Sentences with phrase «moving film focuses»

Not exact matches

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The film acknowledges that first lady Michelle Obama raised the issue of childhood obesity, but it pretty much declares her «Let's Move» campaign a failure because it focuses on exercise and because she has worked with food companies rather than opposing them.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

It's a film that you expect to open in limited release and expand, but after a Sundance premiere, Focus Features is actually debuting it wide today, the Friday that used to launch the summer movie season (which the moving of Avengers: Infinity War kicked off a week early this year).

The premise is surprisingly human; rather than using the ghost - story which accompanies the apartment that the protagonist (Jennifer Connelly) and her daughter (Ariel Gage) move into as its main focus, the film concentrates more on a custody battle between she and her ex-husband (Dougray Scott).

However, the characters the film does focus on get storylines that move them into new directions, something that even their solo films don't always accomplish.

It's highly regarded (as are all of his films) which got me interested, on top of the sci - fi focus, but it also sounded like it might be the slowest moving and most bleak title of his oeuvre.

Focus Features, which originally had the film slated for October 2, 2015 and then January 22, 2016, has moved it again to the more promising date of March 4, 2016.

Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull off.

His story is setup in the film's prologue and comes more into focus as the movie moves forward.

Studio Focus Features likely had their sights on a Fall 2016 release, but Chastain's other film «Miss Sloane», forced «Zookeeper» to move.

Starring an excellent cast (George Clooney, Matt Damon, John Goodman, and Cate Blanchett), the film focuses on a group of men from the United States, Great Britain and France, who are moved by their love of art to recover the masterpieces that were on the verge of being destroyed by the war, or stolen by the Nazis (and the Soviets), in the waning years of World War II.

Nonetheless, Chronicle of a Kidnap makes enough of Karnit Goldwasser's struggle to remain a moving film, and has the good sense to keep the focus at the personal level and avoid discussion of the greater Israeli - Arab conflict.

Its refusal to linger on the sexy, flashy or gratuitous is also a good move from the directors, it instead makes Linda's story the main focus of the film and is all the better for it.

The final film focuses on newlyweds Christian and Anastasia as they try and move on from their past, however, as Anastasia steps into her role as Mrs. Grey, Christian relaxes into an unfamiliar stability, which could threaten their relationship.

One can't help wishing for a film that focuses unrelentingly on Neeson, but that film would move at a much slower clip, as The Grey rarely lets up in the first act, with Carnahan achieving skillful tension and the production utilizing specific and effective sound design to spotlight the uninhabitable environment.

The final film focuses on newlyweds Christian Grey (Jamie Dornan) and Anastasia as they try and move on from their past.

Focused on films and videos by artists, it aims to screen films that use the moving image to change the way we think of film and how it functions.

Those critics who praised Solo focused on how the film moves away from the Force and the Empire to provide an exciting heist film filled with Star Wars lore.

But Focus will need to make some nifty marketing moves to reach them; despite the age and appeal of the cast, the dialogue is often expressed in a kind of stylized formality, while art house touches like a scene backdropped by «Ave Maria» and an upper - crust manor setting can belie the film's quicker, looser rhythms.

Linklater's other films share a sort of meandering quality defined early on with 1991's Slacker, which moved focus from one character to the next as they interacted with different people.

Regardless of the size of their role, everyone plays their part with the no - frills focus required of a war situation but with a dash of moving colour that accords with the film's defining reverence for personality.

The film focuses on a pregnant woman who starts seeing terrible visions after moving to a new home with her husband.

Moving on quickly and before I digress even further, Reichardt's film stars Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard plus Rising starlet Katherine Waterston (click here for more info on her) and focuses on those initial three and their plans of blowing up a hydroelectric dam.

Begrudgingly moving away from The Raid 2, this week's Top 5 features interviews for and Matt's review of Teenage Mutant Ninja Turtles, Warner Bros. bumping up the release of Batman v Superman: Dawn of Justice, the first trailer for Focus Features» The Theory of Everything, an introductory look at the films of Andrew Dominik, and the Alamo Drafthouse announcing the first wave of programming for its annual Fantastic Fest.

Supporting Actor (I really try, but don't always succeed, to focus on the SMALLER parts that blow me away): Christina Bale — The Fighter — amazingly appealing and interesting as a real scum bag — he makes him fascinating, understandable, and sympathetic AND he does so with flair and power Andrew Garfield — Never Let Me Go — I know, I'm supposed to prefer him in Social Network, but I didn't — in fact, he sort of didn't do it for me in that film but in Never Let Me Go he was moving and had a lost, hopeless but yearning aura about him that I found very haunting Mark Ruffalo — Kids Are All Right — very joyous, very charming, very sexy, and totally believable — he made me want to sleep with him and then have a nice long heart to heart with him too!

