Sentences with phrase «moving little film»

Some characters come across as overwritten, but My Life Without Me is still a wonderful, moving little film that carefully avoids the «disease of the week» movie formula.

But that misstep does not negate the charms of this funny, oddly moving little film, which is distinguished by some fine acting.

Not exact matches

Moving forward, I am excited about our April projects and determined to film a little more for the old YouTube channel.

It's nice to see a little more of Hobbit life but it does little to move along the story; the film works fine without it.

American Pie Presents The Naked Mile's latter half, as a result, moves along at a plodding pace that's compounded by an episodic structure, as the movie lurches from one ill - conceived set - piece to the next with little thought towards momentum or consistency - which inevitably does confirm the film's place as just another interminable waste of time designed to cash in on the original trilogy's success.

This film may move a little too fast but it isn't cheesy or award hungry like Philadelphia.

Not much happens in The Midwife, but its depth and texture make this a moving film about families, time passing and shared history — and the handful of scenes in the maternity unit where Claire works, five or six little miracles of birth, somehow add to its sense of a life as mysterious and precious.

Hutterite commune [his blistering speech is deeply moving and is certainly the heart of the film's message] and Niall McGinnis as Vogal, the German soldier who finds his conscience just a little too late - his demise being the quiet tragedy of a man who wanted a return to a simple life baking bread, instead of being an unthinking killer!

By offering the first act of the concluding tale as a stand - alone film, Lionsgate and company have made us wait a year for a plodding, dull, and thinly plotted movie that does little to move things forward.

Brickman does a handful of a snazzy moves — some with editing, some with the narration, some with lighting and slowing down the film (nothing ostentatious, but certainly a little different from the rest of his approach)-- and the score tempers it.

It was the debut film of previously unknown director Ryan Coogler, and yet, no other film moved me to near emotional breakdown like that little - film - that - could.

Set in an America that has been overrun by fast - moving undead, the film follows four survivors: Columbus (Jesse Eisenberg), a neurotic nebbish; Tallahassee, a kick - ass, macho zombie slayer (Woody Harrelson); Wichita (Emma Stone); and her 12 - year - old sister, Little Rock (Abigail Breslin).

So, since the film does nothing but observe Finbar's daily interactions with other characters, and since he changes very little by the end, the movie ends up moving nowhere fast.

Little Women» is a moving film about the making of a sensitive writer and the maturation of a small - town girl who transcends her milieu and at the same time retains its heritage.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

It was not just that Margin Call was a little slow moving, it is that the film feels like it is on the same level the entire time.

Netflix films have been released with comparatively little fanfare (the Grand Jury prize winner of Sundance, I Don't Feel at Home in This World Anymore dropped onto the platform in February and registered nary a blip, with Bong Joon - ho's Okja also not succeeding in moving the needle all that much), as they seemed content with simply putting it up on the service and setting up a few awards qualifying runs in New York and LA and leaving it at that.

Though much of the film consists of little more than Paisley and McGuinness verbally parrying back and forth in a moving van, the filmmakers seem so concerned about not making the story feel stagey and claustrophobic that they invent ways of getting the men out of the vehicle; most conspicuous is a flat tire that leads to an extended detour into a forest and an invalid credit card that holds the two men up at a gas station.

With a little over a month to go before its UK release, another new poster has arrived online for Nicolas Winding Refn's hotly - anticipated horror The Neon Demon featuring Elle Fanning; take a look here... SEE ALSO: Watch the latest trailer for The Neon Demon The film sees Elle Fanning (Maleficent) as an «aspiring model who moves to Los Angeles, -LSB-...]

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

I selected In Bruges over all others this year because this little film caught me off guard, moved me, and at the same time exceeded my expectations, and stuck with me almost a full year later.

And while Aronofsky typically spends years writing his films before putting them into production, this time the Oscar - nominated director decided to move things along a little faster.

Abbasi moved to Little Rock, Arkansas at age nine and uses his experiences to bestow the film with a depth and richness that transcends the present moment, creating a story that resonates on a dreamlike register.

Reese Witherspoon (HBO's Big Little Lies), Nicole Kidman (also Big Little Lies), Naomi Watts (Netflix's Gypsy), Sarah Jessica Parker (HBO's Divorce), Drew Barrymore (Netflix's Santa Clarita Diet) and Laura Linney (Netflix's Ozark) all earn at least $ 250,000 per episode for small - screen projects; even Emma Stone, the highest - paid actress in film, is moving to Netflix, where she'll earn $ 350,000 per episode for the series Maniac.

