Sentences with phrase «movies at conflict»

At heart, there are two movies at conflict in The Lazarus Effect.

Not exact matches

Things I'm thinking about could be things like having his seat changed in class so he's next to someone he has conflict with, learning new skills at school that he's not confident about and is struggling with, some new kind of food he's ingesting at school that has something that's irritating his system (artificial dyes or sweeteners would be my first guesses), something other kids are talking about that are scaring him (movies or tv shows or stories).

That metatextual smartness extends to conflict at the center of the movie.

The second film's success was perhaps even more staggering than the first: The Godfather, Pt. 2 garnered six more Oscars, including a win for Coppola in the Best Director category; Robert DeNiro won his first Academy Award in the Best Supporting Actor field; and the movie itself became the first and only sequel ever to win Best Picture honors.Next, Coppola began adapting the Joseph Conrad novel Heart of Darkness, transferring its story to the heart of the Cambodian jungle at the height of the conflict in Vietnam.

Writer / director Alex Garland delivers a striking and impressively captivating opening stretch that instantly captures the viewer's attention and interest, with the movie's compelling atmosphere heightened by Portman's stirring work as the conflicted, grieving central character (and it's clear, too, that Portman's costars fare just as well, though Leigh's bizarrely ambivalent take on her character is questionable at best).

For Mana, showing up for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational drama.

In this sense, it is closer in essence to the great home front movies of the 1940s than to contemporary Iraq movies like Kathryn Bigelow's The Hurt Locker — a step removed from the fighting, but right at the heart of a more spiritual conflict.

The kind of thing they'd screen at Comic - Con, this de facto making - of nevertheless doesn't do a very good job of selling the movie (the animators most vividly remember interdepartmental conflicts)-- and the many testaments to working without deadlines serve only to shed light on Steamboy's suffocatingly overindulgent design.

P.S. I suspect that Dunst was in the throes of her multi-picture commitment to Sony for the Spider - Man movies when Lost in Translation went into production, so promitional duties or other scheduling conflicts may have prevented her from taking part (that is, if she was considered for Johansson's role at all).

Of course, fans will want to see how that conflict teased at the end of Thor: Ragnarok plays out on - screen, but we'll just have to wait and see if it's included in the movie at all.

The short answer is that there appears to be a conflict of vision, and the movie in itself is conflicted in whether it wants to be a sci - fi or horror film, never content in being both at the same time.

The remainder of Fresh Horses is relatively impenetrable, with Anspaugh's usual clubfooted attempts at austerity — that his training ground was the slick and trendy TV series «Miami Vice» (hence Matt and Tipton riding a speedboat over the opening credits, I guess) surely puts what he knows and what he envisions into conflict — prolonging the agony, though it warrants mention that Anspaugh has some wizardly knack for making dull movies that are just idiosyncratic enough to stave off boredom.

A year later, Warner Bros. hired Edge of Tomorrow's Doug Liman to direct the film, with Scott Rudin producing, and Michael Gilio writing the script, but then Liman dropped out due to scheduling conflicts... and that's kind of where we're at with this movie.

Empathetic and at odds with her people's cynical outlook on Middle Earth, Tauriel actually cares about people in need of help (including dwarves, the sworn rivals of elves), so it's her internal conflict that gives the movie its only shallow of humanistic depth.

Instead of the touching, subtly humorous look at a conflicted and changing community during an incredibly tumultuous time in American history that this movie could have been, The Help is an over the top, joke of a movie that manages to be both boring and have too much going on.

It should go without saying that the lives of the formerly mentioned protagonists are far more involving than the latter ones, and, indeed, the movie seems to be grasping at straws to bring a sense of conflict outside of the central one into their lives.

Plenty of artists have a love - hate relationship with where they grew up, but it takes a truly conflicted soul to make a movie like Nebraska, which seems at once to lament the demise of a way of life and say «good riddance» to those practicing it.

I would have gone to see this movie at its premiere, but it conflicts with Baby Driver which is the World Premiere screening of the latest Edgar Wright film that will only be playing once at the festival.

