Sentences with phrase «movie cared about its characters»

We might have been distracted from this irrational setup if the movie cared about its characters or its world enough to develop either of them.

Not exact matches

Unlike the recent string of TV shows made into movies, like the «21 Jump Street» franchise, Peña said the intention with «CHiPs» is to be more serious in the hopes to make the audience care and be concerned about what the characters are going through.

The movie gives the viewer no reason to care about any of the characters.

Ultimately, the only character you care about is Rourke's Ivan (Downey's schtick works for about half the movie, then the charm fades), and the film commits the ultimate sin for a summer blockbuster — the climactic finale is actually boring.

I didn't care about any of the characters and to compare this to Tarantino like dialogue maybe the biggest joke in this movie.

There are a few beguiling moments in Holy Motors, particularly a martial - arts sequence and an erotic dance while Mr. Oscar is dressed in a motion - capture body suit, but the road between those moments is so strewn with stalled ideas that audiences who care about character and plot are liable to take the exit to a movie that makes sense.

That said, my problem with the movie (which is much more superficial than most of these arguments) is that I just DID NOT CARE about any of the characters.

This is a movie where a bunch of action I don't care about is held together by characters I really don't like.

The movie's heart and story, both bleeding and mending, and its quartet of characters are hard to abandon — and easy to care about.

A lot of people have criticized the movie for not being able to care about the lead character.

If your kids care about these characters in any way, it will be a tough movie for them to watch, but good luck talking them out of it!

I'm a huge Aaron Sorkin fan (ever since The West Wing), but because this movie has an utterly unlikable protagonist it's difficult to care about anything that happens to her — no matter how clever the banter between characters.

I don't normally notice, or care about, such trivialities, but this was one of the most plotless movies I've seen in a long while, filled with wooden acting performances (Urban seemed to be on auto - pilot, and Clancy Brown as the lead Viking looks to have had his usual menace stifled by the uncomfortable head gear) and underdeveloped characters.

She is pretty much naked her entire storyline, which works well in the comics and is fun for this movie, but I'm not sure she made for the most captivating character to care about.

You will care for the characters that the movie wants you to care about, and you will hate the characters that the movie wants you to hate.

Yes, in the first movie we realized why Deadpool is a character worth caring about.

But in Deadpool 2, there is another character that is worth caring about — the same character Deadpool teases during the first movie's post-credit scene, about him being in the sequel — his name is Cable.

The film opens on the island of Themyscira, a paradise island created by the god Zeus and hidden from the real world by a protective shield, and the film stays there for a while as we follow Diana from curious little girl to fully trained warrior princess but once Steve Trevor's fighter plane crashes there and Diana realises there is a war being fought in world she does not know of that is not too far away then we swiftly get brought into London in 1918 and this shift from fantasy into a «real world» scenario gives the film a greater sense of depth, and when combined with characters that you actually care about then Wonder Woman is head and shoulders above all of the other DCEU movies on the strength of that alone.

For people that care about The Hangover canon, there are call backs to situations and characters from the first movie that remind us of headier times for the Wolfpack.

Without any strong characters to care about, the movie's protracted efforts to wring suspense out of an elaborate scheme to steal a scepter seem, well, protracted.

Then, towards the end of the film, the tone switches and suddenly we're supposed to care about these characters who were insufferable for an hour of the movie and hadn't seemed to learn from any of their mistakes.

I never cared about anything that happened in this movie because the film makers never let us care about the main character.

Far too many horror movies are overly concerned with «Cool Kills» and not concerned enough with presenting characters worth caring about.

I suppose that the film's financial lessons are occasionally enlightening and interesting, but they seem better - suited for a documentary by Stone about the 2009 bailout, or would have been better - served in a movie that more effectively merged all of these tectonic shifts with character development that the filmmakers cared equally about.

Its success on a deeper level is dependent on the viewer and their personal investment in the Marvel Cinematic Universe — if you care at all about any of these characters, the movie is designed to hit consistently hard.

There were the stereotypical characters seen in so many other movies about dysfunctional families, however none of them portrayed interestingly enough to allow me to care about or root for them.

The other problem I had with the movie was that at no time did the film make you care about the characters.

This film develops and handles the relationships between these characters very well, and we really do care about them by the end of this movie.

