Sentences with phrase «much upon the film»

Combined, they build up to a tense finale that relies as much upon the film's supporting cast as the overall premise.

Not exact matches

In our process, you can form the film evenly down to 20 nanometers because the crystallization at room temperature is much more balanced and occurs immediately over the whole film upon bathing.»

Trying to underplay conventional plotting as much as it can, this film is seriously meditative upon the life of a man who we barely known anything about, and makes matters worse by portraying gradual exposition in too abstract of a fashion for you to receive the impact of the would - be remedies for characterization shortcomings that do indeed go a very long way in distancing you from a conceptually sympathetic and worthy lead.

This film does seem to have a cult following (nowadays, upon release not so much) and its easy to see why as its highly enjoyable with its highly nonsensical premise.

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

Needless to say, this film is hardly as driven by its musical aspects as its 1969 counterpart, and makes sure to remind you by underusing Richard Addinsell's score, which, upon actually being used, is typically not fleshed out to the fullest, and is all too often tainted by a degree of conventionalism that further disengages, but ultimately does only so much damage to Addinsell's efforts, which are still spirited enough and recurring enough to play something of a hefty part in breathing some liveliness into this generally dry project.

Granted, I much prefer those two films, but I can't ignore the impact 2001 had upon them.

Part of this can be blamed on the story that the film is based upon or Goold's script, which remains faithful almost too much.

These consistently unsubtle and occasionally slightly cloying sentimental atmospherics reflect an overambition, until laziness is reflected in atmospheric dry spells, which dull down momentum in a film that is slow enough without a certain chilling quietness that blandly meditates upon storytelling a little too much.

Much like Cameron Crowe's Almost Famous, Pirate Radio stacks classic rock song upon classic rock song in a party of a film.

As if it's not enough that the characters are kind of unlikable in certain areas, this narrative that does little outside of simply meditate upon the questionable leads is pretty thin, and that really undercuts much momentum, to where natural shortcomings play an instrumental role in bringing the final product to mediocrity, and yet, I won't go so far as to say that this film's story concept is completely juiceless, as its portrayal of a nerdy manchild's lifestyle is pretty realistic, if not genuine, and therefore kind of intriguing.

The 1998 film, though it dealt with the English army's disastrous incursion into Scotland to confront the French invaders, largely concentrated upon national consolidation following the problems created by Henry VIII, in much the way that The Godfather dealt largely with Michael Corleone shoring up the family empire following the incapacitation of his father.

I mean, this film predictably culminates with Weidemeyer coming to terms with his flaws and beginning his long overdue steps into maturity, but that's just the climax, whereas in the rest of the film, the lead, in addition to a few other jerks, is hard to forgive, not just because his depths are limited by underdevelopment, but because the film spends so much time meandering along meditating upon his contemptibility.

The wraparound title of this trilogy sounds absurd, and the manner in which it was bestowed upon these three films — «Shaun of the Dead,» «Hot Fuzz» and «The World's End» — is almost as bizarre (the movies really don't have much to do with ice cream).

But upon further reflection, I'm not sure how much of that reaction was due to the fact that I could still recite almost all of the film in my head (much of the dialogue is the same), that I will always love its songs (except for the new ones, which added nothing), and that Condon knows his way around a lavish musical.

From the opening monologue that advises audiences to look close, but not so much that the details eclipse the bigger picture, the film's dependence is evident, with the feature predicated upon the tricks of the trade.

If the film's plot would have been improved upon, and the cast would have put a bit more effort into their performances, then The Final Frontier would have been a much better outing than what it turned out to be.

She also has much more agency as a character than the heroines of those films, something seized upon by Hawkins, who's flat - out brilliant in the role; her innately expressive features almost rendering the subtitling of her signed conversations irrelevant.

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.

As much as these women were eager to appear on the behalf of their beloved writer - director, they were also there to promote the words Ntozake Shange who wrote the play upon which their film is based, For Colored Girls Who have Considered Suicide When the Rainbow Is Enuf.

The project began when author, journalist, television veteran, and filmmaker David Stenn was working on a book about star Jean Harlow, who died mysteriously at 26, and stumbled upon the story of Patricia Douglas, a Douglas with a much more tragic relationship to the film industry than Last Vegas star Michael.

Payne said it was difficult on every level — writing, financing, editing — and also addressed the lukewarm reviews it was met with upon opening late last year, suggesting that its ambitious narrative may have been too much to fit into the framework of a single film.

So much of the film was like this — half - thought - out ideas that might have worked with better writers and actors but upon completion didn't work at all.

Boyle, ever willing to take the same sort of chances upon which his protagonist thrives, has taken a story that seems to defy filming and turned it into raw poetry that celebrates life with the same vitality of SLUMDOG, and with just as much visceral energy.

