Sentences with phrase «movie than king»

I felt more sorry for Riggs because he was more properly humanized within the movie than King.

Not exact matches

I don't know if I have ever watched any movie adapted from a Steven King novel other than «The Green Mile», (I didn't know Steven King was the author.

I see more love in the movie King Kong, by an ape, and animals period, than in most of you people on this site, and on this earth with all of your bias man made laws, and religions, honestly in my opinion, I do.

Here you will meet such varied and complex personalities as Marvin Barnes, who some experts say is one of the best natural talents ever to come into the NBA and who destroyed his career with drugs and passionate insouciance — «the last innocent,» Walton called him; Kermit Washington, who fled from a posh Hollywood party because the movie people were sniffing cocaine; Abdul Qadir Jeelani (born Gary Cole), a shy young man who liked Rome better than Portland but yearned for the kind of recognition you can not find as «the king of spaghetti basketball»; Maurice Lucas, educated, intelligent, married to a Harvard graduate, yet tormented by the belief that his $ 300,000 salary was somehow demeaning.

There have only been two weeks of NFL action and we have already seen more surprises than a David Lynch movie, only with less haunting music and more commercials for Draft Kings and Fan Duel.

The White House thinks Homeland Security Committee Chair Pete King has bigger things to worry about than movies.

John Wick: Chapter 2 La La Land A Brave Heart: The Lizzie Velasquez Story A Most Violent Year Adult Beginners Adventures of Power Afternoon Delight Alex of Venice All The Light In The Sky Amy Animal Kingdom Attenberg Avengers: Age of Ultron Bad Turn Worse Beats Rhymes & Life: The Travels of a Tribe Called Quest Bellflower Big Game Birdman Black Blue Ruin Blue Valentine Bones Brigade: An Autobiography Boyhood Brick Mansions Butter C.O.G. Ceremony Charlie Countryman Child of God Cop Car CXL Dark Places Dawn Of The Planet Of The Apes Deadfall Don Jon Don't Think Twice Drive Dumb and Dumber To Embers Escape from Tomorrow Foxcatcher Frank Miller's Sin City: A Dame to Kill For Fubar: Balls to the Wall Fury Godzilla Going the Distance Gone Girl Grey Gardens Gridlocked Guardians of the Galaxy Holy Motors Holy Rollers Hungry Hearts Hunt for the Wilderpeople I Am Chris Farley Imperial Dreams In the Blood Inherent Vice Inside Out Iris Jack Goes Boating Jackass 3 Jersey Boys Joan Rivers: A Piece Of Work Joe Jurassic World Just Jim Kaboom Kill the Irishman Klovn: The Movie (Klown) Let Me In Liberal Arts Life Itself Live Die Repeat: Edge of Tomorrow Lola Versus Louder Than a Bomb Lucy LUV Mad Max: Fury Road Maggie Man of Steel Maps to the Stars Melancholia Men, Women, & Children Miami Connection Middle of Nowhere My Life Directed by Nicolas Winding Refn Nature Calls Nightcrawler Nighthawks Oddsac One & Two Only God Forgives Peep World Pincus Pricecheck Prince Avalanche Rabbit Hole Raze Robot & Frank Rosewater Rubber Rudderless San Andreas Save the Date Scream 4 Sleepwalk With Me Smashed Snowpiercer Somewhere Southpaw Spring Breakers Star Wars: Episode VII - The Force Awakens Submarine Sun Don't Shine Take Shelter Take This Waltz Teenage Mutant Ninja Turtles Terminator Genisys The Amazing Spider - Man The Bastard Sings The Sweetest Song The Cold Lands The Comedy The Equalizer The Expendables 3 The Fault in Our Stars The Gambler The Girl The Girlfriend Experience The Grand Budapest Hotel The Hateful Eight The Hunger Games: Mockingjay - Part 1 The Kids Are All Right The Kings of Summer The One I Love The Raid The Rambler The Revenant The Rover The Second Mother (Que Horas Ela Volta?)

The highly publicized 1973 tennis match between Billie Jean King and Bobby Riggs is the focal point for «Battle of the Sexes,» but the movie is about much more than that.

«The Salvation,» a Danish revenge Western starring Mads Mikkelsen, is a very real movie, and it is directed by Kristian Levring («The King Is Alive»), whose sensibility is a little more nuanced than that of the sensationalist [Nicolas Winding] Refn, which is all to this movie's benefit.

We did get some good ones: Annette Bening on the verge of tears of disappointment when Natalie Portman went up on stage; Helena Bonham Carter saying (correctly, as it turned out) to her seat neighbour, «I won't win» during the best supporting actress announcements; Harvey Weinstein glowering menacingly every time any movie other than The King's Bloody Speech was mentioned; Justin Timberlake only starting to laugh at Randy Newman's speech when he noticed the camera was on him — but it was not enough.

Of the more than 4,000 pages that King has written in this world, the movie decides to open with two sentences.

The movie turns out a crowd pleaser as expected, but King's take on the next chapter of the optimistic bear in London holds more substance than that.

But like King's best work, the movie wants to be greater than the sum of some cheap scares.

As part of Warner Bros.» presentation at CinemaCon this past week, It director Andy Muschietti sent a videotaped message to those in attendance, promising that the second chapter to the hit Stephen King adaptation will be «darker and even scarier» than last year's first movie, and that fans may want to «bring your adult diapers».

You'd think that The Shape of Water remains too undeniably weird to have any shot at awards, and I think that the stuffy Academy that decided to go with The King's Speech over The Social Network or Black Swan (yep, still bitter) might not have given much more than token nominations for an inter-species romance monster movie, but the Academy has gotten younger and more diverse in the years since then, allowing for some more left of center films to get a boost.

The Return of the King is closer to empty spectacle than any of the previous films — a fitting conclusion, perhaps, to a ten - hour film but a movie in and of itself that has trouble finding the weight and impetus to stand alone.

There are plenty of cheesy TV movies that have cornered that market, and more than a handful of films that feature a meteor shower as the catalyst for disaster: NIGHT OF THE COMET (1984) brings about zombies, THE BLOB (1958, with the remake out in 1988) hitches a ride on a meteorite, THE MONOLITH MONSTERS (1957) delivers killer crystals, and a rogue comet in Stephen King's MAXIMUM OVERDRIVE (1986) prompts machines to come alive and attack us.

Every larger than life creature feature, from King Kong to Godzilla to Jurassic Park owes a debt to the original The Lost World (1925), the granddaddy of giant monster movies.

And when the movie finally ends (it has more tie - up - the - plot scenes than The Lord of the Rings: The Return of the King), everybody's back at the salon, singing the anthemic «We All Get It in the End.»

Ran — Akira Kurosawa's last great movie, it's his version of King Lear, and it's a heck of a lot better than the play, at least better than reading the play.

The timing was certainly right, coming out a few short weeks after IT brought King back into the zeitgeist by virtue of bringing in more box office money than any horror movie in history.

Perhaps the elder members of the academy can relate to «The King's Speech» better than they can to a movie about a group of kids haggling in court over Internet money, so they're choosing what makes them comfortable.

In less than two months, a new King Kong movie with Samuel L. Jackson, John Goodman, John C. Reilly, Brie Larson, Shea Whigham, Tom Hiddleston, and Jason Mitchell comes out.

With Lakeith Stanfield as Warner and Nnamdi Asomugha as King, the film offers a new twist on the buddy movie — one far more serious than slapstick.

There really is no other Godzilla or monster film that takes such a somber tone or executes its goal so well with the exception of King Kong (most of the later movies likely didn't have a goal, really, other than «let's make some more money»).