Sentences with phrase «most films of this kind»

I didn't particularly mind it myself; it's about as melodramatic, formulaic, and uninteresting as most films of its kind that I've seen, but at the same time, not as bad as, say, half of the lot.

However, unlike most films of this kind, One Day — based on David Nicholls» award - winning book from 2009 — only visits these two clunking clichés on one specific day each year.

Hailee Steinfeld is fantastic in one of the best teen comedies in years, one that truthfully understands what it's like to be in those insecure, uncertain days of teenhood more than most films of its kind.

Not exact matches

The main street looks like a set from a Hallmark film — worn storefronts, light posts wearing seasonal decorations and a certain kind of bustle most cities never experience.

At a press event for Perry's newest film Madea's Big Happy Family, which came out on Friday, Perry addressed Spike Lee's criticisms in a most unexpected fashion — by railing at me for a question I was making about a completely different kind of potential backlash.

Coinciding with the 20th anniversary of its first expansion into films extrusion, in the first quarter of 2018 Supravis will launch a new, 11 - layer high - barrier cast film line, which will be the most technologically advanced installation of its kind.

Cuomo's added commitments are topped off by the extension of $ 420 million a year in state tax credits for film and TV production — the most generous giveaway of its kind in the country.

It's these scenes which have the most emotional truth and where the film's most successful portions lie, especially when Streep and Jim Broadbent light up the screen with a portrait of a particularly British and unfussy kind of romantic longing.

Sparked by a personal health crisis involving chronic, persistent low back pain, I left a career in the film industry to pursue my dream of founding a community - based medicine practice and becoming the kind of doctor I most wanted for myself.

And most Coen films revolve around a simple story line like this, but once those opening credits start to roll, it's kind of like having sex during a blizzard.

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.

hey im darren im very loving caring genuine fun honest kind nice decent down to earth independant trustworthy outgoing friendy respectful adventurous spontaneous with a gsoh also romantic i like making music like most types of films and music like swimming walking camping going out having fun...

So far the critics are being kind to Quentin Tarantino's bloody Western - down - South, singing the praises of the film's stellar cast and its fierce yet disturbingly funny confrontation with the most shameful chapter of American history.

His film credit was «Executive Producer», meaning he had most likely had no real power, just a kind of acknowledgment that they had optioned his media to be made as a film.

While it suffers from the obviously propagandist nature of World War 2 films, it's better than most when it comes to the human non-political nature of this kind of warfare.

The film's portrait of young love may be touching, but its most moving moments celebrate love of a different kind: the passion that movie professionals, both young and old, have for their craft.

Instead of coming off like a vanity project, however, it has a casual kind of intimacy missing from most mainstream - type films.

Are you walking into the same kind of costumed glut that threatened to turn the most recent Avengers film into Infinite War on Character Development?

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.

Although the director's multipronged approach may dilute the impact of Intent to Destroy, there's no denying the film's value as an introduction to a major piece of history that continues to inspire debate of the most intense kind.

Perhaps my favorite kind of strange or insane film is the personal passion project, and «Roar» is one of the most remarkable examples of this.

I don't know how nerdy the people in this film are in real life, but most everyone in this cast is some kind of a reject who has done hardly anything before.

Though most of the sales were on the small side, a solid 39 films walked away with a distribution deal of some kind.

Glass faced all kinds of dangers in the harsh world of trapping, and we see most of them in this film.

The explicit shift to centering an entire film on the heist, which gained notoriety with films like Rififi, The Killing, and Asphalt Jungle, cemented the subgenre as one of our most beloved kind of crime film.

For those who don't know, most studios use the fall film festivals as a kind of launching pad for their big awards contenders.

The films you're making are very different from the kind of cinema that's most popular and widely consumed in India.

Most people, for example, consider the majority of Quentin Tarantino's work to be inspired by and homages to his favorite kinds of films from the 70s (exploitation, etc).

