Sentences with phrase «most human movies»
Call Me by Your Name is probably the most human movie of 2017.
http://www.nerdlocker.com/ Not exact matches
The location is believably Near Eastern (though most of the movie was shot in Spain), and Jesus is disarmingly human, though just enigmatic enough to assuage the fears of those who, like Irenaeus and Clement of Alexandria, fear Nestorianism or Monophysitism.
As a meditation on human origins as somehow alien, Prometheus most closely compares to Brian De Palma's much maligned Mission to Mars, but in comparison to that movie the «engineers» in Prometheus have no care for mere human life or for life on the planet earth as a whole.
I think it is one of the most difficult tasks to depict genuine change in a human being within the length of a movie without it feeling cheesy.
Indeed, even the worldwide demand for movies, tapes, and videos suggests at least the high permeability and at most the pervasive character of some levels of human sensibilities in what some want to see as radically (distinct and encapsulated.
The most human, relatable character in that movie was an ape, Caesar.
With his movie - star good looks, his broad shoulders and tiny waist and diamond shaped calves, Steve was said to be «the most beautiful human to ever walk the sand of Muscle Beach,» in a book called Remembering Muscle Beach written by Harold Zinkin.
«You can tell that Jack Dunn Trop put a lot of thought into making this a most unique movie: it tells a true story of a sick and tired married couple while backing up their human interest story with 33 others and presenting a full - spectrum view of Natural Hygiene as the best way to get well and stay well known to humankind!»
Steve Reeves is depicted as one of the most powerful human beings to ever walk the earth and itâ $ ™ s certainly believable by the way he is shot in this movie (appearing 7 ft tall).
Not the big, stylized theatrical acting you see in most stage musicals and movie adaptations thereof, but intimate, realistic performances, grounded in real human emotion.
Perhaps, though, the most human beat in the movie belongs to one of the giant robot characters — betrayal being a very human act.
It's not a horror movie, not in the slightest, it's more a narrative on human nature and how some people, I won't say most, in this same situation would resort to the very same tactics employed by these sailors.
Good sci - fi has all these things, of course, but «bigger» isn't better, and most of the «big» idea movies use «the future» as a setting for action and adventure, whereas true sci - fi films (and books) use that setting to tell human stories in new ways; human relationships (with others, with self, with the environment, etc...) are are the core of the best sci - fi movies we've seen.
Johnny, the undead kid in this movie, for the most part, tries to resist his urges even though consuming human flesh will give him more time to spend with his the girl he has been in love with since he was 6 years old.
Most of the movie's action takes place inside the boxing arena where mechanical combatants, controlled by humans, brutally beat one another.
The word is used wrongly by most people to differentiate and in this movie, I guess they are using it well to refer to a species, eg the human race, or the cybertronian race.
(The well - documented fact that humans actually do use most of their brains manages to debunk the movie's premise without in any way detracting from its loopy pleasures.)
In one of the documentary's most illuminating segments, he explains that the CGI breakthrough of Jurassic Park traced back to his insistence that the movie's dinosaurs be able to run in the same shots as the humans.
It's fairly obvious that most of the problems lie in the screenplay and the last movie's bad dialogue from the fast - paced riffing between the humans to the robot's lines, carries over to this one, this time solely written by Ehren Kruger.
Admittedly, the «Back to the Future» and «Forrest Gump» director's most recent films have been more distancing than enthralling, but his latest, the World War II romance «Allied,» is one of his more human and tangible movies yet.
The most interesting thing about this movie (viewing it in 2012) is the idea people had back then that being free of human entanglements was the only thing worth striving for.
But what makes «Cartel Land» special, and particularly frightening, is that — unlike most mainstream movies and TV shows — it reflects the more ambiguous state of human affairs.
But these are defects in a movie that, for the most part, is bracingly perceptive about the human comedy.
The movie ridicules both intense faith and, later, the impatience with which «enlightened» nonbelievers try to puncture that faith, and even attempts some bizarre, sometimes drug - fueled metaphysical explanations for why (most) humans can't see the food characters come to life.
Mix that in with a film that includes aliens, a god and an android (among other oddities) and it is difficult to believe that such a movie could be called the «most human» film in a massive franchise, but that's exactly how Anthony Mackie, who portrays the hero Falcon (aka Sam Wilson) in the Marvel Cinematic Universe, feels about Avengers: Infinity War.
There's nothing groundbreaking about Anders Thomas Jensen's blessedly non-Dogme The Green Butchers, the latest movie to mine the consumption of human flesh for laughs (even the title suggests a cheeky allusion to Soylent Green)-- but for a comedy, that most culturally - specific of genres, the Danish production travels remarkably well.
Thea Sharrock's «Henry V» is the most movie - like in some respects — the music more aggressive, the action more muscular; yet she too scales it toward the human, and I like it better than the Laurence Olivier and Kenneth Branagh films that helped make this the most familiar of the plays presented here.
