Sentences with phrase «much of the film»

Coincidentally, much of the film was shot in Casablanca in Morocco.

Carmody particularly resented the illegal distribution in Manitoba, where much of the film's $ 9 - million budget was spent.

Moore, the Paramount executive, said focus groups had similar questions: How much of the film is from the Bible and how much was invented by Aronofsky?

Throughout much of the film, the story never decides whether it wants to praise or demonize Rex Walls, Jeanette's father played by Woody Harrelson.

While approached from the Jewish faith, much of the film applies to anyone considering circumcision.

Having just watched Microbirth I thought I would point out the much of the film is about microflora in the gut and on the skin and the longterm health outcomes of early immune system damage / lack of development.

Explaining the drive behind the Lagos and Toronto spotlight for the Festival, Cameron said much of the films Lagos produces are not being showcased in Toronto, explaining that the idea is to seize the opportunity of this year's festival to begin a new dawn for Nigerian films.

Because much of the film is black and white, it contains a greater range of optical density (shades of dark and light) than the scanner can record in one pass.

Director David Fincher («Alien3») and first - time screenwriter Andrew Kevin Walker generally handle the material quite well, but so much of the film is so distasteful that it is difficult to recommend.

This gives you a general idea of how much of the film's appeal rests on you buying in to the cutesy nature of the car.

Sadly, much of the film goes in circles as Jack floats between woman, his apartment, and the increasingly shallow conversations with Benedetto that don't even have the decency to pretend to be layered.

Too much of the film is told via Glatze's voiceover rather than shown through interactions with other characters.

That movie took a long time to get off the ground and before she ever appeared as Nova, Harrison served as a stand - in in the role of Dr. Zira (the part ultimately played by Kim Hunter) in the screen tests and extensive make - up tests through which the project evolved, even participating in a test for Edward G. Robinson in the role of Dr. Zaius (Robinson was forced to withdraw from the project because of a heart condition that prevented him from working under the heavy make - up and in the high altitude location where much of the film was to be made).

And the actor's ability to quietly express a whole range of emotions with his body language and his eyes, is staggering — especially since, for much of the film, he's limping and covered in blood.

Much of the film focuses upon the outcomes of two disparate brothers.

For much of the film, Jérémie comes off as sullen, then unsettled, then just creepy.

Owens carried much of the film's story and drama, which were told in flashback from her character's point - of - view.

The screening we were at was packed with kids who were mostly silent for much of the film, but seemed to wake up for the final action - packed climax.

Combine that with the overly dark look and gauzy images and so much of the film looks positively out of focus in 3D.

Babette is a mystery for much of the film.

By far, Jordan ends up playing the most significant, if off - putting, individual in the movie, though much of the film takes place from the perspective of T'Challa (Chadwick Boseman).

Much of the film is as strange and oddly beautiful as one of Arbus» own photographs, bold in its attempt to find new ways of cracking the biopic chestnut and sensitive in its portrayal of a 1950s woman who, like so many of her contemporaries, finds herself imprisoned in a «Good Housekeeping» nightmare.

As directed by Anthony and Joe Russo, the action scenes are often incomprehensible, which means that far too much of the film is spent waiting for the action to die down so we can see who is left standing.

Much of the film is actually conventional.

Much of the film is devoted to re-creating many of the more incoherent scenes in The Room in all their absurdist glory.

Cheesy superficialities plague much of this film, whether it be the comic relief that is frequently flat, or at least dated, or the dramatics which succumb to glaringly unsubtle histrionics, which take ostensibly accurate story elements and corrupt their believability through scripted contrivances, the sting of which goes exacerbated by sentimental directorial atmospherics which range from simply unsubtle to pretty cornball.

Much of the film is in dead silence (accurately depicting the absence of sound in space), or with the sound of human breathing within a spacesuit.

Much of the film's humor hovers around crotch level.

Still, I found so much of the film completely charming.

Much of the film is just his hiding out and people who have never met him helping to hide him from various spies, the police, and a bothersome blonde.

I loved how there's a lack of subtitles and how much of the film in general is told visually, forcing the viewer to focus on facial expressions and body language to pick up on what's going on.

Much of the film's emotional punch comes from the ever - optimistic Dug and his relationships with three key supporting characters: caveman tribe chief Chief (Timothy Spall), who admits he's old for... 32, Goona, a female football phenom who Dug digs (she's voiced by Maisie Williams of «Game of Thrones») and Hognob, Dug's pig pal, who's much more than a pet (he's got a little Gromit in him).

Through a first - person narration, Bialis makes much of the film about herself.

Picture The script is a cracker, but so much of the film is communicated through the facial expression exchanges between the principal characters.

Stalking out of the office with only a goldfish and meek accountant Dorothy Boyd (Renee Zellweger), Cruise pours his not immodest energy into two clients, clean - cut college quarterback (and first - round sure thing) Frank Cushman (Jerry O'Connell) and Rod Tidwell (Cuba Gooding Jr.), the tightly - wrapped Arizona Cardinals wide receiver whose off - the - field histrionics and extended family hijinks provide much of the film's physical comedy.

Given that he knows the Confederacy is about to fall, much of the film follows Lincoln as he navigates murky political waters to ensure the amendment is ratified before the end of the war, which would ensure that it applies to all states once the Union is again united.

Much of the film is oddly ambiguous, as if Tran used it to explore conflicts of tradition and modernity and never came up with any answers.

Hooper gives Hathaway the appropriate context for all her theater - kid stuff, and she reigns supreme for much of the film as the story's most emotionally engaging presence.

In a truly kooky subplot, Kit is tormented for much of the film by a mockingbird that lives outside her window.

Much of the film's draw, and pleasures, stem from watching Bryan Cranston work the character (not to mention the prosthetic nose and ears).

Much of the film's fun comes from watching Bulworth exult in his newfound freedom.

Other films that came after it were far more fastidious in their rendering of the sexual aspect to these clumsy affairs, but this film is far more psychological, directing much of the film's emphasis on the emotional toll of lying to yourself and your loved ones.

Linda Hamilton gets so little due respect over the years for how much of the film's midsection rides on her.

Stewart approaches the work as he approaches his own career, refusing to define it as any one thing — humor is woven throughout, with much of the film looking like news footage we've seen and ignored every day of our lives as it blares out in monotone on international news programs like CNN.

Knightley is an intelligent and photogenic actor and for much of the film, particularly when lit by the blue hues of dawn, is a more than adequate protagonist.

His Charlie Fineman is colourless for much of the film, but on the occasion that he does finally let his emotions show, Sandler does a better than adequate job of the performance.

There's not much more to reveal, though the source also re-confirms earlier reports that Javier Bardem will play the movie's villain, adding that much of the filming will take place in South America.

There isn't much in terms of plot, as much of the film follows the bratty antics of the spoiled children.

Too much of the film surrounding that scene struggles to find a motor.

Much of the film's nuances can also be credited to the film's outstanding cast.