Sentences with phrase «much easier film»

Final Verdict: Suicide Squad, in many respects, is just as flawed as the other DC movies, but humour and fun make it a much easier film to enjoy.

Not exact matches

Now footage from the 1950s isn't exactly easy to come by, but judging from this trailer the film makers have not only found plenty of good stuff, but it looks like much of it is in colour too.

The fact that the children have seen just how much gas is released makes it easier to understand why the pressure builds up so fast inside the film canister.

- May 2009 we filmed a segment for A-Chanel Morning about how easy to use cloth diapers are, and how much money families can save by switching to cloth diapers.

Digital tools make this so much easier than copying fading pictures onto film.

Funny, athletic, well - read, film - buff, nymphomaniac;) I don't have a Premium Account so it will be much easier for you to friend and message me on FaceBook (Travis Zeigler;)

This film does seem to have a cult following (nowadays, upon release not so much) and its easy to see why as its highly enjoyable with its highly nonsensical premise.

That's right, Ryan Gosling fans, with this film, Refn first got his Danish derrière (Oh, wait, that's French) over here to America, and you know what, that was the time critics decided to question some of his storytelling methods, either because foreign films are much easier to forgive for their pretentiousness - I mean, «experimental artistic vision», or simply because Refn had so little of an idea on how to bring his visions to America that he decided to get John Turturro, of all people, as his lead.

It is very easy to see similarities with later sci - fi franchises whilst watching this film, the most obvious (to me) being Star Trek from the futuristic space attire to pretty much everything.

There are moments of cinematic beauty, but «Deathly Hallows» is a film that's much easier to respect than to admire.

Now, in terms of films on addiction, this one is much lighter than a film such as Requiem for a Dream and easier to get through for sure

Now, in terms of films on addiction, this one is much lighter than a film such as Requiem for a Dream and easier to get through for sure (though I do prefer Requiem for a Dream to this one).

Hodges doesn't shirk his duties, and though the film lapses too often into easy facetiousness, much of it feels surprisingly substantial.

Much like Gladiator and countless other stories in a variety of genres, this rags - to - riches tale can't hide its formula, even though it's easy to get lost in the film's formidable scope.

While the film's philosophical musings prove frustratingly unformed, its human story becomes much easier to embrace.

And the fact that the film, much like Spotlight, the Arabian Nights Trilogy, and Anomalisa, is very much pitched at an adult level, instead of going aiming for the «teenager» set (and I'm not just talking Jurassic World / Marvel / StarWars, I do believe a lot of Oscar - Bait is pitched at that simple level of easy digestion, Carol is not.

Greta Gerwig who wrote and directed «Lady Bird,» which won Best Motion Picture - Musical or Comedy, noted that «it's been such an incredible year for women in film both as actors and also writers and directors and producers and people who are really coming to the forefront to tell their stories about the world as they know it from where they are standing, and I think that the response to these projects and the support that these projects have gotten and the way that audiences are going to see them or watching them in their homes, I think all of this just makes it so much easier for the next crop of filmmakers who want to tell stories about women.»

As much as I'd like to blame the trailers for misleading viewers, this is not an easy film to market, and as such, most ticket buyers walked into their screening ready for a simple, familiar formula: Seth Rogen + raunchy R - rated comedy.

This is perfectly in keeping with the style of the Broadway production, which features much more of this style than the film does, with Condon beefing up the dramatic dialogue for purposes of an easier narrative and deeper characterizations.

The film also goes a bit easy on its characters considering the time period (apart from Carol's custody battle, they don't experience any persecution), and while it looks gorgeous — like an oil painting of soft pastels — you don't feel the romance as much as you should; it's sensual, but emotionally distant.

It is much easier to enjoy Richard Curtis films when you accept that they don't really take place in the real world.

Were the film all whiz - bang, I think it would be much easier to dismiss a visceral response to it.

With the overview in place, the stories came together for me much easier and the film felt more organic.

Plenty of Second World War movies were just capers, but a lot of those were propaganda films, which this film very much isn't, and they were about a war that was easier to categorise in terms of Good and Bad.

However, as much as we might be able to protect ourselves, when Bay plays the film for comedy — that's when he puts the steel - toed boots on and really drives it into your groin with a wallop, and the only reason the final hour of destructive mayhem seems easier to take is that the actors play heir roles with straight - faced seriousness.

Released by various entities in all formats all over the world for years, The Monster Club is a very easy film to find and deserves to command a much bigger cult following.