A bromance, a coming of age story and the most potent, well - observed and human take on school violence I have ever seen, Johnson's festival darling is the movie of our moment.
THE MARTIAN is an ironic title for a movie which pays unabashed tribute to the best and most deeply human in all of us, the will to survive, the scope of our intelligence, the consciousness of ourselves as simultaneously significant and minute in the universe.
Marci Carlin — «The Soul of Nashville,» «Human Destiny» Galen Tan Chu — «Epic,» «Ice Age: Dawn of the Dinosaurs» Benjamin Cleary — «Love Is a Sting,» «Stutterer» Pam Coats — «Gnomeo & Juliet,» «Mulan» Melissa Beth Cobb — «Kung Fu Panda 3,» «Kung Fu Panda 2» Deborah Cook — «The Boxtrolls,» «ParaNorman» Jamie Oliver Donoughue — «Shok,» «Life on the Line» Renato Dos Anjos — «Wreck - It Ralph,» «Bolt» Jeff Draheim — «Frozen,» «The Princess and the Frog» Karen Dufilho — «Duet,» «For the Birds» Pato Escala — «Bear Story» Katie Fico — «Zootopia,» «Feast» Michael Fong — «Inside Out,» «Toy Story 3» Lori Forte — «Epic,» «Ice Age Continental Drift» Oorlagh George — «The Shore» Jonathan Gibbs — «Turbo,» «The Croods» Steven Goldberg — «Frozen,» «Tangled» Judith Gruber - Stitzer — «Wild Life,» «When the Day Breaks» Jorge R. Gutierrez — «The Book of Life,» «Carmelo» Jane Hartwell — «The Croods,» «Madagascar» Georgina Hayns — «The Boxtrolls,» «ParaNorman» Janet Healy — «Minions,» «Despicable Me 2» Tang K. Heng — «Kung Fu Panda 2,» «Kung Fu Panda» Jon W.S. Huertas — «The Box,» «Lone» Raman Hui — «Monster Hunt,» «Shrek the Third» Claire Jennings — «Coraline,» «Father and Daughter» Yong Duk Jhun — «The Croods,» «Shrek Forever After» Sahim Omar Kalifa — «Bad Hunter,» «Baghdad Messi» Scott Kersavage — «Zootopia,» «Wreck - It Ralph» Basil Khalil — «Ave Maria,» «Shooter» Michael Knapp — «Epic,» «Ice Age: Dawn of the Dinosaurs» Robert Kondo — «The Dam Keeper,» «La Luna» Shawn Krause — «Inside Out,» «Cars 2» Max Lang — «Room on the Broom,» «The Gruffalo» Nicolas Marlet — «Kung Fu Panda 3,» «How to Train Your Dragon 2» Steve Martino — «The Peanuts Movie,» «Ice Age Continental Drift» Dale Mayeda — «Planes: Fire & Rescue,» «Frozen» Brian McLean — «The Boxtrolls,» «ParaNorman» Mike Mitchell — «Alvin and the Chipmunks: Chipwrecked,» «Shrek Forever After» Joe Moshier — «Penguins of Madagascar,» «How to Train Your Dragon 2» James Ford Murphy — «Lava,» «Cars» Kiel Murray — «Up,» «Cars» Yoshiaki Nishimura — «When Marnie Was There,» «The Tale of the Princess Kaguya» Kyle Odermatt — «Big Hero 6,» «Paperman» Linda Campos Olszewski — «Car - Ma»,» «A Bad Hair Day» Gabriel Osorio — «Bear Story,» «Residuos» Sanjay Patel — «Sanjay's Super Team,» «Tokyo Mater» Martin Pope — «Room on the Broom,» «Chico & Rita» Christian Potalivo — «The New Tenants,» «The Pig» Tina Price — «Dinosaur,» «Fantasia / 2000» Peter Ramsey * — «Rise of the Guardians,» «Monsters vs Aliens» Denise Ream — «The Good Dinosaur,» «Cars 2» Julie Roy — «Carface,» «Kali the Little Vampire» Damon Russell — «Curfew,» «Brink» William Salazar — «Kung Fu Panda 3,» «Monsters vs Aliens» Scott Santoro — «Cloudy with a Chance of Meatballs 2,» «Flushed Away» Katherine Sarafian — «Brave,» «Lifted» Kent Seki — «Rocky and Bullwinkle,» «Megamind» Osnat Shurer — «One Man Band,» «Boundin»» Mireille Soria — «Home,» «Madagascar 3: Europe's Most Wanted» Richard Starzak — «Shaun the Sheep Movie,» «A Matter of Loaf and Death» Michael D. Surrey — «The Princess and the Frog,» «The Lion King» Galyn Susman — «Ratatouille,» «Toy Story 2» Imogen Sutton — «Prologue,» «The Thief and the Cobbler» Dice Tsutsumi — «The Dam Keeper,» «Monsters University» Nora Twomey — «Song of the Sea,» «The Secret of Kells» Pablo Valle — «How to Train Your Dragon 2,» «Turbo» Michael Venturini — «The Good Dinosaur,» «Toy Story 3» Pierre - Olivier Vincent — «How to Train Your Dragon 2,» «How to Train Your Dragon» Patrick Vollrath — «Everything Will Be Okay (Alles Wird Gut),» «The Jacket (Die Jacke)» Dan Wagner — «Kung Fu Panda 3,» «Kung Fu Panda 2» Koji Yamamura — «Muybridge's Strings,» «Mt. Head» Hiromasa Yonebayashi — «When Marnie Was There,» «The Secret World of Arrietty» Raymond Zibach — «Kung Fu Panda 3,» «Sinbad: Legend of the Seven Seas»
Yet while the movie is sure to leave most viewers in despair, the filmmakers are smart enough to use their big cast to include gray areas in - between the two factions, making it less preachy and more messily human.
