Sentences with phrase «more powerful film»

The year's best megaplex blockbuster — a more powerful film for some of us than «Dunkirk» or «Star Wars: The Last Jedi.»

Not exact matches

After more than three dozen women have come forward to accuse Hollywood film producer Harvey Weinstein of sexual assault and harassment, George Clooney and Matt Damon have spoken out about the powerful Miramax head who helped launch their careers.

There isn't a more powerful example of how revenge makes monsters of men in all of Eastwood's films.

But more powerful are the film's visual embodiments of the idea that «the Spirit acts upon the body» to irradiate it, making it «more beautiful than it is»; for, Mary asks, «what is flesh alone?»

As a result these films can be more powerful than any number of biographies or academic books in shaping how we view politicians and their lives.

George Clooney's charisma and powerful screen presence have never been more integral to a film, nor used in a more futile effort, than in THE AMERICAN, a virtually silent opus that trades on Clooney's unassailable ability to seduce the camera.

Following this, Spielberg cuts to the present day, in color, and films the surviving Schindler Jews and their families as they place ceremonial rocks on Schindler's grave, a moment that could have been much more powerful just on its own.

This is, in some ways, more powerful than the book, as the first film was.

In the end, Imperial Dreams doesn't break any new ground when it comes to filmmaking, but the story it's telling is just as powerful as any big budget film being released nowadays, if not more.

And you are holding back something special from your kids as well, for while these films take themselves seriously and should perhaps be screened before being shown to some younger, more sensitive audiences, they are among the most powerful animated tales being told today, and they deserve to be allowed to wow you.

The concert itself was a bold, life - affirming project, but with a couple of additional extended music sequences, Mr. Xido's film might have been more powerful and way more hardcore.

So if we buy their own logic, Paramount is telling us that it chose to release a worse version of the movie because it was easier for 15 - year - olds to go see it on group dates, and that Ferrell, a producer on the film and one of the more powerful talents in Hollywood, acceded to this.

The great writer / director Michael Haneke's ongoing commitment to an unblinking, deeply aware, and brutally honest cinema goes to new, more intimate and personal places in Amour, and while it's not always easy to watch (nor should it be; even at its most painful, it always feels precisely and ineffably right), it's tremendously moving and powerful in a way very, very few films are.

The film's villain, Oscar Isaac's Apocalypse, looks to be a powerful and more than worthy opponent to the X-Men, who will surely bring about a great deal of destruction.

Overall, Dukhtar is a powerful and moving film capable of providing more thrills than your average blockbuster, a rare and exciting combination from an emerging filmmaker.

As history seems to repeat itself in a cyclic fashion, it was only appropriate that the director of such a powerful film like Selma would strut her stuff in giving audiences an even more -LSB-...]

It's important to remember that these films are more than just spoofs or parodies of the genres they emulate as each film has a powerful emotional core with something to say about friendship, growing up and more.

Look to this film for it's powerful performances and beautiful scenery; the story may be a bit lacking for some, and it's likely this will become more obvious on repeat viewings; however it's more than easy to overlook simplicity for the sake of some of the year's most provocative performances.

After months of a business - wide reckoning where many powerful men have seen histories of sexual assault, harassment and abuse lead to career - ending consequences, the film industry's biggest stars gathered for what's typically one of the more uproarious, loose nights of award show season.

The character of the recently wealthy «capitalist bloodsucker» Anton Saitz (Gottfried John), who Elvira had the operation in hope of love from, is unseen for more than half the film's length, making it all the more powerful when he is revealed in tennis shorts and shirt impersonating Jerry Lewis on television.

Stars is such a smart film and with such a talented director like Boone behind the camera, it just makes the film so much more powerful than I ever expected.

The film presents a lot of statistics — almost more than can be taken in on one viewing, in fact — about the state of manhood in this country, but it also shows examples of what parents and teachers and coaches and other role models can do to raise men who can be strong and powerful without shutting off their feelings.

«BPM,» «God's Own Country,» and «Call Me By Your Name»: Though the handsomely crafted, Italian - set «Call Me By Your Name» has gotten all the critical attention, two other films about young gay men coming to terms with themselves in much harsher environments — the French «BPM» is set at the height of the AIDS crisis in Paris while the contemporary British drama «God's Own Country» is set in a grim, rural northern England — are both more haunting and powerful.

