Not exact matches
A
movie that might have seemed amusing a
couple of decades and four or five rewrites ago, but plays like an unsold sitcom
in the post-Sopranos world.
The recent influx
of Nordic films into the genre landscape has resulted
in some
of the most unique, disturbing, frightening, and unforgettable
movies of the last
couple of decades.
In the last couple of decades, it has become increasingly apparent that there has been a paradigm shift in terms of how audiences watch and enjoy movie
In the last
couple of decades, it has become increasingly apparent that there has been a paradigm shift
in terms of how audiences watch and enjoy movie
in terms
of how audiences watch and enjoy
movies.
«Fifty Shades Freed» probably would have been terrible but at least its flaws could be expected and even rationalized based on the failings
of its predecessors while «The 15:17 to Paris» is so bewilderingly terrible that all you can do is scratch your head
in disbelief while quietly admiring the still - potent strength
of Eastwood's power
in the industry that would allow him to make a film that is virtually indistinguishable from the instant and usually dreadful made - for - TV
movies torn from the headlines that were all the rage a
couple of decades ago.
A
couple of decades ago, this hodgepodge
of suspicion and literally steamy sex might have been an Adrian Lyne
movie (Lyne's fine Claude Chabrol remake Unfaithful seems to have had some influence on the setting);
in today's Hollywood, it's an attempt to replicate the corrosive arch knowingness
of David Fincher's Gone Girl adaptation, tasked to Tate Taylor, director
of The Help.
The past
couple of decades have seen the appearance
of so many gigantic CG waves
in big - budget
movies that they almost qualify as stock henchmen, popping up as bonus disaster - porn footage
in movies that don't actually take place
in the ocean or even on a shoreline.
Launched
in September 1976, the show took flight
in the ratings, turned the three leads into major stars and inspired countless imitators (and, two
decades later, a
couple of hit theatrical
movies).
Never say die is first cited
in the USA
in 1814 and would seem to have been
in familiar use a
couple of decades later when Dickens uses it; but it's believed to have hit maximum popularity
in 1939 due to the
movie of the same name starring Bob Hope and Martha Raye.