Sentences with phrase «more movie twists»

Here are 10 more movie twists you've never seen.

Not exact matches

One's interest does, as a result, begin to wane considerably as the film plods into its increasingly predictable midsection, with the inclusion of hackneyed plot twists - eg Nick and Billy must whip their ragtag group members into shape, Billy is forced to contend with an obnoxious rival (Max Minghella's Graham), etc - ensuring that the movie only grows more and more interminable in the buildup to its expectedly uplifting finale.

This movie already twisted from the start... and gives more and more twist till the end... but surprisingly enjoyable... in twisted kind of way.

The movie admittedly does conclude on an unexpectedly positive note - ie the climactic twist is quite impressive in its audacity - yet it's ultimately impossible to label Perfect Stranger as anything more than a forgettable misfire.

Without ruining the movie, that's about all I can say, and while the premise itself seems bizarre and twisted, I can assure you the movie itself is even more so, so do with that information what you will.

I'm thinking the only reason some on here (mikemike) give this movie a bad rating is because they're thinking it needs more of a twist.

To the enormous credit of these preternaturally clever writer - directors, the above paragraph contains more low - hanging Lego puns than the movie itself, which relies on ingenuity and genuinely inspired twists on what audiences expect from such an experience to deliver a constant stream of engagement and laughs.

«It does, I have to admit, tend to bog down in the seemingly infinite twists and bits of business leading up to the climax, and movie - overfed - critic types are likely to fondly recall the better movies, including «I Walked With a Zombie» and «The Princess Bride,» that this draws inspiration from,» confesses MSN film critic Glenn Kenny, who gives the film more of a pass than I do.

Billed as a «dark and hilarious twist on the classic Oedipal theme,» the movie is about an 11 - year - old boy with an «inappropriate obsession» with his mom who comes up with a scheme to try to kill his abusive dad so he can get more attention from his mom.

This outfit is a slightly more ornate twist on a more casual outfit that he wore during one of the prison scenes in the previous Thor movie.

It goes beyond the fact that the movie ends with not one, but two of the most INSANE twists I've ever seen in a movie, which on top of being wildly outrageous in their own right are made even more extreme by how wildly incompetent the handling of their big reveals are.

The action and set pieces look rather solid, The movie has some interesting twists in it, Arnie appears to have some serious screen time, Jason Clarke seems to get more and more bad - ass, so based on this trailer, I would be prepared to spend my $ 10 on this.

Link is a head - scratcher: a movie so abominable from start to finish that it's headache - inducing, and more puzzling for its existence than for any of its numerous purported twists.

It helps that Boiler Room director Younger, making his first movie for 12 years, has the advantage of being based on a less well - known true life story (at least to those not versed in boxing lore), its dramatic twists subsequently packing a bit more surprise and punch.

Video introductions from Shyamalan preface four full - frame deleted scenes — which, according to the cover art, «reveal clues to the movie's twists and turns» — totalling 11 minutes, the longest of which finds Brendan Gleeson giving his everything to a monologue that more than likely motivated him to accept the otherwise unmemorable role of August Nicholson in the first place.

I won't say more, except any movie with plot twists this stupid defy spoiler alerts.

Writer - director Alexandre Aja (Break of Dawn, Furia) probably hopes they all can't think or see through ridiculous gaping plot holes either, because High Tension is nothing more than scene after scene of sensationalism, followed by a completely needless (and vastly overused) twist that makes an already moronic, highly derivative movie abysmally absurd.

Remaking hit Japanese horror movies (a la «The Ring») is Hollywood's latest plan to rake in big bucks without actually having to be creative or original — and while «The Grudge» is nothing more than a cultural twist on the standard - issue haunted house movie, I will give credit to director Takashi Shimizu (remaking his own film «Ju - On») for giving me goosebumps.

It's loaded with delightful twists, the main one perhaps guessed by the most prescient members of the audience, though if you read the Welsh novel «Fingersmith,» which features even more detail than the movie, you will of course know the dramatic ending.

Buoyed by crisp lensing by Saulnier himself, channelling interiors and evening alike to an aesthetic twist on thematic darkness, Blue Ruin never aims for more nor less than to be a terrific time at the movies.

The directing debut of longtime cinematographer and former assistant camera operator David A. Armstrong (whose credits include the first six Saw movies), Pawn utilizes a slightly nonlinear presentation that makes you anticipate more meaningful twists than it delivers.

Cornetto trilogy director Edgar Wright is the latest person to turn in a draft of Dodge and Twist, a movie sequel to Charles Dickens» novel Oliver Twist, set in 19th century, Victorian steampunk England (based somewhat upon the «more serious» novel by former Doctor Who comic writer Tony Lee).

When things start to get more serious between Adaline and Ellis, however, an unexpected twist shakes up the entire movie, changing the mood and upping the stakes way higher than one would expect.

