Sentences with phrase «much of a movie»

Much of the movie plays out like a thrilling — and tragic — underdog sports story, but its surprise third act shows that the real story of Bill McCartney isn't just about faith and success: It's about personal redemption.

But like within a few weeks of saying that, I came down with a horrible stomach flu, and was even too feverish to watch much of a movie.

Asked how he relaxes, McDavid says he's not much of a movie guy.

I feel like I am giving too much of the movie but you know what happens next.

I don't want to give away too much of the movie.

Worse, the relationship between Crowe and Affleck's characters, originally the two central roles, is overlooked for much of the movie and seems underdeveloped when it finally becomes crucial to the plot.

While much of this movie may be old hat to savvy Discover readers, it is definitely worth watching by skeptics, many of whom occupy the positions of power that enable them to effect the most change.

I also call it my Cinderella dress, because it reminds me so much of the movie!

I'm not going to give away too much of the movie, but I really think it's an awesome watch!

I'm not going to give away too much of the movie (NPR has done a great review of it, and in a more eloquent way than I ever could), but I really think it is an awesome watch!

I'm not much of a movie person, I just have a hard time sitting still.

Because the documentary «Oklahoma City» is an episode of «American Experience,» opening theatrically before airing on PBS on Tuesday, and because it documents events that were widely broadcast on television, much of the movie plays like a tightly edited rundown of familiar material.

Although the prisoners remain compelling, and Crudup is reliably engaging, too much of the movie's second half is dominated by one of the guards, Christopher Archer (Michael Angarano).

Wilson and Vaughn deserve credit for much of the movie's success.

For much of the movie, he switches between Mr. Foley and Dr. Mireles, who register as very different men with distinctive methods, manners, lives and presentational styles.

The lifeless vibe persists for much of the movie's overlong running time, and although the return to Vegas towards the end is kind of amusing, The Hangover: Part III has long - since established itself as a predictably pointless closer to a consistently half - baked franchise (ie it's saying something that this is the least objectionable installment in the series).

But in all fairness, the rest of the actors are quite good in their roles (Shannon Elizabeth is thankfully offscreen for much of the movie) and Biggs once again proves he can play an effective everyman type.

I quite liked the ending, faithful to Wells» book as it is (never mind the question of why the aliens didn't take the Earth's microorganisms into account, given their superior intellect); a more standard Hollywood ending would have ruined much of this movie.

This is, unfortunately, how much of the movie flows.

Serving as the primary cinematographer, he employs a run - and - gun style for much of the movie, using a lightweight digital camera that at times lurches so dramatically that you can visualize the body attached to it.

Much of the movie centers on the ways in which people react to the new and improved George.

If that sounds to you like it doesn't amount to much of a movie, well, that's what many critics thought, too.

Much of the movie's charm comes from seeing middle - aged women in roles that usually go to middle - aged men.

The final third of «I Origins» helps make up for much of the movie's earlier shortcomings, and while it does have a nice gothic look, it's not nearly as captivating as Cahill intends.

And although much of the movie's opening hour revolves around the protagonists» encounters with a variety of folks, Mirage's plot eventually does begin to take shape - as De Bankolé's character is drawn into the affairs of a nasty figure and his henchmen.

It's clear that Killer's Kiss requires a great deal of patience from the viewer, as much of the movie's first half suffers from the feel of a rather unimpressive student film - with director Stanley Kubrick exacerbating this feeling by suffusing the proceedings with needlessly ostentatious visual choices.

I spent much of the movie thinking about her Oscar - nominated turn as an intrepid Boston Globe reporter in «Spotlight» and her wrenching performance as an Orthodox Jewish woman in the upcoming drama «Disobedience,» and wondering why the studios can't give this brilliant actress something comparably rewarding to do.

Helpfully, one of those scientists happens to have a special - forces background, allowing him to spend much of the movie doing all kinds of The Rock - like things.

Much of the movie relies on Cotillard's jittery expressions as she veers from tentatively hopeful to despondent and back again, sometimes within a matter of minutes, reflecting the ever - changing stability of job security among the lower class.

He can't die even if, for much of the movie, he very much wants to.

Deadpool is depressed for much of the movie, a brave choice for a franchise founded on the twin pillars of extreme snark and dick jokes.

For much of this movie, Mr. Wenders frames the pope in a plain medium close - up and invites the man to speak his mind.

A few scenes, such as a panoramic view of The Land of the Dead, «pop» but much of the movie is more interested in emphasizing the Mexican culture than outdoing earlier features.

The less - than - enthralling vibe is compounded by a narrative that is, to put it mildly, rather disjointed, with the almost total lack of an entry point holding the viewer at arms length for much of the movie's opening 45 minutes.

Much of the movie reads like a perfume commercial.

The «darkness» of the title might easily describe the human soul, and it's where much of the movie takes place.

This, of course, is all just an elaborate device designed to get Robin and Marion together and much of the movie is devoted to the slo - mo blossoming of their ardor.

Granted, if everyone was killed in the first fifteen minutes, there wouldn't be much of a movie, but a good screenplay would have at least offered up a token explanation.

Much of the movie's revolutionary impact should be credited to the city itself: The Dakota looms menacingly, every bit the Gothic pile as any Transylvanian vampire's mansion.

Much of the movie's charm emanates from the gleeful absurdity imbuing every single piece of the puzzle the three against all odds succeed in putting together.

Much of the movie's charm, in fact, is derived from its sense of its own instant disposability.

Much of the movie is devoted to Ejiofor and Robbie's burgeoning relationship, with her being much younger and far more sheltered than the worldly man who she's now living under the same roof with.

With only two battle sequences, much of the movie is devoted to astoundingly dull sequences featuring the soap opera-esque machinations of the various characters (something that's reflected in the exceedingly broad performances).

For much of this movie, the actor is bored, and if the actor is bored, what do you think the audience is feeling?

She seeks out brain expert Professor Norman (Morgan Freeman), who spends much of the movie in exposition mode, in an attempt to understand what's happening to her.

Gillespie's empathy is mixed with condescension; much of the movie's bluff comedy mocks the tone and the actions of Tonya and her milieu.

Much of the movie is computer - generated hash, weightless even with nonstop BOOMS and METAL GROANS and THUDS.

Physically, much of the movie takes place in the sewers (with part of the movie filmed in an actual sewer), and though the frame is dark, the setting is vivid - you can almost smell it and feel the damp.

Much of the movie's laughs are generated by Kurt, a caricature of eccentricity whom Mr. Schwartzman turns into a human being.

But for much of the movie, viewers will be asking themselves where the conflict is.