Sentences with phrase «most moving films»

Oscar - winner and costar Rooney Mara turn David Lowery's ambitious supernatural love story into one of the most moving films of the year

There's Dee Rees» striking 2011 queer drama Pariah, Rick Famuyiwa's 2015 black nerd hit Dope and the most relevant example, Barry Jenkins» sophomore masterpiece, Moonlight, which has swept awards season and been hailed as one of the year's most moving films.

The Bicycle Thief (Ladri di biciclette) Year: 1948 Director: Vittorio De Sica This tale of a father and son in poverty - stricken Italy is on of the most moving films I've ever seen.

Wendigo is among not only the year's most moving films, but also its most visually sumptuous.

He's even better, however, that same year in Martin Scorsese's masterpiece «The Age of Innocence,» the most moving film he's appeared in.

The flashback scenes are pitch - perfect on the emotional scale, making «Dory» Pixar's most moving film since «Toy Story 3».

Devoid of artifice and full of great understated acting, Manchester by the Sea is 2016's most moving film and also one of its very best.

In Lorna's Silence, perhaps their greatest and by far their most moving film, Arta Dobroshi completely inhabits the title role: an Albanian living illegally in Belgium who marries a heroin addict (heartbreakingly played Dardenne regular Jérémie Renier) to obtain citizenship, assuming it's a only a matter of time before he ODs.

Not exact matches

It was truly one of the most beautiful and moving films I've ever seen and — although that's not saying much considering I don't watch many movies (I'm cursed with almost always falling asleep)-- my cinephile husband agrees.

With 22 screenings across 19 Australian venues the festival will showcase some of the world's most inspiring and moving ocean short films.

After a slow decline over the last several films, Part 6 being the most offensive, New Line gets its ass in gear and the series moves into a better place!

The film doesn't pick sides for the most part, showing respect for both crews, and particularly both captains as they try to predict each other's moves.

After seven movies of playing Severus Snape with slimy and malevolent aplomb, Alan Rickman is finally given the chance to imbue his character with some genuine emotion — the flashback that reveals his tragic history is easily the most moving sequence in the film, if not the entire series.

The film is, consequently, not nearly as engrossing as one might've expected, and primarily moves at a pace that can most accurately be referred to as deliberate.

I would not recommend this film to most people - but if you're up for a VERY non-narrative film (think two and a half hour poem) about life's most serious questions, then you might find Tree of Life (especially the 2nd act) one of the most beautiful and moving films you'll see this year.

The most accurate thing about this movie is the title because it is real labor to watch this slow moving, boring film.

The inclusion of a handful of compelling moments within the film's second half - ie one of the soldiers moves higher and higher on the mountain to hopefully get a radio signal - are rendered moot by the otherwise uninvolving, bland atmosphere, while the needlessly padded - out final stretch, which just seems to go on forever, is sure to test the resolve of even the most patient viewer (and this is to say nothing of the seemingly endless closing credits).

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.

He made his first feature film, Four Day's Wonder, in 1937 for Universal, but most of his work for the next two years was for Republic Pictures, after which he moved to Columbia Pictures, where his most notable pictures were several entries in the Lone Wolf mystery series, and The Adventures of Martin Eden, based on Jack London's book.

Every frame pulses with hard - gained experience: it may be the most lived - in film of 2012, and certainly counts among the most moving.

One of the best and most beautiful and moving films I have ever seen!

Solid cast - Sally Hawkins and Bob Hoskins - but this film's beginning is brutally boring, and in all it's too didactic, moving slowly and belabouring most plot points.

Fish - out - of - water stories can become tiresome very quickly if they're not anchored itoeither a witty script or good performances, but at the very least., most films which go down this route at least make an effort to emphasise the differences in culture, even if it's just a passing, off - hand comment about how fast people move or the fact that there's no phone signal.

After the family moved to California, Von Teese became even more immersed in film culture, and eventually studied costume design in college, preparing for a career in styling period films.Von Teese began working at a local strip club when she was 18, but was disappointed by the lack of style and creativity shown by most of the dancers.

Most of the family films churned out today are so junky it's almost a shock to find one in which the animals never spout sassy one - liners, or show off their hilarious hip - hop moves.