Most of the movie's principal players are interviewed and they reveal just how ramshackle and cash - strapped a project it was, and we're even shown the human models for Michael and Lisa.
One of the most popular and versatile movie stars working today, Scarlett Johansson, plays the Major, a human - cyborg who's the head of a police task force in a futuristic Tokyo.
But in trying to make a 10 - best list, I tripped right over my own divided soul right at the top: My two faves of 2016 are Jim Jarmusch's Paterson, an infinitely gentle - souled movie about the poetry of life and the life of poetry that finds more pleasure and meaning in ordinariness than most movies do in extraordinariness, and Yorgos Lanthimos» The Lobster, a perfectly sustained dystopian sick joke about the desperate, poignant futility of seeking human connection.
She acts as a human foil to Strange and it is a shame to watch McAdams spend most of the movie on the side - lines.
It's hard to say whether such viewers will be appeased or even further dismayed by Reichardt's subtly muscular and altogether staggering follow - up, «Meek's Cutoff,» which sees the director taking on a propulsively linear narrative — an ox - wagon road movie driven by the most fundamental of human needs — that nonetheless still finds its greatest dramatic significance in minute human exchanges.
The movie quickly settles into the well - covered terrain of most road movies — the friction that comes with putting humans in confined spaces for long hours, especially when the RV breaks down.
But this movie offers a different on - the - ground perspective, for the most part, as we follow a few different people trying to escape the towering aliens that are slingshotting human beings into their claw - hands or just ripping out their brains.
One of the movie's most enjoyable in - jokes is the way some of the animals actually look a little like the humans doing their voices.
There are numerous troubles with mounting a good science fiction series; there are plenty of excellent ones already out there, from Black Mirror to Humans to Westworld, and many movies and TV series spanning decades, so retreading ideas and falling short in the process is a very real risk — but perhaps the most insurmountable issue is the sci - fi connoisseur.
Any movie like this made for the most part since the 1980s would talk the talk about showing the changes, but not show it, show it badly and / or be more sexually oppressed than not, but Russell has zero trouble from this first film he had control over himself dealing with all kinds of human sexuality, yet that freedom is incidental to character study, capturing the story and bringing it to life as he does so well here.
Like the most human and discussable movies, this one presents characters with numerous flaws and facets, so that when events transpire, you are able to notice and appreciate different angles.
In a scene that looked to be straight out of a horror movie with a much larger budget, viewers were treated to an abundance of gore, creative zombie killings and gruesome deaths (both zombie and human) that pleased even the most veteran genre fans.
Based on true events, Compliance has been described as one of the most disturbing movies ever made, for its intensive study of the worst of human nature.
Originally developed as a graphic novel, the show picks up where most zombie movies end: at the point where animated, flesh - eating corpses have spread across the world and threaten to end human civilization.
The strangest and most uncompromising of all musician biopics, Jean - Marie Straub and Danièle Huillet's 1968 debut feature, The Chronicle Of Anna Magdalena Bach disregards most conventions of costume drama to ask some very human questions about history, what it takes to be an artist, and what movies can tell us about ourselves.
He adds, «I was interested in exploring the world, but as always I'm most interested in the story and the human dynamics that take place in the movie, which here are pretty intense.»
His relationship with a fire - extinguishing robot is funnier and more poignant than the central relationship between humans in most movies, and there's nothing arbitrary about love interest / long - suffering assistant Gwyneth Paltrow.
Most know that the film, besides being traditionally dark and brimming with context you don't usually find in a superhero movie (unless it's named Condorman), sees Batman (Christian Bale, swearing he'll never wear the Cowl again after this installment) going head - to - head with leather - clad goggle - adorned feline, Selina Kyle / Catwoman (Anne Hathaway) and back - breaking human bulldozer Bane (Tom Hardy).
Technically and dramatically much weaker than most slick science - fiction films, Soylent Green is still more realistic on one terrifying point: the ecology will deteriorate, through misuse and overuse of plant and animal life as well as overpopulation, much sooner than human technology and architecture will advance to accommodate it and create the oppressive - but - neat world of domes, interplanetary travel and multi-leveled cities that characterize most movies of the s.f. genre.