Most of the characters in the film also mistakenly believe themselves to be caught up in the kind of conspiracy thriller that flourished in the 1970s (Three Days of the Condor, The Parallax View, Marathon Man, etc.).

In one of Comic Con's most awaited presentations, Marvel superheroes of all kinds from Iron Man to Ant - Man took over the fan convention recently as leading actors revealed surprises to films that will showcase the characters

A nice change - of - pace from the kind of hip cynicism that seems to infuse even the most genial of Hollywood family films these days.»

The film doesn't seem conceived with the same kind of global appeal as the Taken franchise, and a smash - and - grab release schedule — the US and UK creating an early March splash for a busy overseas weekend with most major territories a month later — reflects that.

Yet the film remains true to McEwan's intellectual preoccupations with different kinds of love, and has lost none of the novel's most memorable elements: the plays on the ambiguity of the title, the arresting first scene, and the strange dynamics of the relationship between Joe and Jed.

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.

The entire gag takes a long while to play out (the money shot - close - up on a set of buttocks most definitely not those of the 62 year - old Willis), though it is infused with the kind of nutty energy that Willis last exhibited in his 1991 megaflop, Hudson Hawk (a film that has since acquired an army of «guilty pleasure» defenders, including yours truly).

Instead pervasive in The American is a kind of unnerving quiet that effectively underscores the film's most potent scenes.

It's his best and most transcendent film since his masterpiece The Royal Tenenbaums, and the first in which I've ever wanted to revisit the characters later in life to see what kind of people they've become.

And yet the musical La La Land, arguably the whitest of the year's nominees (Manchester by the Sea comes close), made its own kind of history by tying the Academy record — set by All About Eve in 1950 and Titanic in 1997, respectively — for the most nods ever for one film: 14.

If you ask most people (a.k.a. the white male majority that covers film criticism now and holds most of the power that drives the US film industry to churn out the kind of crap it does every summer) what they think of Lincoln they will tell you probably something similar to what this anonymous dude wandering out of a screening just transmitted to the NY Post's Lou Lumenick, who then posted it as credible:

Anomalisa What kind of filmmaker are we dealing with when Charlie Kaufman's simplest, most normal film is an animated flick involving stop - motion cunnilingus, a Japanese sex robot, a trippy dream sequence with a golf cart and an entire world populated by enumerable Tom Noonans?

During most of that time, Whannell tries his hand at the kind of atmospheric, slow - burn scares that made Wan's films textbook examples of what Roger Ebert termed «bruised forearm movies» (so named the intensity with which they cause your date to squeeze your antebrachium).

Sleek and scary, this bio-thriller has plenty of yuckiness to keep genre fans happy, but it layers in all kinds of interesting themes and character details to lift it far above most of these films...

If you've seen the most recent trailer for the film, you're aware that T'Challa visits some kind of ethereal plane bathed in purple lighting — that is what the Djalia may end up being.

The film certainly pushes a fairly bleak outlook on life, like most westerns, and is definitely not the kind of story you'd go along to see for «fun».

With each subsequent scene in the Shimmer, the film provides not just new mysteries, but answers to previous questions, and, most of the time, some kind of original, jaw - dropping visual.

The most disappointing reversion is Lou (Rob Corddry), who seemed to make some kind of breakthrough after two averted suicide attempts in the first film.

The premise of the film is simple and its horror simple and virtually devoid of jump scares (another great plus) but Mitchell pulls all kinds of horror from it that it's impossible for this film not to scare the most hardened of moviegoers.

When a new director casts himself as the lead in his own film, everyone kind of assumes that a fair piece of arrogance and selfishness is at play, especially when that lead role happens to have him making out with attractive ladies for most of the running time.

Demanding a specific kind of active spectatorship, Borgman is a complex film with heat, and somewhere in the middle of it there's a performance within a performance that ends with a declaration of intent that stands as one of the most existentially chilling things in cinema this year.