Sentences with phrase «much bigger film»

But there's a bigger part — in a much bigger film — that will also shoot in Europe later this summer.

Apparently, American Heart Month has a much bigger film budget.

Not exact matches

Much like the success of last year's Warner Bros. film Wonder Woman helped change the conversation around a female superhero movie helmed by a woman director, a box - office smashing debut for Black Panther could pave the way for a similar paradigm shift in Hollywood with regard to how studios approach big - budget stories about characters of color.

It created both a much bigger, deeper audience for films, and a smarter audience for films, and a whole lot more interest in the movie industry.

While I believe there will still be consumer demand to see big, franchise films in a glitzy theater with overpriced popcorn, the jury is still out as to how much traffic will be affected.

The Voyage of the Dawn Treader, the latest of the Narnia Chronicles to hit the big screen, is not so much a children's story as a film about growing up... More

But unlike other films with more direct Christian messages, churches are much less likely to buy out theaters in bulk as they did for «Son of God» and «God's Not Dead,» a move that brought those films big returns at the box office.

He told USA Today: «I'll tell you this much, the film he's going to do is going to be the biggest film in history.

I want to thank Bear from Lolli & Pops for sponsoring the candy bar, Joann and Marilyn for showing up early and helping, Emily for taking these photos and helping set up and clean up, Laura for filming the «get ready with me» video... (coming soon) Glam Squad for getting me ready - specifically Erik and Christopher who made me feel so beautiful and relieved a lot of stress, Roger for his undying support, all of my friends for coming and my beautiful mom for driving 6 hours to, not only come to my premier party, but to scrub my kitchen and help me set up... I am so grateful and genuinely touched that you all care and put so much effort into a big day for me.

Sam Raimi, who has returned to direct a few of the episodes, has clearly been given a much bigger budget than the original films.

Director James Cameron's 1986 blockbuster follow - up to Ridley Scott's Oscar winning science - fiction / horror flick that became one of the biggest grossing films of 1979 asks a good question to a successful hit... How do you make a successful sequel to a film in which much of the suspense comes from learning about the mysterious monster?

Obviously this is to give the film a much bigger impact and attract more of an audience with the action man vibe.

Hey, I guess Donat was a pretty big star, which is good, because as this film will tell you, he was pretty talented, though not so much so that he could make you forget the final product's flaws.

He doesn't have much to do, but an exposition - heavy flashback sequence where the character's true loyalties are revealed is one of the film's biggest highlights.

It's just a shame that the little gems that stick out in memory so heavily, don't reflect the end product that «Mississippi Grind» has to offer; the film is at its core, a so - so gambler, who hits it big but doesn't know when to walk away, overplaying his hand and leaving with a much smaller windfall.

The Allosaurus (the big thing in the jungle with razor sharp teeth at which the characters are shooting) in the film looks clearly like computer graphics, unlike much of the work in «Jurassic Park».

The biggest shortcoming — and perhaps the most / only significant one of the entire series — may be that viewers entering the film without reading the books will not be able to comprehend nearly as much as those who have.

Now I like the first Hoodwinked movie very much, and for a low budget CG film its very funny and keeps you entertained, so when I heard they were going to make a bigger budgeted 3 - D sequel I was interested, but the better CG doesn't add to how poorly this film was made, the CG may be better, but the lip synching is terrible and the voice acting isn't that good.

This is a big reason why the films (which are not so much adaptations of the novels as they are emanations of them) have become very personal affairs for their fans.

Writing for The Telegraph, Robbie Collin calls the film «sensational,» and defends it's methods: «Some audience members at Cannes found its unstinting earnestness, big emotions and political charge too much....

Big - budget action flicks, family - friendly films and much - anticipated sequels are among the blockbusters that have had fans flocking to the theaters every summer.

McEwan's understandable dedication to the source material also leads to some pushy, unnecessary inclusions, from a scene that dramatizes Edward's apparent «coarseness» in a way that's in direct opposition to everything else we've learned about the character, to a heartbreaking insight into Florence's family life that should either be much bigger or totally excised from the film.

He continued doing bit parts, but after 1935, his films grew fewer in number and the parts much bigger.

Though the film is called Coco, the main character is actually Miguel (Gonzalez, The Bridge), a twelve - year - old Mexican boy who has big dreams of one day becoming a famous musician, much like the romantic legendary guitar playing movie star, Ernesto de la Cruz (voiced by Bratt, Doctor Strange).

