Sentences with phrase «more films of that kind»

Not exact matches

It plays less like the kind of blockbusters we are all used to and more like a horror film.

If Jesus's image appeared in the clouds before a million people on the Capital Mall and Fox filmed it many more millions of Americans would believe it was actually him without question, but if Ganesh appeared to the same crowd instead almost everyone would just assume that it was some kind of holographic trick.

We are huge fans of film photography because it can bring a unique depth and feel to the day, kind of more real and authentic in a way.

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Do not like the texture at all, it leaves a film on my face - kind of like soap, and makes my skin more oily.

It doesn't have to be niche — it can be a kind of wine or a particular movie — but «For a great night in, I need a bottle of Margaux and Anchorman on DVD» is much more exciting than «I like watching films with a glass of red!»

It's a throwback to that more innocent kind of film, where you know who's good and who's bad, where you boo the villain and cheer the hero... The movie makes fun of those clichés, but director George Lucas must love them too, because he makes them work.

Okay, the film's story is hardly needled - thin, but it is thin, with a limited sense of meaty consequence and direction that may be intentional, but is still kind of problematic, pumping the final product with natural shortcomings that it doesn't simply fail to dilute, but makes all the more glaring with the aforementioned issues in atmospheric and structural pacing.

I kind of feel like people are more familiar with this film's music, especially the stirring theme song than the actual movie itself.

It has something for everyone, and it's the kind of film Hollywood should make more.

of Shrek 2, this third film is more modest, kind, and organic.

I didn't expect much from it because this kind of film doesn't really lend itself to spectacular audio mixes; those seem more the domain of action flicks.

The songs are familiar but more importantly they're kind of perfect songs within the context of the scenes, God knows I was singing «Gloria» in my head for a few days after seeing the film.

There are a few overt references to more modern sounding ethical opinions on the treatment of the «natives» sprinkled throughout the film, but to be honest, they kind of feel forced, even if they may have been period accurate.

The sheer goofiness of the concept makes Michael Sucsy's film more enjoyable than most young - adult movies, but I can imagine members of its target audience responding to its dreamy, kind - hearted emotionalism too.

The film is about the same kind of social overcompensation that virtually any other mainstream comedy is about, but it feels comfortable with this, not desperate to pile on the raunchy bells and whistles in an effort to feel more current.

When the film finished I kind of hated it but as time goes on I'm thinking more and more that it's absolutely brilliant.

The kind of film that makes you wish they had perfected choose - your - own - adventure technology for movies, one that would allow you to ditch the central character and follow any number of the story's more interesting second bananas.

As the film goes on, the script problems become more apparent with the last 15 - 20 minutes in particular so over the top and filled with those «oh come on» kind of moments that it whilst it doesn't ruin the film, it does leave a slightly sour taste (the final shot in particular will probably annoy).

She does go on some more dives later in the film, and at least she's allowed to puzzle out some of the mysteries behind the wreck of the Goliath — but this is the kind of man's movie where men make manly declarations like (and I do quote), «I feel things so I do them.

Somewhat critic - proof, Harold and Kumar Go to White Castle is the kind of movie that will probably be appreciated the more closely aligned with being a pothead you tend to be, and if you're baked yourself while watching it, it may be the funniest film you've seen since... the last time you were high watching a movie.

In extending a short story to feature length without embellishing it — at least in the plotting — Loktev suffuses the film with the kind of intimate, microscopic detail and observation that's more common to literature than cinema.

i only wish those thousands went to work on movies of more substance than fighting robots... and you don't have to apologize to me, i can in fact compare «Real Steel» to «The Fast and the Frivolous» films because in essence they are one - in - the - same, simply just the flavor of the week kind of flicks that have no real pull behind them other than big name actors, CGI and a promise of action.

Despite a fairly stodgy first half, once Nicholson and Beatty decide to knock off Stockard Channing the film more successfully transitions into the kind of black comic farce the Coen brothers based their career on in the mid-1990s (they have openly acknowledged its influence).

Mike Birbiglia's sensitive, funny, sad, honest film Don't Think Twice, which has more affection for and understanding of a certain kind of comedy person than perhaps any piece of fiction that's ever been written about them.

The ratings and brief comments kind of people who read the NYT and go to see films are much more important to me.

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

Mark Strong (Sherlock Holmes, Green Lantern) plays one of the drug dealers, and his approach in this really breaks down the way you look at drug deals in other films, giving you a much more realistic look into those kind of situations.

Well this movie already put you in that kind of goofy, over-the-top world that you remembered from the first film and I was definitely able to appreciate it much more.

