Sentences with phrase «numbers of a film like»

After starring as the blonde bimbo, Cameron turned to the more likeable good girl in a number of films like «There's Something About Mary» and «My Best Friend's Wedding.»

Now that Deadpool has become the highest - grossing R - rated film of all time, and has even surpassed the domestic box office numbers of a film like Batman v Superman: Dawn of Justice, it's hard to believe that it was ever considered a risky move for 20th Century Fox.

Not exact matches

While the top 20 most downloaded films included some prestigious movies like 12 Years a Slave (at number 10) and Gravity (at number four), the majority of the most pirated flicks were largely big blockbuster franchises, adapted from books — Divergent, Hunger Games: Catching Fire and The Hobbit: The Desolation of Smaug — superhero sequels and reboots like Godzilla and Robocop, although Excipio was unclear as to how many of the more than 29 million illegal downloads were for the»87 original.

While the increasing number of TV - and - film crews shooting on Brooklyn streets can sometimes feel like an invading army, the team behind Bushwick Beats brought on something more like a neighborhood love-fest.

UFC or ultimate fighting has been around since the early nineties and made an instant impact with fight fans but since the release of films like never back down and red belt mixed martial arts seems to have taken the world by storm and even threat tens to overtake boxing as the number one combat sport.

While a considerable number of women favor tear - jerkers or love stories, men find their enjoyment from action films or adult entertainment like Adult Avenue DVD's.

Agee would continue appearing on screen in films like Super, and found success for a number of years as a writer on Jimmy Kimmel Live!

Such a film as this quite obviously has a number of layers, layers that could easily have been traversed via the DVD release; a film like Into the Wild is practically screaming for commentary, so that we, as viewers, could have some idea of the intent of specific shots.

Sloppy writing gives savvy movie - cum - music fans the impression that this demographically challenged film doesn't know the difference between Nashville and Austin, or in other words, the schism which divides contemporary country music into its inimical sides: mainstream and alternative, just like rock, or any number of musical genres.

Thankfully, the voice talent gives it their all with Hill and Cross being particular standouts, but they are really livening up a script that at times feel like a draft or a number of plots from different films, piecemealed together.

The first half of the film builds suspense by putting the group through a number of classic hunting situations — from the perspective of the prey — being flushed out by dogs [though these alien «dogs» have all kinds of horns, spine razors and bad attitudes]; a booby - trapped companion; wandering into deadfalls, and the like.

Over the past few years, we've seen many strong non-fiction films that are either one or the other: The you - are - there doc Restrepo and its sequel, Korengal, are like visual journalism, embedded in a disputed valley in Afghanistan; and a number of other non-fiction films, from These Birds Walk to 12 O» Clock Boys, have an ecstatic beauty that evoke the term «Malick-esque.»

The subsequent film, Like Water for Chocolate (1993), ended up as one of the most profitable foreign movies ever exhibited in America and won a number of international awards as well as multiple Silver Ariels, Mexico's equivalent of the Oscar.

Cutting his losses at home (where ethnic actors like Al Pacino and, interestingly enough, Robert DeNiro were getting the plum roles), Dullea returned to Canada for a number of interesting but distinctly B - grade films (Welcome to Blood City with a pre-comeback Jack Palance) and the continent for guest starring roles in poorly - received art house productions (Pope Joan with Liv Ullmann) and the occasional thriller (as Mia Farrow's disbelieving stuffed shirt of a husband in The Haunting of Julia).

In 2003 Fanning could be spotted in The Cat in the Hat, and it wasn't long before she was gearing up to appear alongside Denzel Washington and Christopher Walken in the Tony Scott thriller Man on Fire.As the 2000's continued to unfold, Fanning appeared in a number of films, like Hide and Seek, War of the Worlds, and The Secret Life of Bees.

Although Douglas was again praised for her work — here portraying a Carole King - like singer / songwriter — the film did poorly among critics and at the box office.The actress went on to do a number of made - for - TV films, including the satirical Weapons of Mass Distraction in 1997.

The best of the odd - numbered Star Trek films, Insurrection doesn't boast nasty villains or terrible dangers but plays like a great extended TV episode, with a compelling plot that works as a smart political commentary on Western imperialism.

Despite huge hits like the final Harry Potter film (2011's highest - grossing title) and, to a lesser extent, the second Hangover movie, Warner Bros. also experienced a surprisingly large number of flops last year.

Like a poor man's Lord of the Rings, the film jumps around to a number of various, cheap looking locations as our heroes try to discover the source behind Gul» dan's magical powers.

I have been fortunate to have Wolf Children enjoyed by a very large number of audiences in the way it has, and it looks like I will be given another opportunity to make a new film.

Again (like my last year's Number 1 The Tree of Life) a very personal, obviously autobiographical film.

For a project that has Untold in the title, this film plays like a by - the - numbers recounting of a story we've heard time and time again.

While Timberlake shows he's a force to be reckoned with as an entertainer, he's not quite enough of a presence in the acting department to elevate a film like this, adding little perceptible nuance to a by - the - numbers plotline.

There were a number of films that I did not like as much as many of my colleagues did, which usually happens, and those are The Post, Get Out, and Good Time.

TCM Select Pick of the Week: Some Like it Hot (1959), Billy Wilder's best loved film and the AFI's number one pick for best American comedy of all time, plays the St. Valentine's Day Massacre for farce when the two musicians (Tony Curtis and Jack Lemmon) who witness the brutal gangland slaying elude mobsters by hiding out in an all - girl band.

