Sentences with phrase «movie has pacing»

Going in, I'd heard the first part of the movie has pacing issues, and it does.

Not exact matches

Real work has extended periods of inactivity or dull grunt work, as opposed to the exciting, feverish pace of a computer programmer in a movie (I'm looking at you, «The Social Network» - programming should not look that cool).

There have been quite a few movies this year about young adults trying to escape small spaces, but none of them are quite as masterful and tightly paced as 10 Cloverfield Lane, the unofficial sequel to Cloverfield.

The fact that the movie is competently put together at all is a testament to the Russo brothers» knack for pacing, something these movies have always excelled at.

The pace of Star Wars is rapid fire for most of its hour and 57 minutes, and the script is filled with a verbal and visual wit that has been rare in Hollywood movies since the screwball comedies of the «30s.

I just wish the action in some of these movies had a stronger pace.

There's little doubt that Real Steel's biggest problem is its excessively deliberate pace and unreasonably overlong running time, as filmmaker Shawn Levy, working from John Gatins» screenplay, has infused the movie with an incongruously epic sensibility that all - too - often threatens to negate its positive attributes - with the fairly pointless (and surprisingly unpleasant) robot - vs - bull brawl that opens the picture effectively setting a tone of regrettable sloppiness (ie Charlie goes through two robots before settling on his final fighter).

For such a slow - paced movie, having such a simple premise, The Post moved along at a brisk pace in my opinion.

Rees, whose one and only feature film until now was her 2011 debut, «Pariah,» has said she set out to make an «old - fashioned» movie, and she's done that, allowing her story to unspool at a refreshingly deliberate pace and her characters to find their own footing within the story and with one another.

This movie has the same form of pacing and dialogue that that film has and upon research after watching The Post, I realized that the same writer in Josh Singer had worked on both of these screenplays, which made complete sense.

The movie could have probably shaved off ten minutes or so to move at a batter pace but for the most part, it's never more than a few minutes before someone gets killed or someone gets naked.

Who could complain about the extra work and breakneck pace when the alternative of having the movie nixed or rejected out of hand was so much worse?

Director Anton Corbijn has infused the proceedings with an almost impossibly deliberate pace that's sure to leave certain viewers checking their watch on an all - too - frequent basis, yet there's little doubt that The American remains oddly compelling even through its more overtly uneventful stretches - with Clooney's expectedly magnetic performance certainly going a long way towards establishing and perpetuating the movie's consistently captivating atmosphere.

I do think that, as far as traditional horror is concerned, this might not be the type of movie that a more casual audience would get into, it's just not paced that way.

It's just as clear, however, that the film's incongruously languid pace stands as an almost insurmountable obstacle virtually from the get - go, as filmmakers Jon Hurwitz and Hayden Schlossberg have employed an episodic structure that becomes more and more problematic as the thin narrative unfolds - with the ongoing emphasis on subplots of a decidedly underwhelming nature (eg Jim's continuing efforts at resisting the advances of a sultry neighbor) compounding the movie's increasingly lackluster atmosphere.

The movie's all - too - deliberate pace holds the viewer at arms length for much of its overlong running time, however, as Foley's rough - cut sensibilities result in a surfeit of palpably padded - out and entirely needless sequences - with the ensuing lack of momentum ensuring that certain moments aren't able to pack the visceral punch that Foley has intended.

It's a lot like watching a movie and having someone interrupt you to tell you about something else that's happening in the film's world, without thought for pacing or narrative flow or whether you should even care.

Filmmaker Craig Gillespie has infused the early part of I, Tonya with a blisteringly - paced sensibility that's admittedly quite difficult to resist, and it's clear, too, that the movie benefits substantially from Robbie's immersive turn as the far - from - likeable central character.

My only problem I have with this movie is that the film does have a somewhat slow pace for a animated movie especially for a 90 minute animated film, but everything is all done extremely well and it is definitely one of Ghiblis best.

There's a directness and swift pace to the first hour or so that works on an elemental level, and the final act is a delirious sugar rush of city - smashing spectacle (in Tokyo, of course, which has been evacuated to avoid any pesky collateral damage), delivering precisely the goods the movie promises.

Also, director Jan De Bont (the «Speed» movies, «Twister») seems to have confused deliberate pacing with dull, drawn - out storytelling.

Everyone is different, everyone has their own way of thinking, and their tastes, this movie just wasn't my kind of movie, it was too slow paced, and kind of boring to me, sorry for whoever liked it, the only part that got my interested is

Everyone is different, everyone has their own way of thinking, and their tastes, this movie just wasn't my kind of movie, it was too slow paced, and kind of boring to me, sorry for whoever liked it, the only part that got my interested is when Shane (the walking dead) showed up.

The movie has an unhurried pace, lulling the teens — and by extension the audience — into occasional complacency with the regular rhythms of each chugging train.

It's that emphasis on Darwin's familial affairs that ultimately sinks the movie, with the almost unbearably slow pace with which filmmaker Jon Amiel has infused the proceedings undoubtedly exacerbating its various problems.

