Sentences with phrase «not good cinema»

It's an audacious closer, and any cinema buff would tell you that a standard two - shot and lots of dialogue does not good cinema make.

Not exact matches

Putting together a galactic - scale blockbuster is a global effort, involving not only this visual effects shop — Shore estimates his team is responsible for 250 of the shots cinema - goers will see once Star Wars Episode VII opens on Dec. 18 — but also ILM's head office in San Francisco, as well as branches in London and Singapore.

Another U.S. streaming service, Amazon, also has a film in competition, Todd Haynes» Wonderstruck, but has not been subject to the same opposition as it does screen its films at cinemas as well as online.

«Consumers think that if a movie is available at home at the same time as the cinema, it must not be that good.»

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New parents and new releases aren't often a good match, but this gives grownups their cinema fix without having to arrange for childcare or worry about being judged.

When he's not spreading the good word of the digital age to willing listeners, he's busy watching, reading and writing about cinema.

I couldn't find the better place for this look than this retro cinema, just minutes walk from Piccadilly.

Even if you're not a fan of so - bad - they're - good cinema, you should still watch this, because it'll help you appreciate the good movies even more.

It is not such a good idea to go to the cinema on your first date as this will restrict your conversation and inhibit getting to know each other.

Well yes, you can visit various exhibitions, master classes, and cinemas, but why not go a pub?

n / s, solvent, healthy, white male who loves good life - theatre, cinema, dining and travel.

If you and your date share a love of a certain music genre — or even better a particular band — then why not swap your cinema date for a concert?

You don't need to take your date outside to cinema or restaurant before better knowing each other.

It's not a great choice for a first date, but once you've gotten to know each other a bit better, a date night at the movies becomes an increasingly good choice — especially if you have a shared love of cinema!

While this is always important, a shared interest in art or cinema isn't always enough to get a relationship through the good times and the bad.

It probably won't be the awards horse that «Inglourious Basterds» was, but who cares when you're having this good a time at the cinema.

It's really good, deserves respect for its treatment of the subject matter, and is a great example of what I love about 70s cinema, but I just didn't get blown away by it, Maybe I just wasn't quite in the right frame of mind, or maybe I've just seen too many films like this already, but I don't think it's quite as good as everyone else does.

Tarantino's film is not as explicit as it can be, yet it still resonates when the realization sets in (a realization cinephile Tarantino knows all too well) that slavery is usually treated in cinema with kid gloves.

If nothing else, it's a good reminder that singers can occasionally hold their own in cinema, and while it isn't Hanson's greatest film, it is still a worthwhile watch.

One of the classics of war cinema, it's not nearly as good as its legend suggests.

It is one of the great original works of cinema, maybe even the best; it is a film that is not even a bit dated as I view it once again in 1999 still awed by the spectacle, the accuracy of its scientific statements, and its mystery.

A spectacular piece of virtuoso cinema that impresses not only for its remarkable technical achievement (Lubezki reached heavens with that jaw - dropping «forged» long - take), but also for being an incredibly well - constructed (and hilarious) character study with Michael Keaton in a magnificent career - defining performance.

It's not often that I'll backtrack on my opinion but I have now come full circle and can appreciate just how good a film it is and why it's regarded as one of the true greats of American cinema.

As for geek cinema, I don't care what you call it, if the advance reviews by the «real» people are good, and I am interested in the subject matter, I'm there, and I hope to be entertained.

As stated - not as good as the original (sans Hopkins) but nevertheless, a good fun mindless romp of cinema.

So it is not surprising that two of contemporary cinema's best actresses, Rachel Weisz and Rachel McAdams, take the leading roles here and that Alessandro Nivola does perhaps the most affecting work of his career as their costar.

All of the most annoying elements of independent cinema are on full display in Good Dick, a painfully awkward attempt at... well, I'm not sure what exactly.

West Side Story is one of the best, if not THE best, film adaptations of a musical to ever grace the cinema.

And if «Django Unchained» is not better, it is arguably more radical, both as cinema and as (fanciful) history.

Spider - Man 2 was well received (even if I didn't really appreciate it as much as most), Batman Begins was an incredible cinema experience, and Sin City was the ultimate in live action comics.

This is a poetic use of cinema, all the better in that it doesn't announce itself as poetry.

While the movie is not an outstanding piece of cinema, the talented cast have fun with the silly transformation plot and ensure quite a good time for viewers of most ages, in the tradition of the Disney films of its era.

I remember seeing it at the cinema back in the day (no idea how I got in as I was about 8 at the time) and not really understanding most of it, but I gave it a rewatch recently and was surprised by how well the jokes landed.

With its continued efforts to assist up - and - coming artists in completing and presenting their work, NBR honors its commitment to not just identifying the best that current cinema has to offer, but also ensuring the quality of films for future generations to come.

It's not a great film, but it looks beautiful, is well - acted (Jeremy Irons is excellent as the passive senior missionary, Robert de Niro as a reformed mercenery and Ray McAnally as a papal representitive and smaller roles for Aidan Quinn, Ronald Pickup and Liam Neeson) and then of course comes the pièce de résistance, one of the greatest contributions to cinema of one of cinema's all - time - greatest contributors, Ennio Morricone.

They are not the only ones on trial here; it's the culture, institutions, and yes, cinema that must be interrogated as well.

Cianfrance asks questions about life and legacy too meandering for the film's good, resulting in an admittedly saggier middle section, but he reached way beyond the regular confines of indie cinema with Pines» episodic, decades - spanning tale, and that can not be ignored.

It is fine with me if there are two, ten, or a hundred cinemas, but I think we have to understand that the most important new movies will not be coming from the directors who make better and better films in conventional narrative modes, no matter how much we may admire and enjoy what they accomplish.

If it isn't a CGI mouse, Bekmambetov's Ben - Hur has no interest in texture or any of the elements that make cinema, well, cinema.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Dialogue isn't a strong - suit of Doctor Strange, but the storyline does offer up some good thematic material to go along with its comic - book goofiness, and when married with a jaw - dropping psychedelic aesthetic, it all adds up to a fun time at the cinema.

I don't need to tell you why that's disconcerting, but it also means maybe the best reason to see Rules Don't Apply is that it is the very definition of escapist cinema: It will make you feel as if everything could be all right.

So it's no surprise that, whether intentional or not, many of the year's best films have grappled with what's occurring in the turbulent world beyond the darkness of your local cinema (and beyond the closed curtains, if you're watching at home).

Well, there's commonality between human beings, even where you think there would not be, and that's what makes interesting cinema.

The lucrative business model is sure to attract imitation from the rest of Hollywood, which probably isn't good for cinema as a storytelling medium.

Black Panther is of course a huge success, making just shy of $ 700 Million Domestic in cinemas — and is praised as one of (if not THE) best Marvel film to date.

When Variety reviewed Not Quite Hollywood they concluded that the film was «Energetic almost to the brink of excess» (2), which could also serve as an apt description of the «Ozploitation» films it chronicles, the era in which those films were produced, as well as this memorable segment with Tarantino, which shows his uninhibited passion for — and witty observations of — those unforgettable moments of exploitation cinema.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

A dream - sequence reunion between Erik and his slain father (Sterling K. Brown) might count as the most affecting moment in MCU history — if not all of superhero cinema — were it not for Killmonger's final lines: «Throw me in the ocean with my ancestors that jumped off the slave ships,» he says, «because they knew death was better than bondage.»