Yet that stylistic clarity is as much a product of the film's often strained cinematic high points, such as when Mosab is told «welcome to the slaughter house» by a prison guard, a line clearly inserted to elicit a thriller - order ethos that's too easy a gesture to the ubiquitous violence of the war's innumerous military and civilian conflicts.

Watching Hanna, it's easy to see why there was so much buzz around Seth Lochhead and David Farr's screenplay in the few years before the film went into production; the story of the mysterious young warrior is structured in a way that immediately draws the viewer in, and keeps us constantly guessing as the details of her enigmatic past steadily come into... read more

When the film reaches and stretches its narrative boundaries and epic ambitious, it's about as powerful and awe - inspiring a film as has graced the screen this year, and this makes the flaws much, much easier to endure and overlook.

The children's rendition of Rambo is actually much easier to take and enjoy than its bloody source film, as daring stunts and goofy ideas (a scarecrow antagonist, a flying dog) stand in for post-Vietnam sadism.

I realize that much of the plot of the film is a cross between China Town and Pale Rider, but it still comes off as original and charming, and most of the audience won't catch the easy references.

A little trimming by screenwriter Ol Parker and a little more confidence in who the story is about — rather than a need to showcase every character as much as they can — would have been a quick and easy fix to a film that's enjoyable but spread thin.

Like most Apatow productions, Forgetting Sarah Marshall runs a bit long for a romantic comedy, and given that most of the film centers around a familiar plot that doesn't take that much effort to relate, it's easy to have winnowed down a few lulls for a more potent comedy.

Being such a massive phenomenon has made The Hunger Games an easy target to tilt at but the truth is that, staying close to the Suzanne Collins novel, this film adaptation is a lean, smart science fiction thriller that there's much to like about.

This film deserves so much praise that it's easy to spread around, but the authors must come first.

However, it might just be Channing's kinetic energy which somehow weakens the film, since neither Nichols nor screenwriter Carole Eastman (of Five Easy Pieces fame and working under the pseudonym Adrien Joyce) give her much of a character to latch onto.

The men, who had just previously been discussing movie tropes and discussing how much easier things would be if at the climax of a film all could be revealed by one character simply handing another character a copy of the film to catch them up — Don't Tell Mom the Babysitter's Dead being their example of a time this would have come in handy — lend Dorothy their phone.

This was a film much easier to shoot than Miller's Crossing, and the budget ran about a third less, just like the shooting schedule: eight weeks instead of twelve.

The film is a fragile thing, easy to overlook if it isn't approached with an open mind and heart, but it's very much worth doing so.

Director Neil Blomkamp has received so much press lately regarding his upcoming Alien sequel that it's easy to forget he actually has a film coming out this year.

The only advantage of this is that it makes it very easy to measure how much time the film has left.

It is easy to extract exactly where the story is going from the 40 minute mark or so, and while it certainly is not necessary for all films to be exciting, twisty labyrinths designed to keep their audiences on their collective toes, too much familiarity can be frustratingly distracting.

«The original material of the novel is such a great story and it has so much to give, then, like a lot of stories that we revisit in the industry, it lends itself very easy to a wider interpretation,» says Natalie Dormer of Amazon's adaptation of Picnic At Hanging Rock, which of course was also a seminal film from director Peter Weir back in 1975.

It just makes it that much easier to have the film be in a class all on its own.

«If it creates an interest for people to see the film then that's fantastic because it makes our jobs as storytellers much easier, and more importantly for me, having had some experience with this extraordinary man I really want his story to be known as broadly as possible.»

But there's also a softness to the dramatic arc of the film, which doesn't so much march forward as waft along, with rather low stakes and all - too - easy resolutions.

One of the reasons I like Olivier Assayas's films so much (and possibly the reason I didn't initially) is because his films are so difficult to pin down; they defy easy categorisation or explanation.

It's easy to forgive the cast of «American Reunion» for having some hesitations about returning for another installment of the comedy franchise (especially after that terrible line of direct - to - video spin - offs didn't do much for its reputation), but credit to co - writers / directors Jon Hurwitz and Hayden Schlossberg for not only getting everyone on board, but delivering one of the better films in the series.

The clothes and cars are easy enough to get down pat, but it's the way that the characters come to life within the milieu that feels very much like they're achieving a level of believability that credits the film.

For the Bollywood newcomer, the use of a recognizable tune make what for some is an alienating Indian film convention that much easier to accept.