Sentences with phrase «much less a film»

It is much less a film about fashion than a film about an artist with a Roderick Usher - like sensitivity.

Not exact matches

EASTWOOD: So anyway, we did that and then I went to Tokyo and where they hadn't been too fond of Americans going there and filming, I sold the governor who was actually the mayor of Tokyo, I sold him on the idea that this would be a great thing for the Japanese people that didn't even know this battle even existed much less how tough it was.

It's called «Six Degrees of Kevin Bacon» and it refers to the fact that pretty much any actor or actress is most likely just a few roles away (or less) from having worked with Bacon, who has starred in more than 80 films and TV shows.

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.

By contrast, if I had simply destroyed a blank, unexposed piece of your film, you would have been much less upset.

In comparison, my film cameras (which were much less expensive) are as old as I am, are still going strong, and take beautiful photos.

A much smaller contract to supply office furniture for the film hub built by COR, worth less than two hundred thousand dollars, attracted interest from twelve companies after being advertised more widely.

Having re watched the trailer after the film, the it does pretty much give away what the film is really about and make the twists a lot less surprising.

The action scenes highlight Rodriguez's trademark ability to choreograph firefights and explosions, but they're doled out with uncharacteristic stinginess between long stretches of exposition that clear up much less than they should, as the film builds toward a climax featuring some strangely underpopulated riot action.

This unfunny, unoriginal, charmless teen comedy is so stunningly awful from start to finish, it's amazing to think its director has made a single film before, much less a dozen.

Actually a pretty staid affair, showing much less nudity than most R - rated films and coming down firmly, for the most part, in the pro-monogamy camp.

The plodding timeline of a film such as «Tulip Fever» — which was in the works for about 13 years before premiering this past summer — is much more typical than a turnaround of less than a year.

Though Tony Gilroy, who shared writing credit on all three previous Bourne films and directed the excellent Michael Clayton 82 (and much less excellent Duplicity 69), handles both writing and directing duties here, critics found that Legacy added little in the way of originality, while Renner proved a less captivating action star than Damon.

It's funny how a «small» Spielberg film can feature an all - star cast led by Meryl Streep and Tom Hanks, much less leap into production on May 30 and be ready for audiences to see it by the beginning of November.

That spirit of giddy flippancy keeps the film pleasantly engaging, but it also practically ensures that, unlike the books on which it's based, Peter Rabbit is rather unlikely to be recalled with misty - eyed adoration by the time the year's out, much less over a century after its creation.

Director Stanley Kubrick, working from a script cowritten with Calder Willingham and Jim Thompson, kicks Paths of Glory off with an admittedly less - than - engrossing stretch, as the movie boasts (or suffers from) a somewhat talky first act that doesn't contain much in the way of compelling elements - although, by that same token, it's clear that the film benefits substantially from Kubrick's stellar directorial choices and a host of above - average performances.

For the fourth time» Alvin and the Chipmunks» trashed childhood, since the beginning, was good, but the rest of the film has failed, or keep up with the proposal, much less beat «Star Wars: The Force Awakens «and the end is very ruined, did not find the meaning of descenlace of» the

If the abundance of agriculture may be too much for some tastes, the film subtly reveals how farming methods grew increasingly industrialized over the years: Just as the armies of the Great War employed modern weapons like tanks and airplanes for the first time, so the Paridiers begin to use combines and tractors to yield more crops with less labor.

For the fourth time» Alvin and the Chipmunks» trashed childhood, since the beginning, was good, but the rest of the film has failed, or keep up with the proposal, much less beat «Star Wars: The Force Awakens «and the end is very ruined, did not find the meaning of descenlace of» the Road Chip».

The lack of a convoluted motivation felt that much more terrifying, a tactic also used in 2006's Them and 2016's Hush, maybe because the indiscriminate nature of the violence makes us all feel unsafe and maybe because, as many classic horror films have shown, the less we know, the more terrifying it can all seem.

Coming off the success of the horror film It Follows, writer - director David Robert Mitchell shifts into noir with his latest feature, but the results appear to be much less favorable.

When Greengrass was unable to produce a workable script, Tony Gilroy, who shared writing credit on all three Bourne films and directed the excellent Michael Clayton 82 and much less excellent Duplicity 69, was selected to write and direct a fourth film that would star a new operative but leave the door open for Damon's Bourne to return in the future.

By the time we get to the bar scene, we're willing them to get with things so much that we don't really mind whether they grow as people or not, and at the end of the film everything goes (more or less) back to the way things were.

The story hits many of the some notes as the first film with much less success.

I liked this documentary because it was as damning as a Michael Moore film and much less sentimental, and the message was stronger because of it.

I was almost sick during the film, it had got to the point when I was getting worried about how much less interesting things could get - until it looked like Eleanor and Dr Moreau were going to fall in love, and then I actually was sick.

