Sentences with phrase «movie quality of the film»

Even the largely unnecessary 3D effects play into the B - movie quality of the film.

Not exact matches

Feltheimer says the drop occurred in part because the company released fewer films than usual into what it believed would be a poor economic climate for movies — not because of the quality of the films.

That Avatar «s melodramatic attacks on corporate interests and its defense of simple, natural living come packaged as one of the most expensive, and probably the most technically advanced, corporate films in history would seem to indicate that only quality bigger than the movie's stupidity is its head - in - the - clouds hypocrisy.

Unless you create or film videos for a living, most of the footage of on - track action that F1 fans put online will be a bit shaky, wobbly, poor quality, filmed from a phone or chucked into Movie Maker.

If the film has only one note to play, it plays it with a certain slapstick panache, landing closer to Reservoir Dogs than The Boondock Saints on the quality spectrum of movies about loquacious lowlifes with itchy trigger fingers.

Paramount has chosen quality over quantity for the Blu - ray release of «The Fighter,» with a strong collection of bonus material headlined by an audio commentary with director David O. Russell where he discusses the filming of the movie and how it compares to its real - life subjects.

The film does look decent too, with atmospheric scenery and the editing is already an improvement over most SyFy movies in terms of quality.

Perhaps it was to maximize the quality of the movie itself, but I honestly can't imagine that the space used up by those minor extras would have caused any terrible degradation of the film's image.

But many of those films appear to be major question marks (for both quality and financial success) from this early vantage point, including the upcoming LEGO Movie, the Wachowskis» Jupiter Ascending, Tom Cruise vehicle Edge of Tomorrow, a new Godzilla remake, and Wally Pfister's Transcendence.

Much like last year and the year before, this year's Movie Studio Report Card evaluates both the box office performance and overall film quality of the six major studios (and many indie distributors) in an attempt to determine the best and worst studios of 2011.

A lot of pet dog movies are like this one, but this one is faithful to a true story and will always stand as a quality family film.

There was a time when films of this quality and character were not as rare as they are now, when directors of Spielberg's talent and ambition thought it was an obligation to make movies that were not meant to be huge hits, that spoke to their passions or, rather, their obsessions.

When one of them asks where he stands on government regulation of movie and TV ratings, Bulworth drifts to the topic of the quality of filmed entertainment.

The movie is on film stock of such poor quality, one might be excused for believing it was lifted from Soviet military surplus supplies circa 1978.

His films as of late have seemed somewhat stuck in the 1990s when it comes to the below - the - line stuff, but the effects in this trailer (exclusively released on Yahoo! Movies) are quality.

A bit more suspense would have gone a long way here, and while director David Gelb, whose prior experience had been in the crowd - pleasing documentary Jiro Dreams of Sushi, has turned in a slick - looking feature for one with such a small budget (reportedly, only $ 5 mil), it really can't compete with better films out there in terms of quality, while it's too straight - faced in execution to at least give us some choice b - movie thrills.

When he says «dream assignment» I think he means that the film's story and setting provided such a large canvas to write to, which could have resulted in some great music (despite the qualities of the resulting movie).

But if the quantity of the films has decreased, the quality of the included filmmakers has not: new movies by Darren Aronofsky (genre tale «Mother!»)

While the subject matter is the stuff that good films are made of, and the quality of the direction and acting are worthy of admiration, where The East fails is in the contrivances involved in the farfetched plotline and the unevenness in the thriller elements (such as a scene in which the cell dresses up to the nines to infiltrate a party for pharmaceutical bigwigs that would feel more at home in a Mission Impossible movie) that undermine what could have been a chilling and realistic story of corporations run amok.

Special Citation to Charles Burnett's Nightjohn, a film whose exceptional quality and origin challenge strictures of the movie marketplace.

The point of a movie trailer is to lie to as many eyeballs as possible regarding the quality, the appeal and in some cases the very nature of a film's storyline.

As with all Syfy Original Movies, the quality of the CG effects are limited but still decent or should I say acceptable for this film.

But that was 2014 (or 2015 here in United States, where the movie opened as the rare quality mid-January family release), a pre-Brexit, pre-Trump world whose anxieties about a growing refugee crisis were gently ridiculed by the film and its good - humored portrayal of the modern, multicultural British capital.

A lot of moviegoers still believe that low quality CGI toon projects should get a pass because they're just «kid movies» but films like Wreck - It - Ralph remind us that superior animated pictures are more than just cheep gags and one - note cliches — considering the film puts a new spin on tried - and - true stories about friendship and heroism.

It was the first of four collaborations between Thompson and composer Jerry Goldsmith, coming before The Reincarnation of Peter Proud, Caboblanco and King Solomon's Mines - none of them is a great movie but the quality of the scores go to show the affection Goldsmith must have had for the director (who also made films scored by Dimitri Tiomkin, Bernard Herrmann, Franz Waxman, Elmer Bernstein, John Williams and John Barry - an unbelievable fact which I doubt could be matched by any other director).