Oh, to be clear, I think it's a more than solid movie, with a host of fine performances (I think Glover and Haysbert make almost as much an impression as Common as his own twisted father figures).

The movie has more twists and turns than a rollercoaster.

Make no mistake: a compendium of uncomfortable images with a truly disturbing resolution, Frailty is never much more than a B - movie done well (every shocking twist is telegraphed, save Fenton's cleverly tipped destiny), yet it's the perfect antidote to the empty pretensions and overloaded piousness of most mainstream representations of popular spirituality.

Director Jaume Collet - Serra put Neeson through his paces in Unknown and does the same here, unleashing him on a script that is not much more than a series of plot twists and evil genius scheming with so many moving parts that it could only work in the movies.

The movie's sentiment is nothing new for the Farrelly brothers, but its complacency certainly is; I can't help but think that scores of people being trampled at a sports event would be more up their twisted alley.

Indeed his last film, «Cosmopolis» (his first team - up with star Robert Pattinson who returns here in a pretty amazing ensemble) made it onto the Croisette in 2012 and this one has an even more appealing premise: it's a twisted Hollywood story following two former child stars and their run - ins with drugs, pyromania and a movie star haunted by her dead mother.

Director Gore Verbinski (fresh off the Pirates Of The Caribbean movies) and screenwriter John Logan (The Aviator) seem to be more interested in creating a twisted fever dream of a world than in telling an actual story.

Underneath it all, there is a nefarious plot by a super-villain, although revealing any additional details will spoil one of the movie's more clever plot twists.

SKIP THIS MOVIE IF: even a slightly subdued Ashton Kutcher is more than you can take OR you are looking for a hugely surprising plot twist

Basic is little more than a «mind f*ck» movie, created to do little more than to keep you mesmerized with twists and turns throughout the serpentine plot.

Part of the fun of this movie is anticipating what comes next so I don't want to reveal any more twists — it's unpredictable but not convoluted.

As the movie grows more far - fetched it actually gets more predictable, in both plot twists and camera setups — you can actually see when Edgerton frames a shot so that a character can get «unexpectedly» slammed by a car.

Ben finds Hanna (Jess Weixler), who seems to be the usual movie manic pixie dream girl, but (1) Weixler, an exceptionally appealing and talented actress, makes her more than that, and (2) that is what writer Jason Filiatrault and director Jason James want us to think so they can surprise us with a twist of that tired concept at the end.

Here's that rare movie that equals its source material: While the mid-point plot twist is easier to spot in the film — and while the pitchfork scene in the novel is far more disturbing than on celluloid — the movie is more ambiguous than the book, and that in turn makes it far more haunting on multiple levels.

On top of the clunky dialogue and absurd plot twists, such moments suggest that the franchise — which already has two more installments planned — peaked three movies ago, with 2011's «Fast Five.»

Add to this wild ride a fantastic soundtrack and a beautiful visual style, with a sharp script filled with dark, twisted humour that propels the story forward, and the movie becomes even more fun to lose oneself in.

There's actually much more to it than that, none of which can be revealed without giving away the various plot twists, and The Cabin in the Woods is a movie whose plot twists with clockwork precision.

I wish the movie were shorter, that it ratcheted up the tension faster and didn't twist itself into overly familiar circles a time or two more than necessary.

But every twist in the movie is too easy to see coming, even as it lurches into more frightening and violent territory in its final act, when Gardner's son Nicky (an admirably plucky Noah Jupe) begins to do battle with his father.

A twisted, undecipherable romantic drama, hailed as the «best worst movie» of all time, it has left a unique footprint in cinema, one that brings folks together, gets them laughing and begging for answers to questions like: Who is Tommy Wiseau,... Read More»

At that point, the only interest the movie has is debating which is more frustrating: that David Loucka's screenplay abandons its already shaky psychological logic for a twist (twice if one counts the movie's pointless coda) or that it lowers the characters» intelligence to the point that they all line up on at a time to fall victim to the horrors inside the titular house.

By so carefully planning the misdirection of the first half of the film, Bendjelloul's movie becomes more than just a music biopic with a twist.

There are some obvious callbacks to the Ocean's movies, but this time with more of a redneck twist given the societal backgrounds of the Logan and Bang families.

I think the appearance of Colin Farrell and Nicole Kidman in the ads made viewers expect something a bit more straightforward than this twisted thriller, a movie that works in a symbolic, exaggerated register more than a literal one.

With Lakeith Stanfield as Warner and Nnamdi Asomugha as King, the film offers a new twist on the buddy movie — one far more serious than slapstick.

Like Eisenberg's previous collaboration with director Ruben Fleischer, Zombieland, this movie doesn't aim to be more than a fun, gleefully profane comic twist on a genre picture, and the two again succeed in achieving their goal.

The character of Erik Killmonger suffers the worst of this tendency, his complex backstory and revolutionary politics (which in some ways make him more worthy of the title of this movie than T'Challa) twisted and reduced by the film to a caricaturish evil.