Which means that rather than the normal action film sweet / sour balance, Man on Fire presents a much less preferable sickly sweet / unremittingly and sickeningly bitter balance.

The Second Mother also eases the tone to make its events less caustic and bruising to those involved, meaning the film's initial, impending sense of dread is eventually discarded in favor of peppier resolutions, even though its economic concerns haven't been so much resolved as temporarily brushed aside to provide an illusory, optimistic capper.

Inspired by Heidi Murkoff's multimillion - selling - self - help - book for expectant mothers — holding the same name — «What to Expect», the film, will be much less prolific.

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.

Much of the time, «Station to Station» feels less like a film than a very well - produced music video.

Gorgeously photographed by Billy Williams, On Golden Pond is a wonderful valedictory for Henry Fonda, who died not long after the film's completion; Katharine Hepburn has less to do, but few can do so much with so little.

One of the most impressive things of Bahrani and Bahareh Azimi «s script is that it sets up scenes which could have followed into much more dramatic outcomes but the writers chose to take the road less traveled and in an odd way, by taking the less dramatic approach, the film removes itself that much further from the majority of indie films that concern themselves with cramming the most amount of drama into the least amount of time.

10 Items or Less is a likeable film with a handful of delightful moments, but at the same time, why does it waste so much time, ours and theirs, in an effort that has no theme, plot or purpose?

He's less convincing as the older, wiser Paz of the film's second half, but that's as much a scripting problem as an acting one.

There's so much to appreciate in that film — from its portrayal of a kickass female lead character who just so happens to have a physical disability (though is never depicted as being a person who matters less because of it) to its impressive number of real - time stunts and action sequences to its feminist message.

The material used in this film wouldn't even be adequate fodder for a 30 - minute pilot for a possible cable TV sitcom, much less a 90 - minute gag - a-minute comedy.

Nobody expected it to be good, much less one of the best films of the year — animated or not.

Though it's evident that Marina comes from a different class than most of the film's other characters, A Fantastic Woman is withholding about her background and family — and this would be less of a problem if Lelio and co-screenwriter Gonzalo Maza offered her much in the way of motivation or aspirations.

I wish I could muster the same enthusiasm for the entirety of a film that has a by - the - books feel in its tale of a washed - out country - and - western travellin» man who is redeemed (well, maybe) by the love of a much younger woman - a journalist, no less.

While largely avoiding the Twilights and Divergents of the world, he's made interesting career decisions, weaving horror and indie films throughout his comedy roles, and largely using social media in a much more subversive and less thirsty way than some of his peers.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

So I'll use this opportunity to sing the praises of something I'm much less surprised but no less disappointed didn't make our list: Gett: The Trial Of Viviane Amsalem, a thorny Israeli film about a married woman (Ronit Elkabetz, who also co-wrote and co-directed) attempting to secure a divorce against her prideful husband's wishes — a real uphill battle with Israeli law, which is fundamentally stacked against her.

Much like the Hobbits in the Lord of the Rings films, most of the main elves are played by actors who are rather tall, but shortened thanks to a great deal of CGI work (pretty much utilizing Little Man's copy - paste head technique, only less effectiveMuch like the Hobbits in the Lord of the Rings films, most of the main elves are played by actors who are rather tall, but shortened thanks to a great deal of CGI work (pretty much utilizing Little Man's copy - paste head technique, only less effectivemuch utilizing Little Man's copy - paste head technique, only less effectively).

Gudegast, making his feature directing debut after writing «A Man Apart» and «London Has Fallen,» seems to understand just enough about that element of Mann's film to recreate some of its conflicts — both in terms of crime scenarios and the characters» civilian lives — but lacks the discipline, or maybe skill, to lend them real emotional weight, much less originality.

Story-wise the film should have been much stronger with less predictability and a better thought - out villain.

It's a somewhat generic storyline that's compounded by the presence of a seriously annoying supporting character named Ngoc Lan Tran (Hong Chau, delivering one of 2017's most grating performances), with the less - than - engrossing vibe compounded by a stagnant, meandering atmosphere and aggressively overlong running time (ie much of the film's midsection consists of padded - out and entirely needless sequences).

Achieving moments of lyrical beauty seldom before attempted, much less reached, in his earlier films, Rosi here appears to be moving beyond a politically - inspired cinema and more towards an investigation of private spheres of experience.

In other words, Motorway is a stunt film whose stunts are less conventionally compelling than they are thoughtful, a distinguishing quality that's as much a boon to the film's overall quality as it is a liability — and unfortunately the latter ends up winning out.

The particular nature of Sargeant's film writing has much to do with insisting on the material as less the object of film criticism (criticism, too, must undergo a thorough expurgation if one is to think through underground film and write about it), and more an attempt to situate it within a wider context of describing its performance upon the audience.