Any worries there might have been about the quality of the film have been pushed away for now, and I'm excited to see this movie.

While the film quality isn't the greatest due to the use of digital film, the lack of stars and its classic throwback to the early zombie movies creates a great genre film for both horror fans and those looking for something different.

There's been a lot of talk about comic book movie fatigue these days, but the people at Marvel Studios clearly aren't letting that affect their productivity, because just like fellow Disney - owned company Pixar, they've continued to deliver the same high - quality films as when they started.

Producer Jason Blum is the founder and CEO of Blumhouse Productions, which is a multi-media production company that has pioneered the model of making high - quality, low - budget films, and now does everything from movies and TV shows to books and live events.

Previous sequels in this franchise haven't remotely approached the quality of John McTiernan «s 1987 classic, but the main reason we're excited about this one is because it's co-written and directed by Shane Black, the guy behind movies like Kiss Kiss Bang Bang, The Nice Guys, and one of Marvel Studios» very best films, Iron Man 3.

It's a gorgeous CinemaScope movie and Twilight Time does the film up nicely, with a strong transfer of a good - looking HD master from Columbia Pictures, a studio with a superb record of preserving, restoring, and making high - quality digital transfers of their catalog.

The movies made expert use of their young cast, wisely adapting the film characters to match the qualities the three stars offered.

Though Darren Aronofsky's latest film doesn't excite me as much as some of the projects he's departed over the past few years, it's encouraging to see a director of his quality being given the money required to do a big movie like this the right way, especially after the disaster of «The Fountain.»

Money doesn't always equal quality (and in the case of most summer blockbusters, it usually never does), but with «The Avengers,» director Joss Whedon delivered a film bursting at the seams with excellence — from its amazing cast (particularly Robert Downey Jr. and Mark Ruffalo in standout roles), to its smart script, to the impressive balancing of the movie's many tones.

As a viewer who cares about the quality of the films first, and the inter-connectedness of it all second, McFeely's «You always make the best movie you can» quote is heartening.

But it is of a piece with the rest of the movie, which plays less like a classic gangster film than like a 99 percent pure, Heisenberg - quality, blue - crystal distillation of all the tropes and themes and moods of the classic gangster film.

If I ask a movie buff what he or she expects from The Criterion Collection, I'll probably hear talk about an excellently crafted, artfully made film released with a high standard of audio / visual quality and a handful of in - depth special features.

If not for the quality actors, a good director in Kasdan (Silverado, Body Heat), and the fact that it's adapted from a Stephen King book, I would have sworn this could only come from the crazy, b - movie mind of John Carpenter, as this is a film that seems right up his alley.

He points to the quality of the books and the resulting Potter films, which — rarely for a franchise spanning eight movies — never dipped.

No matter the quality of Gibson's performance therein, the film's dissection of a fractured soul can only reinforce audience reservations about a screen icon now better known for obscene and violent telephone calls than manic action movie roles and Oscar - winning epics.

As we edge closer to summer season, you'd think that the quality of films would increase, but one look at the April movie slate suggests the complete opposite.

Not only does it make more sense for the movie to be released during awards season, but Warner's sudden change of heart (having already started the marketing blitz last year) has raised some concerns about the film's quality.

The fact that the movie was written by William Goldman (based on his novel, «Heat,» which was previously adapted into a 1986 film starring Burt Reynolds) surely played a part in attracting that quality of talent, but sadly, it doesn't live up to Goldman's reputation.

These words of wisdom are especially true for the film Get Out, a film that's trailers mislead viewers on the type of movie and the quality of it.

But it's an objectionable turn of phrase, implying a certain intrinsically lowly or shameful status to genre film - making in itself: there are good horror movies and bad ones, smart horror movies and stupid ones, and the critical distinction seems clear enough without needing to delineate and elevate a separate subgenre on the basis of class and quality alone.

That might not say much about the quality of the film, but Jonathan Levine has crafted a fun, light - hearted take on Romeo & Juliet (even going so far as to name the characters R and Julie) that could just be the right movie for the upcoming Valentine's Day.

I found the original to be a sweet movie with a bit of a kick thanks to Maggie Smith's zingers, and while the nature of sequels makes me doubt this follow - up will match the quality of that first film, the prospect of seeing this cast play off of each other once again is enticing enough.

While the budget is far slimmer for the Bumblebee solo movie than The Last Knight, fans shouldn't have to fret about the quality of the film.

Featuring a predominantly male ensemble that amounts to McDonagh's ad hoc repertory troupe, the film is cheerfully violent on all manner of topics including the nature of movie - making itself, and its «meta» quality is sure to divide audiences, who will either be entranced or irked by what's on view.

The idea that The Room's strange and bitter qualities are very personal and rooted in some deep pain is obvious to anyone who's seen the film — except, it seems, to the star and director of this movie.