Sentences with phrase «moves the film along»

Overall, though LaBute's dialogue is very good and the actors are fantastic, there isn't a substantive story or a guiding theme to move the film along; it remains a character study, stagnant, like many of the lives it depicts.

The new editing moves the film along at a faster, more absorbing pace to the mind - stretching conclusion.

Ron Howard moves the film along at pace, wisely choosing when to linger or whether more exposition is needed.

Director Bryan Singer moves the film along at pace, ensuring the audience is enthralled with the question «what if?»

However, the formidable combination of Mark Strong and Taissa Farmiga prove to be a joy to watch early on, and the slick point - counterpoint direction of Dorado moves the film along at a steady pace.

Not exact matches

Noah seems to work as a film because of a plot that is paced to move along, convincing special effects, and quality performances from name brand actors like Russell Crowe and Anthony Hopkins.

All we have to do is send movie crews along to film the politicians» every move.

The film presents a balanced and accessible view on the latest research, along with moving personal stories of medical practitioners faced with big decisions for their own growing families.

The action sequences, which are few and far between, do lack the exhilaration that was to be found in the first two Spider - Man films (which contain the similar light tone to the Iron Man films) but the star power and snappy dialogue keeps the film briskly moving along.

It's nice to see a little more of Hobbit life but it does little to move along the story; the film works fine without it.

American Pie Presents The Naked Mile's latter half, as a result, moves along at a plodding pace that's compounded by an episodic structure, as the movie lurches from one ill - conceived set - piece to the next with little thought towards momentum or consistency - which inevitably does confirm the film's place as just another interminable waste of time designed to cash in on the original trilogy's success.

The film is too busy moving along to the next tedious plot element to give Superman any time to shine, or really any time to do much of anything.

The film, like Nikita herself, becomes more conventionally sleek and less interestingly bizarre as it moves along.

His film moves along quickly and muscularly, from one serious action scene to the next, to the extent that it almost stops mattering what the particulars of this conflict are, just that various twists and obstacles are set up engagingly.

The film looks fine from a technical standpoint, and things move along without too much muss or fuss, but likeable actors and competency in the lensing fall far short of turning this plot into something worth following for more than a few snickers at its expense.

I'll admit that going into Gridiron Gang, I was very skeptical that it would have anything to offer that I haven't seen before, but it surprised me, not because it did have anything unique, but that, for a formula film, it is competent, efficient, and until the final game, shows excellent restraint at not trying to overplay anything beyond what is necessary to move the plot along.

That Let's Go to Prison remains fairly entertaining throughout is clearly due in no small part to their efforts, and it's hard to entirely dismiss any film that features a character singing along (quite badly, no less) to Technotronic's «Move This.»

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 rest of the film is fine and moves along at a good enough pace.

While it may be filmed beautifully, To the Wonder doesn't exactly move its gestating 112 - minute duration along any faster with everyone on - screen galloping around their front yard or a field full of slow moving bison genitalia.

You may have heard lots of things about this film, but the most important thing to know is that «Blue Is the Warmest Color» is a masterpiece, the first of 2013, and the most emotionally moving film to come along in years.

In a major move for the production companies, and for super hero films in general, Sony Entertainment Pictures along with Disney and Marvel Studios have made a deal regarding a web making superhero.

This engaging film blends a true story with fiction, morphing from a rom - com into a moving drama as it goes along.

The film begins as Mildred makes a bold move after her daughter's murder: She posts a trio of outdoor signs with controversial messages along the road that leads into her small southern town.

«The Peanuts Movie» is consistently fun and inventive, with new layers that unravel as the film moves along.

The film follows the never - ending travels of the last human survivors of a global ice age as they struggle to endure on an enormous, perpetually moving train that is sharply divided along class lines.

It is most unfortunate, then, that these moving and insightful interviews are intercut with footage taken with a helmet camera on a bicycle ride along a rocky mountain path — these point - of - view shots are supposed to convey meaning for Kedar, and yet they make whole sections of the film almost unwatchable.

When looking for a rush, the source doesn't necessarily matter, as long as it serves that one purpose, and the film succeeds at that, moving along quickly and confidently, with the cast bringing out some intermittent pleasant notes of humor and sadness in the script.

This film moves along haphazardly and half - heartedly, rarely following through on any of its structural or narrative devices.

At a taut 88 minutes, the film doesn't waste a frame, moving along at a brisk pace and escalating the terror every step of the way.

The film doesn't dumb down astrophysics like Billy Bob Thorton explaining the «Road Runner thrust move» in Armageddon, but it also doesn't over complicate science where you need to take an advanced college course just to follow along.

The finale is preordained, as the film moves toward an ending that sets up Carpenter's beginning, but the story beats along the way are just as familiar.

Despite these shortfalls, the film does successfully manage to explore some interesting themes of diplomacy and leadership along the way, and even though it could be argued that the narrative itself is bland and unimaginative, barely moving from its starting point to its conclusion, the weight, intensity and emotional journey Caesar and his comrades evoke, more than make up for its few short comings.

The film moves along nicely and the suspense builds naturally.

While the sequel doesn't yet have a firm release date, development is moving right along on Deadpool 2, and director Tim Miller and the film's producers are now looking towards casting a key female role.

Yet this can't save the film from being a strange hodgepodge of genres and tones, right down to a particularly off - putting mid-section montage that serves as a classic move - the - story - along device.

Instead of giving us a boxing match in the time - honored tradition of Stallone and Scorsese — lots of quick cuts — he films rounds in single, long takes, moving the camera along with Adonis, so that there is no letup in the audience's feeling of threat and anxiety.

The final act of the film finds suspense, which helps move it along.

Welcome to the Punch sets itself up as a rather conventional genre film, but where the writing may lack a depth of character or thematic weight it's more than made up for in terms of sensory - appealing thrills and a hyped up rhythm that keeps things moving along at an appropriately rapid pace.

The central dramatic arc that revolves around Edna is engrossing and the film moves along at an excellent pace.

And while Aronofsky typically spends years writing his films before putting them into production, this time the Oscar - nominated director decided to move things along a little faster.

Yet the film moves along briskly and never forgets what it's trying to be.

The film has been moving along slowly for a while but is now steadily...

The film spirits us away along Chihiro (Lilo & Stitch's Daveigh Chase), a ten - year - old girl who is forced to leave her friends behind and move to a new home in the suburbs with her parents (Michael Chiklis and Lauren Holly.)

With the new film comes a new director, Francis Lawrence, who gives us less character touches but more emphasis on action (thankfully, with less of the shaky - cam effects of Gary Ross), which may please those looking for the dystopic film to just keep moving, even if it seems to skip some narrative steps along the way.

Howl's Moving Castle may not be Miyazaki's most emotionally affecting film, but along with the fantasy, there is again a sophisticated humanity on display.

Punctuated by loose jazz standards, quippy, fast - paced dialogue, including dairy-esque monologues moving the film's plot along nicely.

Lionsgate is handling international distribution and with Focus coming on to take care of the film domestically, things are moving right along to begin production in Miami this summer.

In fact, dialogue is kept to a minumun throughout the film's 94 - minute run time, which moves along at break - neck speed that however, doesn't grants us much time to engage with any character.

Niceley directed by Scott Hicks (SHINE), and with a very effective cast of character actors, the film moves along a bit slowly but ultimately pays off with a very fine last 20 minutes of emotional resolutions.