The number of actors going to waste here is embarrassing: Jennifer Aniston, who has nothing to do as Bruce's long - suffering girlfriend; Philip Baker Hall, wandering around like he's on break from a better film; Sally Kirkland, who comes and goes so quickly you hardly know she's there; and Freeman, continuing his seemingly endless parade of roles he's far too good for.

Occasionally, it veers into fantasy, with hand - drawn illustrations on top of the film stock when the narrative slides toward musical numbers, often comical covers of songs like the Talking Heads» «Psycho Killer» and Iggy Pop's «The Passenger» staged on public transit.

The screenplay by Simon Beaufoy (Slumdog Millionaire) is close to perfect in the way it relays the story of the match of the film's title, finding a way to juggle a number of subplots to tell a cohesive story that doesn't feel like a typical biopic.

Annie Hall, Manhattan, even a more recent work like Vicky Cristina Barcelona — a great number of Allen's films deftly sketch the tricky terrain of romance.

Claiming spine number 748, Martin Rosen's 1978 British film adapted from Richard Adams» 1972 novel joins the ranks of esteemed works of art from the likes of Fellini, Renoir, Kurosawa, and Hitchcock.

One of the main reasons that «The Outsiders» is remembered today is because Coppola had the good luck to cast it with a number of up - and - coming actors who would quickly go on to become huge stars — that one film was an important stepping stone for the likes of Tom Cruise, Matt Dillon, Patrick Swayze, Diane Lane, Emilio Estevez, Ralph Macchio, Rob Lowe, and C. Thomas Howell alone.

The film has a number of sweetly romantic moments that unexpectedly pop up like desert flowers amid all the angst and frustration of real life.

Like that film, there will no doubt be a number of critics and members of the audience who view it as a revolting piece of trash.

Not a traditional soundtrack — only three of the 14 songs on the record actually appear in the film — but rather an «inspired by» type of situation, the album joins other number - one charting companion albums of film - adjacent music such as, um, somewhat less - inspired collections like Men In Black: The Album and The Hunger Games: Songs From District 12 And Beyond.

Smartly, the filmmakers — who include screenwriters Jenny Bicks and Bill Condon (the latter directed the live - action Beauty and the Beast and Dreamgirls and wrote the film version of Chicago)-- also know how to keep a four - quadrant family musical from sinking into Chitty territory by employing devices that also will please the Broadway crowd, particularly the Bob Fosse - like opening number as well as sensational choreography throughout.

The film ultimately plays like a Disney film that utilizes an inordinate number of «F - words», and it even reminds a bit of the Paul Giamatti movie Win Win.

Still, political rivals made hay on social media of the fact that a number of signatories are backers of the left - leaning New Democrats (NDP), including politicians like former Ontario provincial NDP leader Stephen Lewis, artists like film - maker Sarah Polley, and trade union members like Canadian Union of Public Employees president Paul Moist.

The set - up is masterful, suggesting any number of ways the scene could go quickly haywire, yet the direction Ducournau ultimately takes is not only unexpected — it is revolting, hilarious and oddly moving, just like the film itself.

Like any modern computer - animated film, Cloudy is given a direct digital transfer eliminating a number of steps and potential sources for concern.

I could have gone with the number of other LEGO games based on films like Indiana Jones or Jurassic World, but both of those had too many flaws to make the list (Jurassic World especially).

We no longer have 10 slots to back - fill, so if the Academy ends up with six or seven nominees in the lead category after voting, a number of films (like «Bridesmaids») have a chance of being left on the outside of the race, looking in.

The movie set - pieces are stunning - the Gene Kelly-esque musical number «No Dames» (with Channing Tatum tap - dancing away admirably) in particular is a total delight and easily as good as anything from the best 50s musicals - but the rest of the film feels like an excuse to film these short love - letters to classic Hollywood.

Though the more futuristic stuff isn't too distracting considering Hollywood's current obsession with dystopian sci - fi films like «The Hunger Games,» the decision to cast a 24 - year - old actor in the lead role (playing a 16 - year - old instead of the 12 - year - old that appears in the book) feels wrong for a number of reasons.

Daggers, however, is director Zhang Yimou's follow - up to the callowly beautiful Hero and, like that movie and a number of others (Ashes of Time, Bride with the White Hair, Crouching Tiger, Hidden Dragon, Kill Bill, Zatoichi, Warriors of Heaven and Earth, and, in a way, Goodbye Dragon Inn), it belongs to a martial arts / art - house genre of films by hip young directors upgrading genres they loved as teenagers - «martial arts plus.»

How the film's compelling star Jennifer Lawrence may feel about this sentiment is another matter, but this is a tale that, like any number of fanciful genre outings, both pulls you in with its intriguing central dramatic situation and pushes you out with some mightily far - fetched plot contrivances.

It's easy to hear about the plot and the characters of Tully and mistake it for a family - friendly film, like Mary Poppins but without the musical numbers or animated penguins.

And that's the way it was for a number of decades, and then about three years ago, I was having dinner with this Polish director who had done the film «Ida» about a Polish nun, and it was a film in the spiritual style, and we got to talking about how much I like the film and how much he liked my book.

It seems like a simple mission considering the number of films many of us watch for both work and pleasure, but I have no doubt that of the 10,000 + people who pledged to do it, many didn't reach the goal.

At Cannes, Hoffman made it clear that he was initially reticent to play an older character like Harold, but that he met with his future director a number of times to chat about «both our fathers,» eventually coming to perhaps the most essential component of the film and Harold himself: «We are our father at certain points.»

Fifteen or 20 movies may not seem like a lot when compared to the number of crime films produced in the United States, but it's amazingly high considering that England makes only about 200 films annually.