Sentences with phrase «much of a thriller»

Let's hope it's just as much of a thriller as Silverstone was!

On an almost admirably perverse level, «Lucy» isn't really much of a thriller — it's virtually an anti-thriller, devoid of suspense or any real sense of danger due to the fact that its heroine is more or less invincible.

What surprised me about the movie is that it's not as much of a thriller (although it delivers scares aplenty) as it is an exploration of grief and human nature.

is a thriller that presents a personal hell of the protagonist's own making, and it's really not much of a thriller, either.

Paranoia is a thriller that presents a personal hell of the protagonist's own making, and it's really not much of a thriller, either.

This is what makes his first and only feature, Martha Marcy May Marlene, such a brilliant exercise in psychological terror, and despite the fact that it's neither a horror film nor much of a thriller, it generates a more foreboding sense of dread than a majority of the most recent entries in either of those genres.

And Sedgewick's book is at least as much of a thriller and a fast - paced mystery as it is a book about a visually impaired teen.

Not exact matches

With so much uncertainty around us these days, I am truly saddened that we are grabbing the front row seats while watching a news channel as if the current events are part of some thriller movie.

Surely, oh dark and forbidding universe, a couple of red cards, a nine - goal thriller and Eliaquim Mangala putting the ball into his own net isn't too much too ask?

You can pretty much pick any race from Michigan and it'll be a thriller, but the 2000 CART race has to go down as one of the all - time classics in American open - wheel history.

The 2010 Turkish Grand Prix was something of a thriller, as both Red Bulls and both McLarens fought closely for much of the race.

The Interpreter tries to cast itself in the Hitchcockian tradition of Secret Agent and The Man Who Knew Too Much, but apart from the film's climactic bus sequence and another nicely crafted sequence toward the movie's end, this thriller never visually builds much tension or suspeMuch, but apart from the film's climactic bus sequence and another nicely crafted sequence toward the movie's end, this thriller never visually builds much tension or suspemuch tension or suspense.

J. Michael Straczynski's original script was jettisoned in favor of an unfinished one by political thriller specialist Matthew Michael Carnahan (State of Play, Lions for Lambs), with «LOST» - alum script doctors Drew Goddard (The Cabin in the Woods, Cloverfield) and Damon Lindelof (Star Trek Into Darkness, Prometheus) brought in later to write a host of reshoots, including a new climax and ending to the film (the repeated use and imbibing of Pepsi products during these scenes would indicate the source for much of the additional reshoot budget), that pushed the release date from a winter of 2012 release to the summer of 2013.

A much more restrained Xavier Dolan after his pretentious previous film, and he displays an assured direction and firm control of this suspenseful thriller, even though the narrative seems to move too fast as the characters start to act in ways that are not always convincing.

This cop thriller spans over not much more than 12 hours of tough, gritty and morally grey work in the ugly parts of LA.

Although the problems appear to have had an impact on the final product, especially in the uneven tone of the comparatively smaller - scale finale and the unsatisfying epilogue, it's a bit of a pleasant surprise that the movie manages to hold together even through some turbulent patches to be worthwhile viewing for anyone not expecting much more than a grandiose, set - piece dominated horror - thriller.

The works of Max Brooks, who wrote 2003's satirical and subversively political, «The Zombie Survival Guide», and 2006's, «World War Z: An Oral History of the Zombie War», provided the kernels of inspiration for this mega-budgeted horror - action - thriller that mostly makes up its own narrative, independent of much of the book content (jettisoning the first - person account style and most of the events), to make it fit more with the ranks of current, eye - candy loaded popcorn movies than a thoughtful adaptation of the best - seller.

This exciting epidemic thriller has quite a lot to offer: an outstanding cast of great names, great cinematography by Ballhaus and direction by Petersen and a thrilling plot that doesn't leave you much space to catch your breath, even has quite a few decent action scenes to offer.

It feels like there's so much more to this story that's missing, either from the interview subjects» reticence to share too much or the filmmakers reluctance to embrace more of the Cold War paranoia thriller trappings the story can veer into.

The premise is right up there with any Charlie Kaufman film (Being John Malkovich, Eternal Sunshine of the Spotless Mind, Scynecdoche New York), containing so much juicy potential for interpersonal revelations, but the entire set up is thrown away in the third act for a «thriller» movie that came out of nowhere and does nothing but add a period in the middle of the sentence.

The American is very much a thriller from the old school; it has a very 70s, continental vibe that reminded me a little of The Day Of The Jackal as the low key, almost laid back approach is a million miles away from the wobbly - cam and SFX orientated efforts of the ADHD generatioof The Day Of The Jackal as the low key, almost laid back approach is a million miles away from the wobbly - cam and SFX orientated efforts of the ADHD generatioOf The Jackal as the low key, almost laid back approach is a million miles away from the wobbly - cam and SFX orientated efforts of the ADHD generatioof the ADHD generation.

Now with «Beast,» a well - developed thriller with some horror undertones, Pearce emerges as a fellow to watch, since he keeps the audience with an uneasy feeling throughout while trying to guess the identity of a serial killer and wondering whether the woman on whom he focuses so much attention is in danger of being murdered.

