Sentences with phrase «movie by all stretches»

Well, it may have been around for longer, but it was made popular by the movie Shallow Hal — not a great movie by any stretch of the imagination, but for some reason the word just stuck.

It's not a bad movie by any stretch, but it strains to turn a serious and introspective story into something cinematic.

Cheerfully estranged from reality and appealed down from an R rating, «The Other Woman» is not a great movie by any stretch; as for originality, this is all very «9 to 5» mixed with «The First Wives Club.»

St. Vincent isn't a bad movie by any stretch.

Tusk isn't a great movie by any stretch of the imagination, but there is a certain charm to it and there are slightly more positives than there are negatives.

While this movie is the result of a shameless cash - grab by a multi-million dollar toy conglomerate, and won't be on anyone's «best - of» lists any time soon, that shouldn't suggest that it's a terrible movie by any stretch of the imagination.

Not exact matches

And the hope that the movie stretches out to us is that we can be transformed into fecundity by opening ourselves up to the grace that surrounds us.

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Almost all movies are underlain by one formula or another, but director Shawn Levy («Night at the Museum,» «Cheaper by the Dozen») allows you to see the entire movie stretch before you as plainly as a stretch of West Texas highway from the minute the boy, Max, shows up and is revealed to be a smart - mouthed but lovable scamp.

The eventual showdown between the police and the now - notorious Tsarnaev siblings is visceral and exciting, to be sure, but Berg diminishes the impact of this stretch by following it with an astonishingly anti-climactic finale (which is capped off with interminable interview footage with real - life participants in the attack)- with the end result a passable endeavor that probably would've fared better had it been helmed by almost anyone else (ie the movie is decent in spite of Berg's involvement rather than because of it).

While the movie includes narration (by Charles Osgood) drawn from the book, it also allows the stars opportunity for topical pop - cultural references as well as narrative detours, as when the mayor goes in for a Who - Root Canal «Sticking» «Who» in front of everything,» he gripes, «doesn't make it hurt less») or Horton's clover lands in a field of clovers, whereupon he sets out to locate his speck - adorned lower out of the thousands stretching before him.

The inclusion of an absurd yet thoroughly captivating celebrity cameo, which essentially stands as a high point within the entire series, perpetuates Night at the Museum: Secret of the Tomb's better - than - expected third - act atmosphere, although, unfortunately, director Shawn Levy ensures that the film concludes with a whimper by offering up an excessively sappy final stretch that just goes on and on - with this underwhelming climax confirming the movie's place as an almost passable concluding entry in a seriously forgettable trilogy.

This movie starts off with a prison bus going down a empty stretch of road and on the other side the only car insight driven by one Dr Douglas Madsen as these two come closer and closer together something happens that sends the Dr's car to collide with the prison bus freeing four prisoners who decide to take the good Dr hostage and retreat to a remote cabin in the woods that just happens to be home of a family that is more dangerous then the prisoners now with no way out the prisoners and the hostage must fight to stay alive against the people in the cabin.

It's only as the film inevitably segues into its mystery - oriented midsection that it slowly - but - surely becomes a seriously dull piece of work, as there's simply nothing interesting or intriguing about the gang's ongoing investigation into what happened - with the tediousness of this stretch exacerbated by the unpleasant and downright seedy nature of the movie's locale.

However, if there were any movies directed during his foray into Tinseltown that even came close to the grandiose HK action belters he is famous for, Face / Off was the best of them by a stretch.

Directed and co-written by Michel Hazanavicius and starring the French comedian Jean Dujardin as OSS 117, the movie is a sketch stretched to tedious feature length.

You can admire a movie like Steven Soderbergh's «Contagion» (2011), a realistic rendering of civil breakdown caused by a spreading pathogen, but the horror - film version of disaster in «World War Z» stretches the senses to take in more than you may expect.

It's all nevertheless quite pleasant and never dull, certainly, with the movie's mild success cemented by an effective (and somewhat affecting) closing stretch - which ensures that Peter Rabbit ultimately comes off as an amiable (if rather forgettable) bit of family - friendly entertainment.

Marvel Studios president Kevin Feige and company have mastered their banal stretch - the - tale - out template to such a degree that it's guaranteed few will question why the previously elusive Infinity Stones — which have been teased in just about every prior movie installment, as well as in some of Marvel's TV offshoots — are collected with ridiculous ease by purple people - squashing supervillain Thanos (Josh Brolin).

Director Stanley Kubrick, working from a script cowritten with Calder Willingham and Jim Thompson, kicks Paths of Glory off with an admittedly less - than - engrossing stretch, as the movie boasts (or suffers from) a somewhat talky first act that doesn't contain much in the way of compelling elements - although, by that same token, it's clear that the film benefits substantially from Kubrick's stellar directorial choices and a host of above - average performances.

«The Christmas Candle,» based on a book by Texas minister Max Lucado, might be the ideal movie for Christians in search of family - friendly entertainment, but its appeal won't stretch beyond that demographic.

But - as this movie goes to show - that's no bad thing by any stretch of the imagination.

Writer / director Alex Garland delivers a striking and impressively captivating opening stretch that instantly captures the viewer's attention and interest, with the movie's compelling atmosphere heightened by Portman's stirring work as the conflicted, grieving central character (and it's clear, too, that Portman's costars fare just as well, though Leigh's bizarrely ambivalent take on her character is questionable at best).

Following the movie's New York Film Festival premiere, there were reports of people throwing up in the men's room after suffering virtual vertigo while watching Petit (played by Joseph Gordon - Levitt) stroll, turn and even lie down upon a cable stretched between the towers.

