Sentences with phrase «not everything in the film»

Not everything in the film works.

But not everything in the film is a success.

Not exact matches

These days, bikes are so ubiquitous it's difficult to remember a time when bikes weren't present in everything from film to fashion ads to shots on Instagram.

Fun Fact: Says Niño: «While we don't wear white hats, the collective fixer team have lent a helping hand in everything from national elections, Fortune 50 mergers and acquisitions to global humanitarian crises, Oscar - award winning films and even a couple of U.S. Supreme Court cases.

I'm not filming sleep, nudity, watching movies, reading or checking social media feeds or private messages but basically everything else is getting rolled on so there may be scrutiny from others who might scrub through the archives and I judge me in the future for something that happened in the past.

This isn't the same as the rotating cameras seen in the likes of IndyCar and MotoGP (and occasionally trialled in F1), but the kind that films everything at once.

«Secondly, don't believe everything that you read about movie stars because some of the women who've had kids in their late 40s, such as film stars, have used donor eggs, but they don't tell you that in the article because it's their own private business,» warns Prof Ledger.

Since I became a little obsessed about editing video lately, this time around a vlog comes before photo diary Rome is obviously such a beautiful city that I couldn't stop myself from filming everything around me, and the result is this little vlog of me hanging around the city with my family, eating a lot of pizza, posing in front of Trevi Fountain and admiring this incredibly beautiful city.

Time travel has always been a thing of science fiction but the rules for time travel in this film, as well as from the book, seem very reasonable and the whole idea of killing something off that shouldn't be, will kill everything.

The young firecracker is everything you could want in a leading lady, and yet it seems like the masses have deemed her «not pretty enough» to carry a film.

Not everything here works... But it's an interesting, great - looking film, and Simmons is just dynamite in it.

Dice gets cast in a film, but he soon finds out that not everything revolves around himself.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

Some may disagree, but it's one of the better Bond films not just because of Craig, and a great female lead — but because it combines everything that is good about Bond in the first place without the need of just gadgets to progress what happens in the storyline.

The second act of the film finds Petit and his allies casing the twin towers, making sure that they know everything about the tower that's still under construction — the workers» schedules, which areas give access to staircases, which elevators are best to use... Essentially, The Walk becomes a heist flick in the middle — and like all good heist flicks, everything goes like clockwork until it doesn't.

Everything that made the first film so much fun is still here and done in a way that doesn't feel like a simple rehash of the first movie.

Ridley Scott «s 2012 prequel remains divisive and the public details about the new film paint the picture of a production that keeps everything that worked in that first film while quietly throwing away everything that did not.

Everything that can go wrong does, usually in the form of a celebrity cameo and in spectacular fashion, but while you might have feared a tired imitation of its ancestors, the makers of Vacation recognised one crucial thing: The National Lampoon's Vacation films were not high art.

«It doesn't matter when you film stuff, it somehow always comes out in the same two weeks and people say, «You're in everything!

We don't see many films filled with grand, cinematic vistas from foreign lands, and in that regard The Way Back fulfills a much ignored genre in this age of virtual - everything imagery.

Not everything he's made has been a hit, but the last few years have seen Nicholas Stoller establish himself as one of the more reliable comedy directors in the business, with films like «Forgetting Sarah Marshall,» «The Muppets» (which he co-wrote) and «Get Him To The Greek.»

Like I was telling you, in most film criticism, certainly before the invention of VHS, everybody would get everything wrong all the time because they couldn't go back to check it before publication, and one of the real whoppers is Raymond Durgnat describing «Under Capricorn» in his writing, and then Francois Truffaut taking Raymond Durgnat's description in the «Hitchcock / Truffaut» book and getting everything all wrong.

Will be awesome if... there's a surprise or two that's not in the trailer, which appears to give away everything except the last two minutes of the film.

Not in everything, mind you; the filmmakers have chosen (unfortunately, I think) to go for a slightly modern touch in some aspects of the film, such as Lucilla's costumes.

It is a shame that this film isn't as good as it should be, but if you throw everything else out the window for a little less than 90 minutes, some fun can be found in this foreign language film.

In other words, Boll's latest evokes the form but not the content of such film series as Lord of the Rings, Pirates of the Caribbean and Star Wars, which means that few if any fantasy fans will be deceived into believing that Dungeon Siege is a legitimate endeavor rather than the same everything - must - go yard sale of clichés and familiar formulas the director mined for his previous work.

The plot is thin and unsatisfying, and I don't think I'll ever truly get Donald Sutherland's complete disinterest in everything he gets cast in, but the center of the film is rightly Jane Fonda's high - class hooker Bree.

