Sentences with phrase «most dramatic films»

Not exact matches

In fact Smudger, who scored the opening goal against Liverpool in the final game of the season in 1989 that gave Arsenal our most dramatic title win ever and inspired the book and film Fever Pitch, thinks that the resilience the current team showed at the Britannia Stadium proves that this squad is capable of going all the way and adding another title to our history of major honours.

«The Sundance Film Festival brings the most original storytellers together with the most adventurous audiences for its annual program of dramatic and documentary films, shorts, New Frontier films, installations, performances, panel discussions, and dynamic music events.

Now, while most of these films look grand in scale, emotional to the core in the dramatic department, and visually awesome... if you think about it, they're all kind of doing the same thing.

I could not find any indication whether this series was shot on film or digital, but it at least keeps the film - like look of most current dramatic TV productions.

The most humanly dramatic moment of the film, is when Hal pleads for his life as the astronaut disconnects him.

Denmark takes the stage back in a most dramatic fashion with A Royal Affair, recently named one of the five Oscar nominees for best foreign language film.

From the blackness of space to incredible views of the Earth's surface, and the claustrophobic space capsule interiors, Gravity delivers one of the most impressive visual and dramatic stories put on film.

Mission: Impossible III was a powerful film, and a lot of intrigue, where» Tomsito» for the third time playing all in a very dangerous mission, and for me the most dramatic.

One of the most impressive things of Bahrani and Bahareh Azimi «s script is that it sets up scenes which could have followed into much more dramatic outcomes but the writers chose to take the road less traveled and in an odd way, by taking the less dramatic approach, the film removes itself that much further from the majority of indie films that concern themselves with cramming the most amount of drama into the least amount of time.

It's funny, but it's also Phillips» most dramatic and political film, owing to the fact that it takes place during the Iraq War and tells the insane true story of a pair of cocky, Scarface - aspiring gun runners (played by Jonah Hill and Miles Teller) who bite off more than they can chew.

At the same time, most of the actors in the film are comedic actors, except for Dane [DeHaan] who is a generally dramatic actor.

Infernal Affairs, a 2002 gangster film from the directing team of Andrew Lau (aka Lau Wai - keung) and Alan Mak, was less a return to form than a new direction: an ingeniously scripted tale of cop and gangsters featuring the top talent of the Hong Kong film industry and directed with a dramatic intensity and gritty realism that had been absent from most recent Hong Kong crime films.

While the films marks Olsen's screen debut and is certainly the most anticipated of her upcoming features, it's hardly the only place she'll appear: The 22 - year - old has already shot four other films, including the dramatic comedy «Peace, Love and Misunderstanding» opposite Jane Fonda and Catherine Keener, and she plays Josh Radnor's younger friend and love interest in the college - set «Liberal Arts.»

Regardless of whether the real story is too retouched or the quite good level of production, this musical commits the sin I hate most about musicals and that affected my enjoyment a lot, besides that any dramatic weight is thrown out the window and the film never gets momentum or a real rumbling scene.

Dern isn't required to do much except look utterly lost for most of the film, while Forte feels completely out of place in his first dramatic role.

One of the most dramatic — and relevant — storylines the film explores is whether or not advanced societies owe it to the global community to share their discoveries rather than keep their bounty to themselves

While I do think, from a story standpoint, it's a shame that Garrigan wasn't limited to being a mere witness to the events of the Amin era, as he was portrayed more in the book, instead of a constant catalyst for Amin's rage, considering he is a fictional character, we'll just chalk up his constant missteps as dramatic license taken by the screenwriters in drawing out Amin to commit some of the most heinous acts of torture shown in film this side of a Mel Gibson directorial effort.

It is a difficult film as well in that most of its cast has been dubbed from the Italian, that its dramatic sensibilities are foreign besides, and that it is free of the act distinctions and standard plotting of western cinema.

The wheelchair - bound grandmother, who delivers the film's most affecting line in the midst of its most dramatic scene of confrontation, is played by Shults's grandmother, Billie Fairchild.

But Michôd also sandbags himself with a charisma - free hero, whose most dramatic act in the first two - thirds of the film is scraping the burned bits off his toast.

As an action flick, it isn't awful, but it is rather routine most of the time, and some of the special effects, make - up and design work look more at home in a semi-comic romp than in the dramatic setting that this film carries forth.

Rosalyn is the focus of the film's most memorable scenes, from her confrontation with Sydney (Adams) in a bathroom, to the house microwave on fire and the dramatic «I don't like change» scene that sealed the deal.

Purportedly a heist film — we know almost immediately that the story is headed in this direction — the movie surprisingly has most of its dramatic tension in the first half, during the scenes between Gal and Logan.

This is the most charismatic role in the film (and real life), yet also the role that may have the most dramatic license taken in the film.

Based on the fact that nearly half the footage from the most recent trailer does not appear in the cut of the film we saw and directly conflicts with the dramatic action present otherwise, it wouldn't surprise me if the theatrical cut winds up being dramatically different.