What results is a kind of photographic negative of the comparably more pastel - hued Annie Hall, a mellow, grayscale romantic melodrama with a liberal dosage of one - liners that would be taken for chemical impurities if the film weren't also manifestly abstracted by Gordon Willis's world - class black - and - white cinematography.

The film's said to be a more comedic kind of picture than what we're used to from Mr. Washington (we've been dying to see him display his funny bones, especially with the gold - toothed get - up he seems to have going on here), and Wahlberg always fares well with that kind of dynamic, so this is potentially a pretty potent pairing.

The fantastic Bruno Ganz (best known in the US for «Wingsof Desire») plays Hitler with a broken kind of humanity that makeshis evil subtler than expected, but by extension all the more chilling.His senior staff is accounted for nearly every moment of the detailed film, but none of them stands out except Ulrich Matthes as psychotically loyalpropaganda minister Joseph Goebbels, and Corinna Harfouch as his wife.She has the film's most disturbing scene, poisoning her children to «save «them from growing up in a world without National Socialism.

Like most John le Carré movies, Our Kind of Traitor is a handsome and well - polished piece of filmmaking, and the film earns a strong shot in the arm from its more - than - capable ensemble cast.

So while Butch Cassidy and the Sundance Kid is a hugely enjoyable movie - going experience, there's a certain cynicism in Goldman's writing that becomes increasingly apparent the more times you watch the film, and which casts him as a kind of puppet - master pulling our strings.

We're going to be seeing films of all kinds and genres within this shared universe, and more so than any of the other MCU films, Black Panther feels like an invitation for everyone to take part — to tell stories from unique perspectives and world views, and to bring cultural, ideological, and social ideals to these comic book heroes.

It could be argued that the ending finally gives in and becomes the kind of film implied in the title; carefree and slightly more cinematic / dreamlike than realistic.

Swanberg may not capture the kind of warmth and emotional potency that he delivered with last year's Happy Christmas, but there's more meat here on a thematic level that allows him and Johnson (who co-wrote the film) to really sink their teeth into.

On a more ambivalent note, I sometimes think that questions of Oscar relevance are really covert dismissals of the significance of Hollywood and the kind of movies the Oscars are all about, films that often (but not inevitably) have eight - or even nine - figure budgets and unashamedly aim for mainstream acceptance.

Last year another film, Patriots Day from Mark Wahlberg and Peter Berg, tackled the Boston bombing story very well but in a more procedural kind of way.

I mean all of these films are due for an upgrade of some kind, I especially would be interested to see how a more book accurate Phantom of the Opera would fill out, but hopefully with more Christine and less... ugh Raoul.

Admittedly, we wouldn't be surprised if he wasn't interested in taking on another sitcom gig so soon after wrapping «Scrubs,» especially if he has any desire whatsoever to make a significant play for more feature - film work, but he was so darned good at berating Zach Braff that we'd be lying if we didn't admit to being kind of excited at the thought of pitting him against Cryer and Jones.

By the time we meet one of Miss Peregrine's colleagues in the form of a dowdy Judi Dench, the film creates more questions than it answers about these women, such as the disparity in their age, and why, exactly is their kind always female?

Full of wit and charm, and with Sean Connery and Donald Sutherland perfectly cast as a pair of Victorian rogues, the film is a highly - entertaining caper, making one wish Crichton tackled this kind of lighthearted fare a little more frequently.

WHY: «The Other Woman» is one of the worst movies you'll see this year — the kind of film that gives female - centric comedies such a bad name that it's no wonder Hollywood doesn't make them more often.

That it was a remake (of Lina Wertmüller's squirm - inducing Swept Away... by an Unusual Destiny in the Blue Sea of August) was strike one; that it starred Madonna, a lousy film actress considered box - office poison, strike two; that Ritchie is married to Madonna, marking Swept Away as the kind of vanity project that power couples make to spend more time together than their private life allows, strike three.

Oddly, screenwriter Simon Barrett has kind of disowned the film, explaining in an article on Medium, «I don't know what that project is any more than you do.»

Curiously enough, Sandler's last film (Anger Management) also features a group of Buddhist monks going downtown on some Yankee ass, raising the question of which sort of racism is actually more dangerous: the kind that makes sport of Buddhist monks, or the kind that elevates them into the realm of the preternaturally wise.

«Replete with imagery that shimmers with the kind of almost otherworldly wonder one might associate with a Terrence Malick movie... This film does more than just tell a story, it testifies to the sheer loveliness of anything — everything — when drenched in silence.»

When Ella's mother (Hayley Atwell) dies of an unnamed illness, leaving her with a trite final lesson — «Have courage and be kind» — that the film adopts as its central moral, Ella is doted on even more by her father (Ben Chaplin), even once he eventually remarries.