Sentences with phrase «none of the best films»

The greatest art is often divisive and none of the best films that ever won Best Picture could probably do so today, partly because they would be put through that filter of whether they offend or not (I'm sure they would in some way or another) and partly because they would be divisive.

Not exact matches

None of the movies nominated for a best film Academy Award this year have been labeled «religious,» but many have deeply spiritual overtones.

They'd wanted a film which would play well to audiences of all faiths and none; in the test screenings they got a lot of angry report cards from Christians who felt they'd been mis - sold a «faith film».

I appreciated the Tennis Movie Edition of Beyond the Baseline and wondered why none of the tennis best sellers have inspired feature films.

Iron Man 2 continues the superhero film trend of being a sequel that is better than its predecessor and although it contains none of the self - reflexivity of Watchmen or Kick - Ass, the darkness of Christopher Nolan's Batman films or the inventiveness of the Hellboy films, Iron Man 2 is fun, unchallenging and inoffensive entertainment.

The surprise here is how well he pulls off the film's many levels, none of them easy.

Special effects are in abundance, but none of them are very well - produced, much like the film on the whole.

One thing I will say about this movie is that is quite possibly one of the emotional films that I've seen in a while, and one of those reasons is because of the music, the music in this movie are brilliantly done and the film has little to none of it, but they know when to use it to the films advantage, and it works incredibly well when it is used.

The film is just not good, it has no meaning all of it is kissing and Obsessions and none of the script has meaning.

Criticisms like this all point to an underlying question: would it have been better to just give us The Hobbit, on its own with none of the appendices, and let it be a lesser film?

With the exception of «Coffee Time», most of the film's musical numbers are forgettable; Astaire and Lucille Bremer dance well together, but generate none of the charisma necessary to sustain a whimsical tale of this nature.

The movie which put Cameron Crowe onto the directorial A-list once and for all, Jerry Maguire may be his biggest commercial success to date but loses none of the warmth, humour and emotional insight that makes his films seem so, well, complete.

There are nights when you look through your DVD collection and none of your favourite films float your boat — what you need is some serious Trash — the black sheep of your collection; something so bad that makes you feel good.

None of the performances are especially good in the film, which is disappointing considering Ryan Reynolds, Anna Kendrick, and Jacki Weaver were involved.

The Blu - ray has a huge collection of special features — from interviews to deleted scenes to a short film — though none outstay their welcome, which is a good thing these days when it's reasonably accurate to assume that your average DVD collection features hundreds of films.

It should have been the real blast - off for Joanou's career, but instead, it came and went in a heart - beat, with none of the marketing muscle the studio promised behind it, as well as an unfortunately scheduled release date, timed the same week as Scorsese's seminal mob film Goodfellas.

Well probably the only thing for this reviewer were the fight scenes which crackle with realism, vigour and fluidity meaning there is none of the fast editing / shakycam technique that has become the signature style of Hollywood action films since the success of the Bourne franchise.

Curiously, bar the middling Opening Night Eurasiapudding, A Prayer for Rain (Ravi Kumar), none of the disaster films from this section that I caught were terribly well attended.

Sure, none of the action scenes here are especially original, but they're well executed and appropriately brutal body collectors that are filmed vividly enough to actually see them.

The fantastic Bruno Ganz (best known in the US for «Wingsof Desire») plays Hitler with a broken kind of humanity that makeshis evil subtler than expected, but by extension all the more chilling.His senior staff is accounted for nearly every moment of the detailed film, but none of them stands out except Ulrich Matthes as psychotically loyalpropaganda minister Joseph Goebbels, and Corinna Harfouch as his wife.She has the film's most disturbing scene, poisoning her children to «save «them from growing up in a world without National Socialism.

Under Taylor's direction, that film was one of the top box office success stories of 2011, scoring four Oscar nominations including Best Picture, though none for Taylor's own direction or writing of the film.

None of the new casting in this film works particularly well.

For those in the middle, look, the Harry Potter franchise is one of the best ever put to film, bar none.

American film with most of the main roles going to British actors, well I say actors but none of them are really proper actors hehe Vinnie Jones, Tamer Hassan and Luke Goss, all Southerners and all pretty hard..

A real movie lover's movie, The Aviator sees Martin Scorsese bring a touch of panache to this Howard Hughes biopic, which features probably Leonardo DiCaprio's best performance to date (though he does look rather too young for most of the film) and a host of other fine performances, none finer than Cate Blanchett, who is mesmerising as Katherine Hepburn (though never quite so mesmerising as Hepburn herself was).

None of these ad campaigns tell you what you need to know about how good these films are — they are just shiny, happy carrots dangling out there in hopes that, if they're happy enough, or make you feel happy enough, you just might watch the movie.

Lawrence is as good as she's been in all previous films with none of the annoying «cool girl» quirks that mark her out in real life now; you believe her and you root for her and you feel for her which let's face it, is pretty important for a lead character.

None of that matters half as much as telling me how much you loved a film, or even how much you hated it (but it better not be a movie I like because you don't want to know what happens next).

