic, which in turn leaves you wishing there was a meatier narrative to sink your teeth into.

That said, he hasn't been delivering that many of these types of films for quite some time now, choosing instead to focus on more dramatic material but I'm happy to say that he still possesses that childlike imagination and adventurous touch.

The film adaptation is equally ridiculous and even more disjointed than its source material.

The film's real subject is the unacknowledged intensity of the father - daughter bond and the difficulty of separation, though Shyer, true to his name, shies away from the more painful implications of the material.

Extras include a half dozen enjoyable little featurettes, which include both content filmed back in the 1980s and retrospective material from much more recently.

The particular nature of Sargeant's film writing has much to do with insisting on the material as less the object of film criticism (criticism, too, must undergo a thorough expurgation if one is to think through underground film and write about it), and more an attempt to situate it within a wider context of describing its performance upon the audience.

The film that blew audiences away is back and bigger than ever with more than two hours special feature material that will give viewers even more reasons to «Bring Him Home.»