Playwright Gregory Burke's previous screenwriting credit was for» 71, Yann Demange's thriller whose background is Northern Ireland's Troubles, and though he and Padilha have made their names on full - throttle actioners, much of 7 Days in Entebbe is build - up.

Despite the clichéd nature of much of the dialogue and the derivative thriller set - ups, «State of Play» provides sufficient old - fashioned entertainment value to justify the ticket.

As much as it's heartening to see a newspaper thriller that addresses the industry's fundamental conflicts of interest, The Post tends to shortchange the very issues that make it seem engineered for Oscar glory in the Trump era.

A thriller like this can collapse under too much scrutiny, but in the moment, it does work as a nitty - gritty game of cat and mouse, especially when Shaun does break back into the house and outsmarts the numbskulled intruders.

Which would be a shame, because there's much to savor in the film, a dark and difficult sci - fi thriller about one hell of an existential crisis.

Consequently, he developed an audacious fusion of pop culture and independent art house cinema; his films were thrillers that were distinguished as much by their clever, twisting dialogue as their outbursts of extreme violence.

... After four episodes, I'm thinking this ponderous, pretentious thriller asks too much of us with too little immediate reward.

For the time it was set it reads much more like a romantic thriller than a case of mistaken identity or reviewing a network of spies.

The end result is a moody, somber little thriller that could (and should) have been much, much better, and yet it's hard to deny the impact of several key interludes and its stirring performances (with, in terms of the latter, Penn and Walken absolutely dominating the proceedings every time their characters are together).

As much as this is a thriller it also feels just as much a satire of overwrought Hollywood thrillers.

Deliciously witty and entertaining... A first - rate thriller, one that's likely to generate as much word - of - mouth as «Alien,» «Carrie» and «Psycho» did in their time.

A psychological thriller that doesn't thrill much and whose ending we can guess halfway through; but if you're a lover of smart dialogue and intelligent characters, you won't be disappointed.

«Breaking In» was clearly designed as much a marketing proposition as a movie, a thriller whose twist on the formula is predicated in part on casting an African - American woman in the kind of role generally inhabited by guys like Liam Neeson — and as an added bonus, just in time for Mother's Day.

Many thrillers use their characters as nothing more than cardboard cutouts to be put through the motions of the plot, so much so that by the time the plot boils over we don't care, because we don't know who the characters are or why they're doing what they're doing.

The finale, involving the assassination attempt during Zuwanie's speech, seems too much like those enacted in other Hollywood thrillers to be fresh and was drained of suspense by its too cleverly devised twists.

Fernandez felt grateful for the opportunity, but reportedly hated the job itself so much that he hearkened off for the greener pastures of acting.Fernandez landed his first formal acting assignments as a guest star on episodes of the network series Cold Case and Jericho in 2006 and 2007, but truly came into his own as a star of low - medium budgeted independent films such as director Marc - Andre Samson's taut thriller Interstate (2006)(as a young man trying desperately to reach his girlfriend in Los Angeles, but waylaid by drugs and the trappings of an odd motel), and directors Lucky McKee and Trygve Diesen's violent psychological thriller Red (as a disturbed young man who plays the role of accomplice in killing a senior citizen's dog).

Too much of this well - acted but dangerously slow thriller feels like a preamble to a bigger, more complicated story, one that never materializes.

By the end, director Sidney Pollack has spent so much time with Silvia and Tobin at the expense of the tension, building plot elements a thriller needs to keep moving forward, that he has to play quite a bit of bait and switch to get things where they need to be for the climax he wants, which is moving but by that point a bit ridiculous.

As a straight - ahead thriller, the movie is enjoyable and stirring much of the time.

A noisy and violent thriller, a plot that becomes absurd with too many characters and none of them with much depth.

But this Emmy - winning international spy thriller suddenly feels much more topical and urgent again in its fourth season, where the only remaining remnant of the Brody storyline is the infant daughter — a ginger baby, naturally (hauntingly Damian Lewis in aspect)-- whom Carrie bore after witnessing the father's cruel fate.

The filmmakers — Ron Shelton directing a David Ayer script based on a James Ellroy story — obviously want us to swallow a bitter pill, but traditionally Hollywood genres, even the LA cop thriller, are sweet and don't have much of an aftertaste.

For me, it's a hybrid film, because it has elements of romance just as much as those of the thriller, as you say.

Based on Joyce Carol Oates's novel Lives of the Twins (written under the pseudonym Rosamond Smith), Ozon's L'Amant double is a fantastical, steamy sex thriller that gave critics here a much - needed jolt of humor late in this festival.

It very much feels like a sensationalist women's drama made for television, with substandard thriller elements that, once all of the cards are revealed, make little sense, while also barely resonating for those looking for more substantive fare.

First Snow isn't so much a traditional thriller as it is a psychological drama, dealing with how one's future is largely controlled by events of the past.

Like so many others, Christopher Nielsen's tale emulates some of the comic thrillers that have come out over the past decade, and in fact, it very much feels like an animated predecessor to Joe Carnahan's Smokin Aces, except with an elephant as the being that everyone is trying to get to.

If there's anything worse than seeing a bad movie, it's seeing a good movie made badly and sadly Eye of the Beholder could have been much better in the hands of someone more qualified in making smart thrillers than quirky art comedies.