By no stretch of the imagination is CBGB a well - made movie.

Horror still reigns in Park City Extending a tradition that's already stretched from The Babadook and The Witch to Get Out, Sundance proved a dependable launching pad for standout horror: This year's Hereditary — a nightmarish supernatural grief drama starring an unhinged Toni Collette — was the one film that came closest to a consensus favorite (if by favorite, we mean a movie that thoroughly traumatized all audiences).

It's by no stretch a great movie, but it accomplishes what it sets out to, even if it does so in some familiar ways.

However, «Die Hard with a Vengeance» is the most underrated «Die Hard» film by some stretch, and a movie that has held up shockingly well.

Thanks to the movies, Natasha Romanoff's exploits as the Black Widow are known by Marvel fans the world over — but her history, from Russian spy to American defector, to one of Earth's mightiest heroes, stretches back over half a century of comics.

At once genre movie and psychodrama, Nichols's film unfolds in a stretch of rural Ohio where a blue - collar husband and father (brilliantly played by Michael Shannon) finds himself suddenly plagued by visions of the rapture: strange clouds darkening the sky, acid rain sheeting down from the heavens, flocks of birds in panicked flight.

The first installment a surprise hit that coasted on a novel combination of savvy music design and an affable cast led by Anna Kendrick; there were enough B - sides left over to for a watchable second movie; now, the premise is stretched so thin that someone thought it would be a good idea to pad it with an action - suspense subplot involving Fat Amy's (Rebel Wilson) long - lost father / international crimelord (John Lithgow with a sketchy Australian accent).

pervasively affable vibe ensures that its negative aspects are, for the most part, easy enough to overlook - with the movie's success confirmed by a thoroughly satisfying climactic stretch (which boasts a hilarious bit involving an inspirational speech from Martin's character).

This American version of Park Chan - Wook's Korean thriller is Lee's most exciting movie since «Inside Man» — not a masterpiece by any stretch, but a lively commercial genre picture with a hypnotic, obsessive quality, and an utter indifference to being liked, much less approved of.

«Our hope for the movie is that it would start in the fantasy,» said Chazelle, «and get a little more realistic and intimate as we go until finally, by the end, before the audition number, we go through a long stretch with no number at all and you almost forget you're in a musical.

Part of the reason is the movie's nearly two - hour runtime, which is plagued by several long stretches where nothing funny happens, including a bizarre third act twist that comes across as being ridiculous purely for the sake of it.

And this movie isn't perfect, by any stretch of the imagination.

These movies are defined by the lawless and unforgiving world in which they take place, a fiercely contested stretch of desert where the hardest part of staying alive is living with yourself.

One is Carter Burwell's score, which feels a bit too grandiose and old - school to suit this very offbeat collection of misfits, and the second is a five minute stretch of the movie that was a combination of ugly special effects followed by pointless writing.

We'll settle for a certain amount of contrivance, but our tolerance has limits, determined in part by age, taste, and experience and in part by whether we like the rest of the movie enough to stretch our standards.

Other oddities: how Jackson sets up each segment in a very overdramatic way, how the other commenting celebrities appear in a moving parchment of sorts, how some of the questions are either no - brainers or a stretch in relating to the movie, how the ordinary kids are strangely posed and filmed, and how the whole thing is both bordered by oak and letterboxed.

Keanu is by no stretch a great movie, but its two leads — Key and Peele — give hilarious performances as nerdy dudes pretending to be murderous gangstas.

So, I'm not looking for the next sports movie at all, by any stretch.

«It's been 72 hours since I've seen it and I don't know what the moral of the «Batman v Superman» movie is other than, maybe, maybe, if you stretch it real thin, «Hey kids, don't judge a book by its cover,»» he continued.

Matt Rodgers on the best ever video game movie scenes... The first part of 2018 will see two high profile videogame adaptations hit the big screen in an attempt to do what 2016's Assassin's Creed couldn't, by breaking a curse which has stretched back as far as 1993's infamous Super Mario Bros. movie.

Not because they are great films (they aren't, even by the most generous stretch of the imagination) but because they are entertaining pieces from a distinctive period of B - movie filmmaking, as weirdly fun and perversely creative in their own exploitative way as kindred films from the forties and fifties and sixties.

Enjoyable as it was, in a purely so - this - is - what - it'd - be-like-if-I'd - developed - a-drug-habit-in-my-teens way, it's not a perfect movie by a long stretch.

Even by the film's conclusion, it's hard to decipher if those in charge support Julian's cause or just can't stand him — an amazing feat for a movie that stretches well over two - hours.

Filmmaker Richard Shepard does a superb job of immediately luring the viewer into the briskly - paced proceedings, as Dom Hemingway opens with an irresistibly over-the-top stretch detailing the central protagonist's prison - based exploits - with the movie's effectiveness heightened considerably by Law's magnetic and gloriously scene - chewing work here.

The sentimental and episodic third act compounds the movie's progressively uninvolving atmosphere, and it's disappointing to note that the film has, by the time the abrupt conclusion rolls around, squandered most of the good will generated by its opening stretch - which ultimately confirms Dom Hemingway's place as little more than a showcase for Law's consistently engaging performance.

There's little doubt that The X Files: I Want to Believe fares best in its initial stretch, as the movie boasts an impressively tense and exciting opening that gives way to an engaging first act - with the film's watchable atmosphere perpetuated (and heightened) by Chris Carter's sporadically lush directorial choices and by Duchovny and Anderson's predictably stellar work.