Webb struggles to find the film's tone as its comedic beats seem to hit most of the time but not without an awkward blend of dramatic flare.

Although this gives Moretz a different type of dramatic arc (although one similar to the remake we'll see her in later this year), this also means the franchise's most interesting and kick - ass character is sidelined for nearly the entire film.

This may reflect the filmmakers» intent, but the strain on the eyes draws one out of the film experience which is unfortunate because most of the night - time sequences are compelling in terms of dramatic content.

Among Roach's credits are the «Austin Powers» trilogy, «Meet the Parents» and «Meet the Fockers,» «The Campaign;» his most dramatic feature film prior to «Trumbo» was «Mystery, Alaska.»

With his hangdog moustache and plaintive air of submission Doc is easily the most subtle and affecting of the film's characters, Carell reminding us of his excellent dramatic chops in the likes of Little Miss Sunshine, Foxcatcher and The Way Way Back.

The sort of problem Sontag has with Jameson is, of course, the very argument Bordwell has with anyone from Slavoj Žižek to Jacques Lacan, evident in a comment he makes on his blog (but not in the book) that echoes directly Sontag's: «Most of FRT [Zizek's The Fright of Real Tears] offers standard film criticism, providing impressionistic readings of various [Krzysztof] Kieslowski films in regard to recurring themes, visual motifs, dramatic structures, borrowed philosophical concepts, and the like.»

Some of the most dramatic moments of the film succeed in the face of the previously mentioned flaws simply because the story is that good.

• Patrick Goldstein defends his paper's perceived hit campaign against «The Hurt Locker,» calls quoted second - hand information that wasn't properly vetted «the most in - depth piece written about the film's complex mixture of questionable dramatic license and vivid authenticity.»

For the rest of this week and next, we're going to round some of them up, starting today with the 50 films we're most looking forward to out of everything (many with more of a dramatic bent) followed with another 50 tomorrow (with more of a genre / escapist leaning).

The searching, restless quality of his films and his characters, the desperate desire for love, is a core human quality, which Wong's characters simply express in more eccentric and dramatic ways than most, and Wong matches their inventive romantic gyrations with an equally exaggerated, expressive style.

It is because the lean story drifts, looking for dramatic and metaphorical significance, without achieving the emotional power of some of Payne's best and most tragic films.

From impressive physicality in Marvel's Avengers universe to solid dramatic chops in a film like Rush, Hemsworth is a great leading man in the right role - but here he seems miscast (because most hackers have NFL physiques), off - balance (what accent are we going for?)

As a dramatic feature about a heroic figure, «John Rabe» leaves much to be desired: Despite fascinating material, most significant subject (genocide), the overly long film is rather shapeless, lacking the emotional impact that it could have had.

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.

With The Glass Castle Cretton has crafted an emotionally engaging and thought - provoking family drama and one of the year's best dramatic efforts, featuring one of Woody Harrelson's most memorable film roles.

These performances and the film's startling cameos don't detract, but enhance the film's most crucial relational dynamic for greater dramatic effect.

The most dramatic alteration is the central act of theft pulled off by bored billionaire Thomas Crown (Brosnan) is an art heist, not a bank robbery, and the film is better for it.

The film is peppered by Berkowitz's own narration, in which he makes wry comments and observations on the events in retrospect, and, I suspect, he's also taken certain dramatic liberties with some situations (most notably, the downward fortunes of his producer, Elie Samaha).

While the film is allowed to be funny most of those funny moments were in the trailer with the remaineder of the film playing more with dramatic and action packed themes.

Meanwhile, Todd McCarthy of the Hollywood Reporter wrote of the film, «Intense emotional currents and the jagged feelings of volatile actors are turned loose to raucous dramatic and darkly comedic effect in one of the most sustained examples of visually fluid tour de force cinema anyone's ever seen... An exemplary cast, led by Michael Keaton... fully meets the considerable demands placed upon it by director Alejandro G. Inarritu... The film's exhilarating originality, black comedy and tone that is at once empathetic and acidic will surely strike a strong chord with audiences looking for something fresh.»

One of the most original and charming films of the year, it is an imaginative interpretation of the Snow White fairy tale that combines the visual power of silent cinema with the dramatic force of an orchestral score to create an entirely unique method of storytelling.

In short, most of Finding Neverland is wildly inaccurate and has been modified to heighten the dramatic effect of the film.

Having propped up an array of other people's films, this is perhaps his first dramatic lead role since 2004's Dead Man's Shoes, and a salutary reminder that he is one of our finest, most versatile talents.

Some dramatic license has been taken to try to make the film more exciting, but at it's heart you've most likely heard this story before and will probably be bored despite the talent involved.

Greta Gerwig stars in and co-writes a very funny film with director and partner Baumbach, and gives her most satisfying and relaxed performance to date, a performance in which that hesitant drawl of ditsiness and bovine innocence finally make comic and dramatic sense, now that they come with a stronger twinge of anxiety.