Clearly, no actor would say no to a phone call from Steven Spielberg asking if they'd like to participate in an Abraham Lincoln movie, so even the smallest part is filled by either a big name movie star or a noticeable character actor, among them Lukas Haas, Hal Holbrook, Joseph Gordon - Levitt, Tommy Lee Jones (serving as the de facto emotional center for the movie), David Strathairn, Lee Pace, Jackie Earle Haley, Bruce McGill, Gregory Itzin, Jared Harris, Michael Stuhlbarg and Walton Goggins.

At a glance Pros: Unapologetically Punisher Level Brutality Stevenson is a compelling Frank Castle Movie pacing is great Cons: Cliche accents Could have used some more dialogue from Frank Overall: 8/10 Bottom Line: If you are a punisher fan, you're in for a blast

The movie itself has good pacing, pulse pounding soundtrack that harkens to 80's action films, decent action (not enough), and well - played performances.

Andy Fickman, whose one quality credit is Reefer Madness: The Movie Musical [also starring Bell], seems to have no idea how to pace the film and his transitions from scene to scene are either too clever by half, or just awkward.

Garland, working from his own screenplay, has infused Ex Machina with a pace best described as deliberate, with Garland's willingness to let the story breathe having both positive and negative ramifications on the movie as a whole (ie certain sections are far more enthralling and entertaining than others).

This is a movie about a Great Dane with Owen Wilson's (Fantastic Mr. Fox, Night at the Museum: Battle of the Smithsonian) voice who interrupts a marital kiss between Pace (When in Rome, A Single Man) and Greer's (27 Dresses, American Dreamz) hapless suburbanites by farting in as smelly a manner as possible, and then saying to us — we can, dear god, hear Marmaduke talk — «I know it's juvenile, but it's all I've got.»

Critics Consensus: The Legend of Tarzan has more on its mind than many movies starring the classic character, but that isn't enough to make up for its generic plot or sluggish pace.

The coming years would find particular success for Pace in movies like A Single Man, Marmaduke, and When in Rome, not to mention franchise films like The Twilight Saga: Breaking Dawn - Part 2 and The Hobbit: An Unexpected Journey.

Critic Consensus: The Legend of Tarzan has more on its mind than many movies starring the classic character, but that isn't enough to make up for its generic plot or sluggish pace.

Although a bit slowly - paced, A Single Shot is a highly atmospheric and suspenseful movie, having more to offer than a simple action film.

I will say that while I was super bored of the first two movies, I really did have a pretty good time with the final flick even though the pacing at times was off.

The pace is brisk, the dialogue scintillating, the performances on target, all this from a movie that I would call under the radar so far as end - year awards go.

But like Abrams did on «Star Trek,» Whedon has stepped up his game in a major way: the action is clear and coherent, the pacing is tight (it's 140 minutes long, but flies by) and the technical contributions are top - notch across the board, from the Bond - movie production design of James Chinlund («The Fountain «-RRB- and the razor - sharp cutting of Jeffrey Ford («Public Enemies «-RRB- and Lisa Lassek («Cabin In The Woods») to Seamus McGarvey «s bright cinematography and Alan Silvestri's firmly listenable score (although the latter could, it should be said, use a more distinctive theme).

Instead, the Disney - produced and vaguely Disney - inspired Tomorrowland wastes Bird's talent, a scrappy female lead, and Clooney gravitas on what amounts to a feature - length prologue; this movie about a retro - futuristic utopia in an alternate dimension accessed by the world's best and brightest takes approximately forever to get going, marking the first time Bird's whiz - bang set pieces haven't set his movie's pace.

Atomic Blonde has some similar pacing issues that can often be found in spy movies.

And with Harvey Weinstein backing his every move (though he has suggested the opposite lately, at least in terms of violent movies), Tarantino can continue to write sprawling and unconventional genre movies and not worry about traditional concerns about length, pace, etc..

The film is anything but rushed and that is in its favor; a string of fast - paced set pieces weighs down any movie and Miyazaki has the good sense to balance the adventure with quiet but meaningful character moments.

The pacing could've been better, and the movie as a whole could've been improved by adopting some sort of a strong direction, instead of the vacuous feel it projects.

He makes a movie that's unlike anything else in the MCU, and while certain beats and story points follow a traditional pattern, the world Coogler has crafted as well as the people he has constructed to live within it are so uniquely three - dimensional I sat in mesmerized awe for every single second of the film's briskly paced 134 - minute running time.

Filmmaker Carl Tibbetts, working from a screenplay cowritten with Janice Hallett, has infused Retreat with an almost excessively deliberate pace that proves problematic right from the outset, with the movie's hands - off atmosphere exacerbated by Newton's cold, oddly unsympathetic performance (ie she seems to actively hate her own husband).

It's the sort of set - up that would seem to lend itself naturally to a briskly - paced, unapologetically violent B movie, and while there are certainly a number of enthralling sequences peppered throughout, Outlander's oppressively bloated sensibilities play an instrumental role in diminishing its overall impact (ie the film should've topped out at 80 minutes, max).

It's a nice change of pace for the genre, even if it does turn it into a predictable narrative, especially when we are dealing with a B Movie Wednesday article, lacking the budget to provide the shocks and thrills that Adam Wingard had access to with You're Next.

Waugh is certainly able to organize stunts, but he has no idea how to pace a movie, direct his cast, or make you care at all about what's going on.

The movie also has issues with pacing and despite being overlong and slow its true crime is allowing the story to go over the same material again and again killing any momentum gained.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.