While at work on Fifteen Minute Hamlet, Louiso moved to L.A. to further pursue his screen career, and, after appearing in such films as Scent of a Woman (1992), Apollo 13 (1995), and Jerry Maguire (1996), he had his most high profile role to date in Stephen Frears» widely celebrated adaptation of Nick Hornby's High Fidelity (2000).

Most of the edits move smoothly, and the film progresses well.

These films, and Tolkien's entire oeuvre, are most affecting in their depictions of friendship, and the performances here represent plutonic male intimacy in convincing, often moving ways.

Yet for all that, the real emotional resonance is due exclusively to Lawrence, who moves through the film with an urgent determination that brings a visceral reality to even the most far - fetched of situations.

It was a bold move that didn't work out so well for the Indiana Jones franchise, but here it was one of the most interesting things about this film.

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.

Sixteen months after the blockbuster's debut, director Todd Phillips has one of this year's most anticipated movies in the forthcoming buddy road comedy Due Date, all three leads have moved past their vaguely familiar stage to a reasonable degree of stardom, the savvily - greenlit The Hangover 2 has begun shooting, and Warner Home Video has just reissued the film in Extreme Edition DVD and Blu - ray sets.

With films like Back to the Future, Forrest Gump, and Cast Away, Robert Zemeckis has told some of cinema's most enduring, iconic, and moving stories.

It is one of the most emotionally moving films i have seen i n a long time.

The film does temporarily fall into the trap of playing out like a video game considering the task of moving from one Horcrux to another: Items that are nothing more than MacGuffins at their most basic level (see: «Sucker Punch «-RRB-.

Like in the earlier films where the space for personal monologue and storytelling is expanded for even very minor characters, Elvira's brutally honest tape - recorded interview in the final moments combines with the image for one of Fassbinder's most moving and penetrating moments in one of his best films.

Veteran move and film actress Archer, is most notable to audiences for playing Michael Douglas's wife in the 1987 Best Picture Oscar nominee «Fatal Attraction,» starring Glenn Close as a psycho mistress.

It's highly regarded (as are all of his films) which got me interested, on top of the sci - fi focus, but it also sounded like it might be the slowest moving and most bleak title of his oeuvre.

Even the screenwriters get blasted in most of the reviews posted online, similarly to TheWrap's film critic Andy Klein «s review, who said «the four credited screenwriters — the returning Creighton Rothenberger & Katrin Benedikt, plus Christian Gudegast («A Man Apart») and Chad St. John — make things move fast enough to keep you awake, but not fast enough to finesse its plot absurdities past an alert viewer's mind.»

I've pretty much described what happens for most of the runtime of the film, the discussion now moves to how freaking gorgeous and well shot the film is.

Most of the film is set in 1971, in Harrisville, Rhode Island, where a family of seven — parents Roger (Livingston, Game Change) and Carolyn (Taylor, Public Enemies), and their five young daughters — have just moved in to their large country 18th - century abode.

Since we're a couple of years out from the film's set release, Marvel is making more moves to fill out the cast by bringing back one of the most entertaining parts of the film: Michael Pena.

Hitting different themes while being simultaneously moving and creepy, it features Kevin Spacey at the top of his game and was a breakthrough film for director Sam Mendes, who went on to direct the two most recent Bond films, «Skyfall» and «Spectre.»

At the Irish Museum of Modern Art's Time Out of Mindexhibition (Earlsfort Terrace, Dublin, 31 May - 2 September 2012), most of the moving image exhibits were projected in bad DVD transfers from film or video.

Marling spends most of the film in a silent daze, but her every facial gesture and tentative move registers her character's guilt, while Mapother is brilliant as a man festering in tragedy.

He hasn't exactly shaken up his approach since 1988's «Damnation» (that said, this writer — probably like most — isn't familiar with his crop of»90s short films), and if despairing (yet deeply moving) minimalist films composed of stark black - and - white single takes doesn't tickle your fancy, this film won't change your mind.

The details of the this plot as it unwinds in the film would be most fascinating elements if they weren't poorly handled as the film moves along.

The film's most moving scene is when Lucy does meet her real father.

Now that «B» movies have moved into «A» positions — films based on comic - book characters, etc. — it's more difficult to find guilty pleasures, but I still have a soft spot for most disaster movies.

It's no accident that the film's most hapless and humorous character, not its most strident, is the one who ends up moving the needle.