Sentences with phrase «most films of this nature»

Not exact matches

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.

Peter Debruge of Variety also finds it to be a «lumbering, confused, and cacophonous mess,» but, while acknowledging that it's almost impossible to divorce the film from its production woes, Indiewire's Eric Kohn writes, «It's sloppy and amateurish in parts, but always reaching for something, often resulting in a fascinating half - formed beast working through a lot of baggage: a vanity project about the nature of vanity, centered around one of literature's most famous examples, in the context of the most famous vanity projects of all time coming to fruition.

A film about sex, friendship, intimacy and most of all, love, Keep the Lights On takes an honest look at the nature of relationships in our times.

For my money, The Ides Of March — with its dark view of human nature and satisfyingly twisty plot — is one of the most entertaining films ever made about the political procesOf March — with its dark view of human nature and satisfyingly twisty plot — is one of the most entertaining films ever made about the political procesof human nature and satisfyingly twisty plot — is one of the most entertaining films ever made about the political procesof the most entertaining films ever made about the political process.

With the exception of «Coffee Time», most of the film's musical numbers are forgettable; Astaire and Lucille Bremer dance well together, but generate none of the charisma necessary to sustain a whimsical tale of this nature.

Some of the film's most effective scenes feature Darwin and his best friend, the Rev. Innes (Jeremy Northam), debating the nature of nature while surrounded by the casual carnage of a soft English countryside.

The film is a look at the fleeting nature of attraction, all done in stop - motion animation and with enough imagination to shame most of its live - action counterparts.

Thanks to their excellent performances, (especially those of Brannigan and Maitland, who's Albert is a great comic creation) Loach's film is saved from the slightly awkward and cliched nature of its script to become one of his most refreshingly funny and effervescent films.

But perhaps it was the six award - winning films in MIFF's 50th Shorts Awards that most fittingly captured the hybrid nature of MIFF 2011, a selection of old and new forms of filmmaking, from a myriad of countries on a range of issues: A Fine Young Man (Kevan Funk, 2010) from Canada, winner of Best Short Film; Best Australian Short, The Palace (Anthony Maras, 2011); Andrew Kavanagh, winner of the Emerging Australian Filmmaker Award for At the Formal (2010); Green Crayons, (Kazik Radwanski, 2010) from Canada, winner of Best Fiction Short Film; Nullabor (Alister Lockhart, Patrick Sarell, 2011) from Australia, the Best Animation Short Film; Leonids Story (Rainer Ludwigs, 2011) from Russia, the Best Documentary Short; and A History of Mutual Respect (Gabriel Abrantes, Daniel Schmidt, 2010) from Portugal, winner of Best Experimental Short Film.

It's clear that Arden provides most of the film's humor which is obviously a good thing considering the nature of it.

As both the studio's only successful and acclaimed release of 2017 and a film that deals with unreported crimes of a sexual nature, Wind River clearly stands to lose the most from the Weinstein scandal.

All ideas are challenged, and the nature of belief is explored in a way that no one but Scorsese — the Catholic filmmaker who helped forge the hedonistic excesses of New Hollywood, and who once made the most controversial but fundamentally reverential film about Jesus Christ — ever could.

Bruce Willis and / or Edward Norton — «Moonrise Kingdom» Probably because of the deadpan, understated nature of most of the performances, no actor has ever been nominated for appearing in a Wes Anderson film.

This isn't the most complex or captivating issue a Star Trek film has brought up, but in dealing with the argument of nature vs. nurture, the Picard / Shinzon conflict is probably one of the more memorable ones in the series.

But overall «The Great Wall» is a disappointing film compared to most American fantasy - action films of this nature.

The challenge might as handily have been provoked by numerous interpersonal events of a more explicitly private nature (but these lack the cachet of apparent social comment); for the most compelling relationships in the film and the narrative turns they generate are satisfyingly free of 1:1, paint - by - the - numbers cause and effect.

These two pros supply the film with witty banter as they investigate the crime spree and wait for their two suspects to mess up, in the process encountering the world's most frightening diner waitress and discussing the nature of televangelists.

The film's hero with a dozen faces is a young man (Wiley Wiggins of «Dazed and Confused») who wanders an urban dreamscape, encountering various guides and fellow sleepwalkers, most of whom have something to say about the meaning of life and the nature of death.

While the nature of the proceedings (which some may label «formulaic») makes the movie more apt to be labeled one's «favorite» than «an outstanding piece of cinema», it truly does succeed in one of the most basic ways that film can, by hooking you in emotionally with tact, not force.

As a result, Moonee and her pals — in one of the films great touches, she starts the movie hanging out with two boys and via the transient nature of childhood ends the film palling around with another girl altogether — become some of the most compelling, realistic, and lovable (despite the fact that they are objectively little monsters) protagonists in any film last year.

Depicting filming, direction, and stunts with discussions we can't quite make out, this reflects the homegrown nature of production and may be most enjoyed by the cast and crew members seen.

Sensitive direction from Shawn Levy (Real Steel) is to thank for most of this film's easygoing nature.

The pompous nature of Gaston is perfect for Evans, who has proven to be one of the most charismatic character actors in genre films over the last few years.