The movie does actually seem to care more about its characters, with a few good moments of development and other heartfelt ones.

Whenever onscreen Emily Browning makes for an engaging female lead we can care about, even if the script saddles her character with some of the movie's slowest scenes.

You then have to meet Laurie and all that bullshit, and the movie tries to get you to care about brand new characters when you're an hour in.

In fact, it tacitly accepts the more absurd elements of its convoluted fictional universe, instead laboring under the delusion that we care enough about the characters that we want to see what happens to them after the events of the first movie.

It may seem like a fun and innocent high school romp kind of movie, but then Greta Gerwig hits you about an hour when you realize how much you have come to care about all of these characters.

Clearly, Ejiofor's performance makes this movie work, because with most other actors, the exploitative nature of the character of Lola would have been too silly to ever believe or care about.

It's not a smart movie, see, and because it doesn't care about establishing character or following a cogent lead, there's nothing at stake.

Through half the movie, we have no good reason to care for him, but buried inside McDonagh's caustic comedy is a character study about someone who might just possibly take a turn for the better.

Either as scripted or, more likely, as directed by Paul W.S. Anderson (the Resident Evil movies), Pompeii fails to make us care about any of its stock characters and, therefore, any of its predictable plot developments.

Easily their equal is young Ashleigh Cummings as the long - suffering Vicki, who spends much of the film chained to a bed, but still does an impressive job of creating a three - dimensional character we grow to care about well beyond the trappings of a basic horror movie victim.

Johnson's character is key to proceedings though, and his relationship with George is paramount to the movie working, and although there's the visible destruction of cities and no doubt thousands of human fatalities, it is this man and this silverback who we really care about.

«Godzilla» asks you care about its characters, achieves that aspiration, earns your trust, and then not only pivots towards a far less interesting character, but abandons most of its absorbing emotional legwork for a fairly rote and straightforward rock «em, sock «em monster movie.

At least in that movie, you are trying to endure war with characters you care for and about.

He remembers that in order for scary movies to be effective you have to care about the characters.

Zelda U info, such as Storyline, Boss Fights, and possible extra mode where you play as a brand new protagonist PaD: SME info, such as new characters and storyline Confirming the Paper Mario 5 rumor, confirming the return of partners and a post-game storyline Pokemon Delta Emerald or Gen. 7 confirmation, or Battle Frontier DLC Mario Maker new playable characters and art styles, as well as level styles (even though there probably is) Kirby and the Rainbow Curse info, maybe talkong about new characters / storyline featuring Bandanna Dee or King Dedede Info on the rumored «Mario Movie» Stuff about Projects Giant Robot and Codename STEAM And some more stuff I probably don't care about much, like Xenoblade or StarFox

The problem with Identity was that they told you halfway through the movie that none of the characters were real, so why should you care about anything that happens to anyone?

We have no one to root for or care about — no emotional focal point — because the central character's motivation is hidden from us only to provide a cheap surprise midway through the movie.

For a movie about the effects of tragedy on the people in a football town, We Are Marshall doesn't care about the grief process, its characters, or, most shockingly, football.

in my not so humble opinion the X assist excels at the most every single aspect of what makes a horror movie good whether it's a well - developed sense of dread, incredible shock moments that make you jump at your seat, well presented themes that make you think about the movie long after it's over, well developed characters that you care about, special effects and make up that contribute not detract from the movie, etc. one of the good examples of the latter point is how William Friedkin who in my opinion is one of the 10 greatest directors of all time used a refrigerated room for some of the scenes.

This «in case you missed our movie» moment caps the movie's strained but hollow attempts to earn emotional resonance, and the mishmash finale, featuring a coda of characters we know nothing about followed by an epilogue followed by yet another coda, frustrates as a further reminder of how little we care about what has happened.

All of a sudden, I care about DC characters again, what with yesterday's absolutely excellent debut of the official full - length Wonder Woman trailer, and today's new trailer for the LEGO Batman movie, introducing us to Rosario Dawson's version of Batgirl.

This comes down to the fact that one; the violence is done extremely well in terms of aesthetic and realism, and two; Zahler's movie doesn't rely on the graphic violence, but rather builds up to the bloodshed by delivering us eclectic characters that we grow to care about.