High - Rise will be the director's fifth feature film effort — coming off the heels of the rather eccentric A Field in England — and has the potential to live up to Kill List and Sightseers, easily two of the best post-millennium horror movies bar none.

What You Need To Know: On the slim off - chance that you've heard none of the deafening buzz surrounding Steve McQueen «s «Hunger» and «Shame» follow - up (which also stars Michael Fassbender), let's get to it: by all accounts (our own included), lead Chiwetel Ejiofor is anything from a good bet to a surefire winner for this year's Best Actor Oscar, with the film itself a likely player in the Best Picture race and any number of the other actors (Fassbender foremost among them) potentially primed for Supporting Actor nod.

If nothing else, it's the best Iranian feminist vampire film in existence, and Amirpour is certainly one of the most exciting new voices in film bar none.

While praising Jordan Peele for becoming only the third person to be nominated for Best Directing, Screenplay and Picture for his debut film, Kimmel joked, «None other than President Trump called Get Out the best first three - quarters of a movie this year.&raBest Directing, Screenplay and Picture for his debut film, Kimmel joked, «None other than President Trump called Get Out the best first three - quarters of a movie this year.&rabest first three - quarters of a movie this year.»

It's received mixed reviews and most of the critics I respect found it wanting — it certainly has none of the depth or resonance of the films of Arnaud Desplechin (A Christmas Tale) or Olivier Assayas (Summer Hours)-- but I found myself won over by Klapisch's good will and the charm of the superb cast.

Regardless of all this, any sign of release for this film is better than none, so I now await «early 2015» eagerly.

Hopefully they choose to continue the story — like Creed — and add to the lore instead of just rebooting a good first film and remind us of the two sequels none of us really liked.

As it stands, the only one who actually stands a real chance at pulling an Elizabeth Berkeley on Cody is Tony Gilroy, whose double - dip on Michael Clayton and status as a lost cause over in best director ensure a few votes from those who feel pity and from those who have apparently seen none of the myriad law - and - order TV dramas from which the film's ruinously clichéd plot resolution was lifted.

September 11 will never be forgotten; and Hollywood has tried to capitalize on the event through numerous films over the years — the best of which was Paul Greengrass» United 93 — but try as they have, none fully understand the cataclysmic event and either use it to display pretentious idealism (Oliver Stone's World Trade Center), or faux sentiment (Remember Me, Reign Over Me, and Dear John).

Recognition for the cast by year - end critics groups will likely be one of the most important ways that awards discussion around this March release can be revived at the end of the year, and if it can crack the field at the all - important Screen Actors Guild (SAG) Awards for Outstanding Ensemble, then a Best Picture berth would be looking very promising — as none of Anderson's previous films have been nominated before at this key precursor.

Yet none of this stuff prepares us for Rango, Verbinski's first foray into animated filmmaking, and — frankly — the best animated film I've seen since Coraline (and yes, that includes the Pixar films).

This horror - comedy — one that many have emulated over the years but that virtually none have been able to equal — is one of the best cinematic mash - ups ever made, and when it was announced that Mondo would be screening the film at Fantastic Fest with Rick Baker in attendance (and a special print created by Olly Moss), I knew I had to be there.

Confessions of a Dangerous Mind, Leatherheads and Good Night, and Good Luck are all films that George has directed and none have had a true spark.

This is a film that includes many of the best parts of the Alien franchise but none of the heart.

A number of colorful characters pop up to help talk Jackie into attending the costume party that night, but none more entertainingly foreboding as Professor Lynch, played by Frank Aard, who is given the film's best speech about the true history of Halloween.

None of the rest of his films were quite up there with those three, but they were still very enjoyable fantasies that also continue to have an audience today and sell well on home video: «First Men in the Moon» (1964), based on the H.G. Wells story; another dinosaur epic, «One Million Years B.C.» (1966), most famous for the image of Raquel Welch in a fur bikini; «The Valley of Gwangi» (1969), an interesting blend of dinosaur thrills and a conventional Western; and two more «Sinbad» epics, «The Golden Voyage of Sinbad» (1974) and «Sinbad and the Eye of the Tiger» (1977), the latter co-starring young Jane Seymour.

With the already - small cast whittled down to this bickering twosome, the film becomes that much more of a trial though with an occasional guffaw - worthy line — none better than Amber's priceless put - down «I'd rather fuck a pig than kiss you, monkey boy!»

I'd guess this made the film just to add some song and dance to the movie; it has a few counterparts as well, and none of them offer any real narrative purpose.

The film took some big swings, and some of the decisions made didn't initially sit well with certain people, not the least of which included none other than Luke Skywalker actor Mark Hamill.

None of it is more footage of Perabo or co-stars Tyra Banks, Isabella Miko, and Bridget Moynahan doing their thing; instead, it's just more of the film's «heartfelt» story: an ex-boyfriend of Perabo's Violet telling her she'll never make it; bonding between Violet and her best friend (played by Melanie Lynskey), etc..

Bar none, this is by far the best representation of the film on the market.

A number of well - received films premiered at this year's Sundance film festival, but none caused a stir like Nate Parker's directorial debut, The Birth of a Nation.