Because of the nature of the material, this is Ross» most brutal film to date as a filmmaker.

Herzog has made the savage beauty of nature one of his themes throughout most of his fiction films, so perhaps it's only natural that he has moved onto explicitly non-fiction explorations of some of nature's most remote locales.

What shocks and surprises most abut A Fantastic Woman is the incidental nature of Marina's identity to the film's story.

Scorsese has an eye for film like no other and, in his daring nature, creates some of the most memorable films in the history of cinema.

It's the plot twists that help this film feel fresh and alive, unlike most romances of this nature.

The English - language version of «Mune» features an all - star cast of animation veterans, including Rob Lowe (Simba on Disney Channel's «The Lion Guard»), Ed Helms (most recently the voice of «Captain Underpants»), Christian Slater («FernGully», «Igor»), Patton Oswalt (Remy in «Ratatouille») and comedian Jeff Dunham («Smurfs: The Lost Village», this weekend's other new animated film — «The Nut Job 2: Nutty by Nature»).

Like most origin or prequel films, the nature of the story inevitably results in a truncated ending.

As the pair, and by default the audience, start to examine the nature of their unconventional relationship, the black humour that stemmed from the grotesque materialism of Liberace's world transforms into something more serious, which is when the film becomes most compelling.

I wouldn't mind seeing a less compressed version of the film on HD but most of the colors and tones are pretty nature.

If you've heard anything about Michal Marczak's All These Sleepless Nights as it's traveled the film - festival circuit in the past year or so, you've most likely heard about the nature of its creation.

In the short - term, the nature of domestic terrorism and identity will likely not be at the forefront of most audiences» minds as they flock to see Downey Jr's charismatic performance and the film's action set pieces.

The overly familiar nature of Getchell's screenplay is certainly the most obvious source of the film's downfall, as the been - there - done - that character - study vibe is compounded by Lutter's seriously annoying performance and an ongoing emphasis on thoroughly tedious episodes (eg Alice attempts to find a job, Alice attempts to find a man, etc, etc).

That Gustave's portion of the film is framed in an aspect ratio of 1.37:1 (the standard of decades gone by) only heightens the idiosyncratic nature of the picture, a tactic sure to please fans and alienate most everyone else.

However, for the most part, many of the short films are nice, and very beautifully shot, but don't always strike as distinctly Parisian in nature.

The film is credible most of the way, despite the incredible nature of the plot, but finally cracks during the final confrontation and epilogue where it becomes typical Hollywood fare.

Bernal does his best to bring grit to proceedings, yet the lush scenery acts most of the talent off the screen and the film never says anything more interesting than bullying bad, nature pretty.

But it's extremely memorable, and well made, and a lot different than most films of the same nature.

Though, the fact that the film isn't entirely without obvious merit confuses things even further: Krauss is wryly brilliant as Krauss and delivers the film's biggest laugh with his Herzog - ian reasons for using a wheelchair; Gael Garcia Bernal has a great time as a lecherous member of Laura's delegation, spinning his suitcase with the sneering verve of a cartoon villain who twirls his mustache and gleefully acts smarmy before being felled by his own beleaguered bowels; Herzog's shots of Diablo Blanco, portrayed by Bolivia's real - life Uyuni salt flats, are among the most stunning in any film released this year; Shannon has fun in the impromptu photo shoot that takes place toward the end of the film; and as expected, there's a fascinating push and pull in the battle between human and nature at the heart of the film's central premise.

Most important, it is a self - conscious film that invites the viewer to meditate about the paradoxical nature of horror cinema.

The movie continually suggests Tully's otherworldly nature, too, cutting to dreamlike images of mermaids swimming, and, for most of the film's running time, containing the Tully — Marlo scenes to their specific nighttime appointments.

by Walter Chaw Stop on any single frame of Alfonso Cuarón's remarkable war idyll Children of Men — a film that's rarely in repose, sometimes seeming composed of one long, frantic shot — and I suspect the sharp - eyed, educated viewer would be able to cull a reference to modern art, most likely one about men reduced to their base animal nature.

Hardly the mere home invasion thriller it's been marketed as, this is an angry film for an angry time, a heavy, at times lumbering, allegorical work about woman and man, nature and God, painstakingly made from a script the writer - director claims he dashed off in five days; its unrefined, somewhat all - purpose symbolism is evidence of an almost demonic process, and its confusions, self - lacerations, and silliness would be less welcome if Aronofsky hadn't in the process mounted the most technically impressive filmmaking of his career.

Not only did I see five of my favorite films of the year, but in between seeing no less than 9 films in four days, and heard Q&A's with some of the most talented artists in film, I also walked through the beauty of nature, fall foliage, and gorgeous, peaceful Virginia landscape.

It's a challenging film that goes against convention as most of it relies on man vs nature rather than forced internal struggles to bring about tension within the script.

It's an epic romantic tale of how Dr. Zhivago endures so much to be with the one he loves and all the obstacles that come in their way with one of the most tragic endings that a film of this nature could ever have.

The film spends most of its running time inside the car, and is quite episodic in nature.

The lack of Godzilla, the film's poor use of characters, and the overall simplistic nature of the story will be more than likely be the complaints you will hear from most moviegoers.