Sentences with phrase «most of his films»

For most of the films that were offered in both two and three dimensions this summer, the enhanced versions accounted for less than 50 % of opening weekend revenues.

Unfortunately I was an idiot and positioned the camera behind my back, so I was blocking the lens with my arms for most of the film.

Then - president Sir Stanley Rous advises young pretender Joao Havelange — Sam Neill, who spends most of the film looking as though he's trying not to sneeze — that his presidential aspirations should be left for the moment.

The movie was nominated for six Golden Globes, the most of any film last year.

Only Omar appears to have any real knowledge of the Jihad, and spends most of the film shoring up his friends» wavering attitudes towards the act.

And most of the filming is done in New York City, although more is being done in the Hudson Valley, in particular.

Most of the film will be shot in New York City.

we cried most of the film.

I found it really amazing that the movie was this well rounded despite having 5 lead characters for most of the film.

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.

Some astute genre revisionism and deconstruction and the sheer watchability of most of the film is nearly ruined in its final act.

While it's not a perfect comedy, and more than a little uneven, I still laughed my ass off through most of the film, and probably had more honest laughs here than I did with THE HANGOVER 2.

This is why Penn made this film, this is why McCandless» parents, even as they are portrayed in a highly negative light through most of the film, allowed it to happen — the truth is, it's not every day that a just - graduated college kid simply up and leaves for the sake of an adventure like that of McCandless» Supertramp.

The Escobar house appears to be lit by candlelight for most of the film, and the encoding doesn't let the blacks clump up or turn into rough pixillated squares.

Spielberg cast three game actors to play these operatives — John Hawkes, James Spader, and Tim Blake Nelson — and they provide most of the film's folksy, almost madcap humor.

Most of the film, however, is devoted to sound bites from celebrities who used to live or hang out there.

Got ta be honest, most of this film is kinda dull now, not in a bad way but more of a very dated and unfunny way.

Most of the film is on par with his usual output, but there are the occasional nuggets that harken back to his finer days on Saturday Night Live and Just Shoot Me.

Without going all biblical on you, apparently evil doesn't work so well without good, and, gulp, vice versa, and most of the film unfolds around Megamind trying to resolve that issue.

«The Intern» does benefit from an experience writer in this genre, which is why most of the film is so great.

This along with the poorly managed special effects and CG work really cause an artificial distraction throughout most of the film's second and third acts.

And Gordon's got Jeffrey Combs in one of the great comedic performances (undoubtedly so, as Jim Carrey aped Combs in most of his films to box office success) but he's also got a very difficult role for David Gale.

From the rubble everywhere that used to be large sections of the Hogwarts School, to the permanently overcast skies shrouding everything in mist through most of the film, Deathly Hallows Part Two is remarkable for its gothic beauty.

Most of the film works as a detective story and follows the day after the guys» big night on the town.

Most of the film hinges on Robert Donat's performance, because it takes a considerable charm and gentility to make this film work without any of the core elements.

While she's the reason to see this movie, the plot is also well - done, and is a more positive piece than most of the films in this genre.

Most of the film's 85 minute runtime is spent waiting to see when and how the four family members will deal with each of the three strangers and whether they'll survive.

There's that air of unrealism that typifies most of his films.

Outside of Family Ties, most of her film and TV roles have taken advantage of her athletic prowess, most notably the made - for - TV The Abduction of Kari Swenson (1989).

On a side note, it turns out that Kubrick never offered much insight into most of the film, but he did provide his take on the «star baby» stuff.

Most of the film is in native tongue («Apocalypto» beats this in the fact its all in native tongue which was darn impressive) and the locations used are actually the correct real historic locations, not many sets used.

The two buddies spend most of the film talking about their lives in a variety of urban settings.

Most of the film is a dour, self - serious wallow — though not an unworthy one.

(On a side note, it turns out that Kubrick wouldn't offer much insight into most of the film, but he DID provide his take on the «star baby» stuff.

Most of these films, however, focus on elderly people behaving like young people, little more than contemporary non sci - fi takes on «Cocoon».

For most of the film, Jill feels like plot baggage, skulking around supportively as Finkel mopes in their warm ski - lodge of a Montana home.

As most of the films in the set were sourced from older flat video masters, quite a rhubarb was raised over WHV's justifying the lackluster transfers with the contention that full - frame transfers were Stanley Kubrick's preference.

Captain America: The First Avenger is one of the finest movies yet from Marvel Studios, and a big departure in tone and storytelling from most of the films they've made so far.

Most of the film is a huge stereotypical montage of standard scenarios you can see coming a mile away.

Most of the film's best moments come in this middle section, as we watch the couple deal with the strain and anxiety of deciding whose needs should be put first, and for how long.

The cinematography through most of the film is also pretty good, as is the score.

The direction and editing are slick and workmanlike, letting the performers do the work without overplaying the limited setting in which most of the film takes place.

She does this, again and again, for most of the film's running time... until she meets a man who is deformed, and his sweet disposition and loneliness touch something within her and she decides to stop doing what she's doing.

This period in the camp covers most of the film's last hour, and revolves around Louie's confrontation with camp sergeant Mutsuhiro Watanabe (Japanse pop star Miyavi).

The weak link is Steve Zahn who's straight laced screenwriter character grates making him a dreadful lead considering most of the film follows him.

For most of the film, there is no hero and the villains are just plain forgettable.

For most of the film, the two are inside their vast, slightly decrepit old Paris apartment, with occasional visits from nurses, a former student, and their financier daughter (Isabelle Huppert).

Most of the film is about a love story between down and out Andrew and epileptic Sam, who is making her way through life while keeping her disability a secret and trying to connect to someone besides her loving and yet embarrassing mother.

Despite claiming that she's «got it under control» and that she «doesn't feel unhealthy,» there's always further she can go - which is why she's admitted to a treatment programme led by the controversial Dr. Beckham (Keanu Reeves), where most of the film's action takes place.

The brilliance of The Hangover's cast perhaps is that it's a comedy act where the straight man is missing for most of the film.