Sentences with phrase «much everything about the film»

Not exact matches

The plot is loosely held together by quite a bit of setting up and falling down, devoting much of its runtime to making you want to care about what the Pentagon Papers are, how the newspaper operates, and what's clearly at stake, before finally getting to the point where everything finally comes together, which is when the film is at its sharpest.

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.

Everything about «American Ultra,» from it's dumb dialogue, to it's ridiculous story, to it's very unfunny cast, there really is not much to enjoy about this film.

Much of the talk at Sundance this year, where, despite everything, sales and attendance were up, was as much about the ways in which movies will be «consumed» in the future — with all the various digital platforms on the horizon — as on the films themselMuch of the talk at Sundance this year, where, despite everything, sales and attendance were up, was as much about the ways in which movies will be «consumed» in the future — with all the various digital platforms on the horizon — as on the films themselmuch about the ways in which movies will be «consumed» in the future — with all the various digital platforms on the horizon — as on the films themselves.

It feels like only yesterday that we were talking about the best films of 2011, and yet here we are, nearly at the end of June, and we've seen pretty much everything that the first half of the year has to offer.

There is so much money on the line with this film — especially considering that parent studio Lionsgate bid a reluctant farewell to the «Saw» franchise only a little over a year ago, and could use another cash cow — and yet nearly everything about its execution flies in the face of standard Hollywood protocol.

It complains about Hollywood as much as it adores it (a line from Ryan Gosling that L.A. «worships everything and values nothing» is especially on point) and that paradox is only part of why it's just a great film.

and pretty much everything else youve commented on was on the technical side of the film but you haven't said a word about the story.

, «Lucky» is a film about both not much at all and, well, pretty much everything.

The boisterousness of the film's finale, with its sieges and rescues, its lightning bolts and flash floods, relieves what would otherwise be an almost unbearably sad evocation of what is least preservable about youthful experience: not so much the loss of that «innocence» that is such a hackneyed motif of modern American culture (and for which summer camps have always been a favored location) but the awakening of the first radiance of mature intelligence in a world liable to be indifferent or hostile to it, an intelligence that can conceive everything and realize only the tiniest fragment of it.

We're doing 10 episodes and I think the interesting part about it is exactly what you said, everything's changed so much; the line between film and TV has blurred so much over the years, I think Jack Ryan is a product of that blurring so much that I think that they're not even really considering it a TV show, they're calling it a movie that's being told in 10 parts; and that's not just an argument of semantics, it's actually true.

One reason it's hard to find much critical guidance about Hong Kong movies is that most of what's written about them in English comes from within the Hong Kong film industry, which monotonously emphasizes box - office grosses over everything else, and is in a form of English that borders on gibberish.

But everything in this movie is tame: the affair is about as passionless as it can get, even for the English; the guy is pretty boring — more traveling salesman than transgressive cad; and the film itself is written and shot so tastefully as to be pretty much inert.

That seems to be the philosophy of director Todd Phillips, whose sequel to the box office comedy smash The Hangover doesn't so much try to replicate the magic of the first film as it does try to replicate everything about the first film.

Writer - director Mike Mills («Beginners») creates feelings and moments, and in turn, he and his cast conjure a film that's as much about nothing as it is about everything.

Blu - ray Highlight: The 30 - minute documentary «Between Good and Evil» is an excellent retrospective on making the movie, featuring interviews with various cast and crew, as well as a few Kubrick experts, about everything from the casting process, to filming in East London, to the director's notoriously long shooting schedules and much more.

In the film's opening minutes, we learn everything we need to know about the family: Kinsey, with her ripped Ramones T - shirt and love of cigarettes, is a nebulously rebellious teen who's about to be sent off to boarding school, much to her family's consternation.

This is kind of an aspect of the film, a loose (loose) plot line that holds everything together (despite kicking in around an hour into the feature) but, as I am about to argue, Detention has so much more to offer than this intentionally basic premise, one that underscores (in one way or another) basically every teen slasher movie of the mid-90s to late - 00s.

However, during the day the film falls apart, primarily due to the abundance of ideas floating about; everything from religion to family history to psychology to the nature of creating a myth is thrown into the mix, and it all adds up to much less than the sum of its parts.

Anyway, it's John Waters's breakthrough film, a satire about, well, pretty much everything.

During our wide ranging conversation we talked about everything from how performance capture technology has reached a new level in terms of integrating CG characters into live - action filming, to how they didn't use miniatures on The Hobbit, and so much more.

Pretty much everything about it, and its accompanying music video, oozes 2002: JT's Crouching Tiger — inspired dance moves, the Britney look - a-like, the tramp stamp on the model who helps him film a revenge sex tape, the fact that the revenge sex tape was filmed with a clunky camcorder, and not a phone.

Timing is everything, and The Birth of a Nation was simply eclipsed by four much better films about African - American families: the Oscar - nominated films Fences, Hidden Figures & Moonlight, as well as Loving (nominated in the Best Actress category).

This is a great feature, and tells you pretty much everything you need to know about the film.

Our latest episode of The First Word podcast, featuring special guest film writer Tomris Laffly, is a discussion about everything dogs - dogs in movies, why dogs are the best, and so much more.

The Week in Star Wars is back with a Last Jedi special, with reviews of the film, everything you need to know about the box office and much more... It's finally here!