You expect so little from the film that you can almost see some good qualities in it, like the fact that is short and relatively fast - moving and also fairly coherent.

Also, the vulgar dialogue that appears in the novels as well as the film that serve little purpose in moving the story forward, and generate a creepy tone.

Laura Dern (Little Fockers) and Sam Trammell (TV's True Blood) also star in this powerfully moving film based on John Green's New York Times best - selling novel.

Bunny Lake Is Missing — A twisted little puzzle film from director Otto Preminger about a woman (Carol Lynley) who loses her daughter on her first day of preschool after moving to London.

Still, it's good to see Jason Reitman tackling such tonal range in his still - young filmography — though I could have stood a little more of the loose, spiky texture that characterized his still - undervalued direction of «Juno,» a film less cannily written and cleverly assembled than «Up in the Air,» but one that moved me more directly on first viewing.

We know what Jack is capable of and how little humanity he possesses (although his obsession with butterflies suggests a repressed longing for some sort of emotional rebirth) so key moments in the film, such as when he is contemplating if murdering an innocent person is a good strategic move, are tense and unpredictable.

That renders its failure to grant its black characters humanity especially glaring, and means that Dixon's move a little closer to the good by the end of the film feels off; there's no sense of wrong being brought closer to something like the right.

It's the little notes that he hits that are more memorable than the broad ones like the look on his face when he sees Peppy's new film opening in a much bigger venue than his own or the way he can't move past the young lady as they try to shoot a dance number (in easily one of my favorite scenes of the year).

The whole film has a tendency to get a little gaudy once we move from our world to Teo's.

There's little doubt that Chloe initially doesn't fare quite as well as one might've hoped, as the film moves at precisely the sort of glacial pace that Egoyan has become known for - with the lack of emotional resonance among the various characters essentially perpetuating the cold, almost clinical atmosphere.

Mr. Cuarón, whose most recent film was the moving and irrepressible teenage sex comedy «Y Tu Mamá También,» may be the perfect man for the job, though parents worried about an unrated, sexually explicit «Harry Potter and the Prisoner of Azkaban» should remember that Mr. Cuarón also directed a superb adaptation of «The Little Princess.»

A Little Chaos moves at a suitable pace, with romance occupying the main strand of the film.

Certain Women moves, as all Reichardt's films do, at a languid pace, and a handful of characters — notably Williams's — could be a little better developed.

The film sags a little bit in the middle but there are also some good twists throughout the film that keeps it moving.

Director John Hillcoat's (Lawless; The Road) film has little character building, because the story, written by Matt Cook, overflows with people, and quickly moves to entertaining action sequences.

Only the best, most interesting, or little - known films will be fully reviewed on here moving forward.

Though Was's film looks better, it's also a decade newer — incidents of grain remind that probably little effort was afforded its move to DVD.

Or he's under the illusion that he can move objects without touching them — throughout, the film does a little dance of ambivalence around what's real and what imagined.

By the time the film does get moving, it's too little, too late.

His career began in the theater, but he eventually moved on to film, helming such classics as «The Miracle Worker,» «Little Big Man,» and «Alice's Restaurant.»

As someone who likes a little more substance, meaning and cause to their films instead of just human flesh being mutilated, I find, on average, one good «horror film» each year and those films, like Sinister, The Gift, or The Last Exorcism, make you think instead of just showing you images and sounds to make you move.

In the first film, Mac (Seth Rogen) and Kelly Radner (Rose Byrne) tried to get a fraternity that had moved in to the house next door to vacate the premises, so that they could have a little peace and quiet while trying to deal with becoming new parents.

This film has so many moving parts, spending little to no time perfecting any of them (or adequate - ing any of them, really), that it feels more like a series of skits left on the cutting room floor with no connective tissue to keep the momentum up or drive interest in any of its characters, the outtakes of a better and more accomplished film.

It took a little while but I finally caught up with the film after the fest and was so taken aback, so impressed and surprised and genuinely moved by what I saw, I couldn't help but write about it.

The film picks up some steam in the final act, when the heroes finally make their move, but it's too little, too late.

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.