But this movie also like Ghiblis other movies get moderately big actors or much older actors, such as in this film they got Carol Burnett, and Amy Poelher and Will Arnett.

It's a beautiful film that obviously could have been much bigger, much darker in its take on the family.

He's so much more engaging when directing these smaller films (Oscar - winning Tsotsi) than the big budget Hollywood blockbusters (X-Men Origins: Wolverine, Ender's Game).

My personal issues aside, this is very much a film worth watching, especially on the big screen which should do the grand vistas justice.

Most of his big films are also covered in the bio and show just how much swing he had during his reign, the issue he had with controversial ideas and how his close friendships with top stars of the time like Doug Fairbanks helped him.

Fascinated by the technology of movies as much as by the technology of space — it presents film as a fabulous, exciting plaything, reviving Orson Welles's observation that a movie set is «the biggest electric train set a boy ever had.»

As said, the acting is superb, especially Ruffalo and Dern, but Krause's character gets left behind big time, and the kids that are treasured so much by the characters as well as the story in general get next to no development, which isn't good when you consider the film's emotionally heavy climax.

Not long after our intrepid heroes» arrival in Hollywood, there's a big showdown including most of the characters from the film, and this single scene probably packs in as much madcap insanity as the whole running time of Meet the Feebles.

The Walk finished with a domestic gross of just $ 10.1 million, making it by far the biggest flop of Zemeckis» directing career (though much less costly than the mocap family film Mars Needs Moms that he produced) and one of the biggest financial disappointments of the year.

If the original film didn't do much for you then parts two and three really won't (and no, I wasn't a big fan of the original either).

Anyway, that above rant doesn't do much to affect the film, but for me it was another way in which it felt generic, which was my biggest complaint with the film overall.

But the biggest reason why I dislike this movie is because of how it seems much more like a parody of the first film than it does a sequel.

Marketed on the shoulders of big names that are little more than extended cameos in the film (Jonah Hill feels more featured in the trailer than the actual film, if you can believe it), there are bit players given as much room to play as the stars.

Much in the way Scott Rudin has owned the Oscar circuit for sometime, Gardener and Kleiner have established themselves as an awards magnet for their films as seen by their two previous Best Picture winners («Moonlight» and «12 Years a Slave») and their three other nominations for «The Tree of Life,» «Selma,» and «The Big Short.»

Generally, when a movie studio is trying to promote an upcoming film, it doesn't make a big show of how much fun everybody had while making the movie.

Much of the revulsion to the film is little more than backlash for the «American Idol» pop star oversaturation, not wanting what has become a national obsession on the small screen to start spilling over onto the big.

This often happens with sleeper hits indicating that word of mouth is keeping them buzzing but it's much much rarer with films that open as big as Wonder Woman did.

We don't know much about the film, but it does sound a lot bigger in scope than either of Carruth's previous movies.

Normally the science fiction concept of time travel is reserved for big budget action films, but the idea itself can be much more interesting within the confines of an indie scale film.

From the opening monologue that advises audiences to look close, but not so much that the details eclipse the bigger picture, the film's dependence is evident, with the feature predicated upon the tricks of the trade.

Normally this would be a much bigger flaw against the film, but it's Radnor's lighthearted style that helps in this case, not to mention his charisma and Olsen's increasingly impressive acting talents.

The actor is very much the focus of this first trailer for «Need for Speed,» the big - budget film adaptation of the best - selling video game series.Scott Waugh («Act of Valor») helms...

Noel: As much as it pains me to say it — in part because it sounds like sour grapes, and in part because it's almost too big a topic to tack onto this discussion — I think the rise of the OPs corresponds with the rapid decline of film criticism in the mainstream media.

But it's unfair to judge on a book on its cover (or title) and after seeing Matthew Vaughn's film adaptation which releases this weekend, I can honestly say that Kick - Ass is much better than I first expected and Vaughn's big - screen version of the graphic novel features sharp writing, brilliant performances, and of course, indulgent action sequences and story - telling.

On big studio films, it's more laid - back, «but the food is much better.»

I was a big fan of Eastwood's Unforgiven, because it was a gritty, violent film in which the actor effectively deconstructed the stylized superficiality present in much of his earlier Western filmography.