There are more powerful character - driven moments throughout the film.

The film is a powerful drama that is probably more accessible than many are giving it credit.

At a time when Hollywood couldn't be more sensitive about the sexual abuse meted out by powerful men, this is a film about the very worst sexual violence against women, with McDormand playing a grieving and furiously angry mother still mourning her pretty daughter, who was raped and murdered by an unknown attacker.

Both scenes are done without audible dialogue which makes them even more powerful, something silent film makers well understood.

And while the film contains elements of the previous Drafthouse treasure Ms. 45, Abel Ferrara's provocative and powerful tale of feminist revenge, Dangerous Men is more in line with some of Drafthouse's less accomplished offerings, such as the newly minted midnight movie staple, Miami Connection.

Writer / director Volpe goes more into detail about the inspiring, humorous and powerful film, its symbolism and why she considers herself a feminist.

We believe that by learning more about how women are faring in the independent film world, and by opening our own data at Sundance Institute for this study, we gain powerful insights into ways to positively affect progress.

It's very important for us to stress that all profit we make through our Short Film Showcase section will go to making Cinephilia & Beyond a better, more powerful source of inspiration and motivation for film - lovers.

However, for Darkest Hour, disagreements are treated with genuine seriousness, and it's because the film feels so assured in its construction that the eventual results feel that much more powerful.

It's scary, and there are so many things that are involved, but there's nothing more powerful than completing a film.

In fact, its character and rich emotional layers are what elevates the film from a precisely - told absorbing thriller into something much more potent and powerful: a breathtakingly harrowing tale of survival and grueling desperation that redefines the term «nailbiter.»

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

It's hardly a hall of fame film, or anything more than a pleasant way to pass an afternoon, but it's well made, well acted, and much better than this month's other $ 200 million fairytale flick, «Oz The Great & Powerful.»

It leaves us to wonder if the film might have been more powerful had it delved a bit deeper into what the characters would have faced from the outside world.

And it's a message made all the more powerful by the absence of any overt social soapboxing; this is a film of hushed tones and enigmatic encounters.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

It may not be as thought provoking as his previous films but Amour is just as sincere and powerful, even if does contain more of a straight - forward approach that is not typical of his other work.

This film does have more of a kid empowerment slant, with Carmen and Juni's spy parents Gregorio (Antonio Banderas) and Ingrid (Carla Gugino) taking a back seat to the kids» conflict with rival agents Gary (Matt O'Leary) and Gerti (Emily Osment, the spitting image in face and voice of her Oscar - nominated older brother) Giggles over the recovery of a powerful device.

The film is a moving account of courageous journalism, but even more important, it offers a powerful counterpoint to the logic of the Trump administration's Muslim travel ban.

With this film, critics are making the same mistake of confusing depiction for endorsement, but more importantly, they seem continually befuddled by Snyder's manipulation of one of the most powerful cornerstones of mainstream cinema — the fetishized image.

When Gandalf explains, «There is something at work beyond the evil of Smaug, something much more powerful,» it's hard to shake the suspicion that Jackson is essentially cross-promoting his earlier films.

But it's much more powerful because film has the ability to mess with your emotions.

As its plot enters unexpected and twisty territory, it grows ever more difficult to pin down, but the cumulative effect is one of the most indelibly haunting experiences in recent film — a vision powerful, bold and new.

Sundance, since its inception more than 20 years ago, has served to showcase films from an ethnically diverse pool of film - makers who have gone on to become powerful forces in the industry.

As such, the effects workload wouldn't have been any higher than the average blockbuster — of course there would be heavy CGI elements, but probably far less than something like, say, Disney's other forthcoming tentpoles «John Carter» and «Oz: The Great and Powerful» — and the fantastical elements, at least in Elliot and Rossio's draft (Justin Haythe has since come on board to rewrite) aren't massively prominent, the film being more of a straight action Western.

Ken Loach's latest, the winner of this year's Palme d'Or at Cannes, is one of the most important films of 2016; there couldn't be a more timely moment for a film about the value of citizenship, and to issue a protest against the increasingly powerful dehumanizing forces of what you might call «client culture,» the corporate logic that reduces human lives to economic statistics or blips on screens.

There's so much more beneath the surface, so many scenes that have a powerful impact on their own that play even better within the context of the film.