Come to find out, producer and star Ryan Reynolds felt equally as conflicted at first, thinking that the scene was «cheating» the rest of the movie.

It's a conflict most evident in the movie's awkward and slightly unsatisfying coda, which attempts to shoehorn in at least one message — about temperance and tolerance and friendship and adventure — too many.

The movie, another based on another first book in yet another series of books aimed at a young audience, is very clear about its five - tier arrangement of a futuristic society where the only apparent survivors of a massive war reside in and just outside a Chicago that appears to have missed out on most of the conflict.

I was conflicted about Ryan Reynolds in this movie at first.

According to Moore, at one point in the movie, there's a scene before the battle in which Okoye and W'Kabi discuss their conflicting views about the Wakandan usurper that would have both emphasized their relationship and foreshadowed their showdown.

The Last Face's hilariously pompous opening text, which appears on - screen a few words at a time, claims that we can only know of these tragic conflicts «through the brutality of an impossible love... shared by a man... [wait for it, wait for it — the movie makes you wait endlessly, for some reason]... and a woman.»

All three are at their most movie star charismatic here, with their formidable dramatic chops lending real gravitas and palpable emotional stakes as they continue their struggles and conflicts with each other and within in order to act for the greater benefit of their kind.

There's a couple genuinely funny parts, but not enough; and while you have to love a sport where drinking is an integral part of the training regimen, at no point in the film does one feel the slightest bit of empathy for the players who are about to lose their jobs... and in a movie with that as the central conflict, that's a problem.

But Hanna Horvath really does light a firecracker under this indolent movie's ass, sussing out conflicts between the characters and trying her best to lend this lackadaisical beast some measure of confrontation, or at least something resembling a pulse.

At a time when 90 percent of our daily news has something to do with international conflict, it does the heart good to happen upon a movie about brotherhood and the importance of peaceful coexistence.

Jules bemoans the way in which men now dress and act like boys — and Meyers seems to be pointing a finger at post-Apatow depictions of men in the movies — by holding up Jack Nicholson and Harrison Ford as pinnacles of manliness but without full reflection as to the conflict those same ideals can create.

At the center of the movie is the friendship / conflict between the scholarly, straight - laced mission leader Marty «Easy» Julian (Nate Parker) and talented pilot Joe «Lightning» Little (David Oyelowo).

The movie, which defies conventional thinking about war - movie endings, largely consists of conversation, not conflict (at least not in a military sense), as Juba alternately taunts, attempts to school and acts as a confessor to Isaac, who, as one would expect of these things, tries to use his head to outwit his enemy and survive.

It's a messy casserole of Avengers promotion and crossover frippery, shoehorning in unnecessary supporting characters and dual archvillains, devolving its hero to the shallow dickweed he was at the start of the first movie just to generate some character conflict, throwing in a little slapstick martial arts so its director can have an onscreen star moment alongside a sexy A-lister...

Abbott and Nixon absolutely nail the mother - son chemistry and their scenes, whether fraught with conflict or with tender affection are where the movie wants to be at all times.

There's a simpler story at the heart of Gifted, and when the movie focuses on that tale, it's effective (even with the loaded conflict between uncle and grandmother).

The movie is not only too long at 140 minutes, but it's overstuffed as well, so intent on covering every facet of the years - long conflict that Ross refuses to trim any fat, particularly a needless (and poorly acted) subplot involving the 1948 court trial of Knight's biracial great - grandson, who was prosecuted for marrying a white woman.

The conflicting personality clash on display here is entirely basic, but the movie doesn't bother too much with it in the first place, dwindling it down to Jimmy and Chazz hurling insults at each other while slowly developing camaraderie.

RZA: Live From The 36th Chamber was unfortunately dropped from the Fantastic Fest lineup due to a scheduling conflict, but thanks to a friend I was able to procure tickets to a show at The Paramount and it was an unbelievable, once - in - a-lifetime experience — an incredible way to watch the greatest kung fu movie of all - time.

Writer / director Hallie Meyers - Shyer gives the movie a wacky and unlikely premise, the easily resolved conflicts that drag on to fill time, and, at times, a visual aesthetic of static shots of rows of over-lit actors.