Dark City failed to gain much attention upon release, overshadowed, like so many films, by the box office stranglehold of James Cameron's Titanic.

The film does little more than layer joke upon joke and if you're not laughing, there isn't much else to do.

If you don't care much about bonus features (or put more value upon a cardboard sleeve), then this edition will do just fine as a way of owning the film.

I first caught the film upon its May 2002 DVD debut, one of Disney's last animated features to hit the format without much fanfare.

At least, the historical value excuses most of the shortcomings, this hailing from the end of film noir's height, revealing much on public tastes of the time and even touching upon the Cold War paranoia for which the decade and its parabolic science fiction are recalled.

The film has notably taken its time rolling out marketing — last night's Super Bowl spot was the first official footage to be released, followed quickly by a much longer teaser that expanded upon some of the more intriguing elements of the film.

While she apparently initially took much issue with the role, as it was practically non-existent in the original script, it was expanded upon once she agreed to do the film.

The only movie that I saw at two different film festivals in 2013 and wanted to go back for more, Cheap Thrills isn't so much a horror film about people doing horrific things to one another so much as how far people are willing to go to bring horrific things upon themselves.

While the first of Suzanne Collins» three - book series, the one upon which this film will be based, puts much more emphasis on Peeta than Gale, should subsequent films arise, and surely they will, the casting of Gale will be just as pivotal.

Highly entertaining and responsible for giving Ryan Reynolds his true star making moment we've all been waiting for, Deadpool is a quick - fire burst of fresh air in a world of kid friendly superhero films that upon closer inspection isn't much more than a fun time out at the movies.

So much time and energy has been spent talking about Blade Runner in the ensuing three decades that one might start to doubt just how much audiences rejected the film upon it's 1982 release.

The screenplay by Four Weddings and a Funeral scripter Richard Curtis (who «devised» the Mr. Bean character with Atkinson) and Robin Driscoll does not offer much in the way of plot; the film hangs upon a very basic premise (inept, clumsy London National Art Gallery employee Bean is sent to a Los Angeles gallery as an art expert).

Though you may not think so upon first glance, The Big Year trailer hints that this film will be much the same.

I wonder how much more praise I would bestow upon the return of Martin Scorsese (The Aviator, Gangs of New York) to the world of gritty crime dramas had I not seen the film it is based on several times, Hong Kong's nifty, plot - driven thriller Infernal Affairs.

I kept thinking we were supposed to look upon her sexual (mis) adventures as a bad thing, but much of the story is filmed as if it were a soft - porn video under the «teen» category on an X-rated website.

It was much longer before a fictionalized film was made that touched upon something related to it... in fact, it probably wasn't until Schindler's List.

As past Toy Story DVDs left little room for enhancement in most areas, even with the higher bitrate and genuinely welcome handful of new bonus features here, the necessity to «double - dip» relies upon how much value you place on the film and this new set's various additions.

Much of the film is essentially combinations of the three people in one of two rooms, thus the attention is firmly set upon the three performers at all times, and they don't disappoint.

As Sam Adams at CriticWire notes «the problem lies in foisting one ironclad interpretation upon the film and then praising or damning it for its point of view, without acknowledging that the argument says much more about the person making it than Frozen itself.»

Also Worthy and Worthwhile «Keep The Lights On,» «Neighboring Sounds,» «A Royal Affair» (Mikkel Boe Følsgaard guy should have also been in our Breakout Performances of 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen list.

I very much enjoyed the sixth film, Harry Potter and the Half - Blood Prince; I thought it was the best in the series to date, and I hope the seventh installment can capture and / or expand upon that which made the sixth film so enjoyable.

Samuel L. Jackson's Nick Fury is also expanded upon for this film, given much more to do from an action standpoint than in previous entries, showcasing how he became the kind of respected and feared leader he is.

The story tries to hard to break from the clichés of the psychopath genre, only to find itself relying upon these clichés for much of the film.

«The Counselor» is the much unloved collaboration of director Ridley Scott and screenwriter Cormac McCarthy, the former's often baroque visual detail meeting the latter's sparse and philosophical prose and resulting in a film that no one really liked upon its release in 2013.

As we've already touched upon, the main dramatic thread certainly belongs to the wife, but the film is also very much an ensemble piece.

... As well as battling Earth's Mightiest Heroes in Avengers: Infinity War, Josh Brolin is set to portray Cable next year in Deadpool 2, and the actor has revealed this week that he has a four film deal to play the character long term, as well as touching upon his part in the film, and his next outing in X-Force: «I'm not going to tell you how much I'm in the film, but it's his introduction, and I think his introduction, even in the small promos and teasers that [director] David Leitch has shown me, I think it's a proper reveal.