I really had to crank it up to hear everything properly, which didn't work well when some of the louder portions of the film kicked in later on (airplanes, bombs, etc).

The actor, who has always impressed in everything from The Usual Suspects and Bullets Over Broadway to Legend, may well have a good film in him — but this isn't it.

Everything adds up perfectly well in Tom Hooper's dazzling film, which profiles not only Lili Elbe, the woman who emerges from Einar, but also his loving wife Gerda (Alicia Vikander), who is an impressive woman in her own right.

The film didn't disappoint in this respect - there's everything from clever intertextuality to great visual gags, provoking a steady stream of chuckles and laughter from the audience.

I thought about simply explaining what happens in this film to allow people to understand how overwhelmingly ridiculous it all is, but the truth is that if I wrote down everything that happens in this movie scene for scene, you genuinely would not believe me.

In the same way, if you've decided not to see the film, the game does a good job of tying everything together into a complete story.

The game does a good job of offering enough variety in content that you won't feel like you've seen everything even if you've watched the film.

Everything else about Behind Enemy Lines, after all, is basically a retread: the third Gene Hackman «not leaving a man behind» film after Bat 21 and Uncommon Valor, and the umpteenth time the veteran actor has been asked to play a snarling iconoclast, spitting in the face of an unfeeling establishment.

This film is everything you'd dread seeing in celluloid / digital form - badly written, not well acted, not particularly well shot, and unimaginative - these last two totally unforgivable given the film's supposed to be set in Hawaii.

Mad Max: Fury Road is not just superior to everything in this franchise, it's among the most exhausting, thrilling, visceral action films ever made.

Everything that happens in the film must happen — could not do other than happen.

Memento is highly recommended for anyone who likes to be thrown for a loop while watching a mystery and not have everything wrapped up in a tidy bow by the end of the film, a la Jacob's Lader and its brethren.

Famke Janssen made both her film and television debuts in 1992, but it wasn't until a few years later, when she became a Bond girl by the unforgettable name of Xenia Onatopp in «GoldenEye,» that everything started to come up roses for her.

Misjudged, miscast, ludicrous, saccharine, underdeveloped and manipulative, it's everything that Crowe's work normally isn't; even his sense of music is absent, the film overloaded with tracks that feel like they were purchased in bulk.

Perhaps that's why large portions of this film feel like scenes Toback just wanted to use up somehow — particularly the Grodin sequence, in which his character rails against his fading faculties by turns sweetly and violently, and which might have been moving if it didn't feel so detached from everything around it.

There's all kinds of complexities inherent in the film, and even if the movie turns out to be everything we hope, it doesn't really seem to be something that'll get a lot of awards play.

The boisterousness of the film's finale, with its sieges and rescues, its lightning bolts and flash floods, relieves what would otherwise be an almost unbearably sad evocation of what is least preservable about youthful experience: not so much the loss of that «innocence» that is such a hackneyed motif of modern American culture (and for which summer camps have always been a favored location) but the awakening of the first radiance of mature intelligence in a world liable to be indifferent or hostile to it, an intelligence that can conceive everything and realize only the tiniest fragment of it.

«Touchy Feely» Lynn Shelton's latest isn't perfect, but damn if its highs don't exceed just about everything else I've seen this year, packing more emotional wallop into a single scene than most films do in their entire running time.

I didn't make this film, but I will say that the internet has changed everything in terms of distribution and because of iTunes and other outlets like that, length is no longer something you really think about, in my opinion.

Also great (and everything Smith does in this film is great) is Dench and Smith's relationship where the two legendary actresses get to play off of one another with such naturalism that you wouldn't be surprised if they'd been acting together their entire lives.

It's everything Anderson couldn't yet get on film in Boogie Nights (97); like Doc, Anderson and Phoenix are just along for the ride, besotted and overcome.

That his nickname is thought to originate from a copy of Frederick Forsyth's novel «The Day of the Jackal» is apt, as popular culture has leapt upon him as a subject in everything from Robert Ludlum's Bourne Trilogy (as seen in the TV adaptations, but not the films) to comedic television series Whoops Apocalypse (with Seinfeld «s Michael Richards satirising his public persona).

We're doing 10 episodes and I think the interesting part about it is exactly what you said, everything's changed so much; the line between film and TV has blurred so much over the years, I think Jack Ryan is a product of that blurring so much that I think that they're not even really considering it a TV show, they're calling it a movie that's being told in 10 parts; and that's not just an argument of semantics, it's actually true.