When Good Machine got bought by Universal — as every studio wanted their own specialty division and folded into a new entity called Focus — Hope moved on to continue to produce films like «Eternal Sunshine of the Spotless Mind.»

Lionsgate is handling international distribution and with Focus coming on to take care of the film domestically, things are moving right along to begin production in Miami this summer.

From there, she focuses on David (Maxim Gaudette), the youngest son who ends up getting married and having two children as the film quickly moves through time.

Written by her husband Jonathan Penner, the film focuses on three friends who move into a house near their college campus only to discover that there is some unknown evil lurking inside.

Rather than focus on the lowest point in Lee's life — the tragedy that drove him from the film's titular town and estranged him from his wife Randi (Michelle Williams)-- Lonergan moves back through time freely, showing specific moments in Lee's past, even as he struggles with a new challenge: being a surrogate father to the now - teenaged Patrick after Joe dies.

Not told in a linear fashion, and more conjecture about the behavior of Jackie than documentary storytelling, the film meditatively moves back and forth between her days in the White House, often lingering on a TV special in which her lavish spending on decorating the White House was the focus, that fateful Dallas car ride and the ensuing plane ride home, the planning of her husband's funeral and burial and the sit down interview.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

After getting done with von Sydow and moving on to Blair, Burstyn, and Miller, the film keeps its character focus pretty well balanced.

Honoré's film works best when it focuses on the relationship between Jacques and an AIDS - stricken former lover named Marco (Thomas Gonzalez); a scene in a bathtub that symbolises the end of that particular strand is overwhelmingly moving.

Zach Braff's Kickstarter - funded film, «Wish I Was Here» sold to Focus Features, which paid top dollar for the project while A24 is considering making a similar move in the bidding war for Lynn Shelton's «Laggies.»

Something about this film feels very clunky, as it moves into its second half it drops much of the sexual nature of its interesting but flawed opening and focuses instead on the actual nature of this heist, using a non-linear sequence that, whilst amusing enough, tends to sap almost all of the tension by virtue of its retrospective nature.

Following its limited release, the Focus Features film continued to move up in the box office.

The fact that this film has ultimately no requirement to get to another Hunger Games allows the focus to truly be on other events which will move the series story forward and build anticipation.

Instead, the film focuses almost exclusively on the relationship between Jeannette and her father, Rex (Woody Harrelson), a brilliant, stubborn, anti-authoritarian alcoholic who constantly moves the family around in pursuit of some ill - defined romantic ideal of freedom.

The description makes it sound like this is a fantasy film more about the human experience than CGI — the boy has to tell stories to keep the monster happy — and distributor Focus Features surely seems confident in the project, recently moving it to an awards - friendly release date in December.

Apatow's films have often focused on male slackers forced to grow up or move out of a rut — think of Steve Carell's hermetically sealed middle - aged virgin in «The 40 - Year - Old Virgin,» or Seth Rogen's pothead confronted with the terrifying reality of fatherhood in «Knocked Up.»

The move to summer is a vote of confidence from Focus Features, and on the new release date the pic will face off against the YA adaptation The Mortal Instruments: City of Bones and the critically hailed horror film You're Next.

Focus Features has moved the release of writer / director Edgar Wright's next film, The World's End, up nearly two months from October 25th to the nice summer date of August 23rd.

As directed by James Mangold, the film moves at a steady pace, focuses on its characters» shifts in personal morale, and features fine performances, especially from its leads.

The procession of black dresses that began at the Beverly Hilton's red carpet moved to the winner's podium as films and television shows driven by women — «Lady Bird,» «Three Billboards Outside Ebbing, Missouri,» «The Handmaid's Tale,» «Big Little Lies» and «The Marvelous Mrs. Maisel» — prevailed at a ceremony marked mostly by serious speeches focusing on months of allegations and admissions of sexual harassment within Hollywood.

When the story moves away from Abdul earning Victoria's friendly respect, and focuses on the animosity from her son Bertie (Eddie Izzard)- who wants to rid the man from the palace - the film starts to stall in it's place.

His mise en scène is very sober, with deliberate pacing, no music, and muted cinematography in blue and gray hues, with things moving in and out of frame, in and out of focus... In a not so specific way, this made me think of M. Night Shyamalan's visual style; the fact that the film is about how people deal with grief, like many of the «Sixth Sense» director's films, only furthered this impression.

British director Kim Longinotto has made her name with a number of intensely powerful, quietly observed films often focusing on the plight of women, like «Divorce Iranian Style» or «Rough Aunties,» but «Dreamcatcher» might be one of her most moving pictures yet.

If you recall, I previously called for Star Wars games to move away from the films, and focus on unexplored time periods.