Sentences with phrase «of the film does»

The organization recently hosted a screening of the film Don't Tell Anyone (No Le Digas a Nadie), which tells the story of an undocumented woman who experiences sexual abuse.

The warm color palette is appropriately garish at necessary thematic times, while a few more intimate moments of dialogue towards the third act of the film do reflect a more modern cinematographic flair.

But every artist must work in his medium, and the medium of film does not exist unless there is an audience between the projector and the screen.

Following on a decade from when former American Vice President, Al Gore alerted the world about the threats of Global Warming and their impacts on our planet and our lives, it seems all too real now that another one of these films didn't really need to be made.

This time around, the plot of «The Hangover» meets «The Hunger Games» and while there are a few jokes that did genuinely make me laugh, they got repetitive and tiring and the film spiralled out of control just like all of these films do.

I didn't expect much from it because this kind of film doesn't really lend itself to spectacular audio mixes; those seem more the domain of action flicks.

There is very little fat in the 120 minutes of transitions, but the actual chess tourney is somewhat of a letdown, just because the originality that is in the rest of the film didn't translate to static scenes of people playing chess.

Ferrell films can vary from one end of the scale to the other, he can be funny and ingenious or a complete annoying twat, unfortunately many of his films do come under the «annoying twat» label for me.

A few studios did release at least 7 film sin the U.S. last year but are not listed because some or all of their films do not have Metascores.

From the very beginning I connected with Julia Roberts and up until the end of the film I didn't take my mind off of any of it.

While the surface glance of the film does feature a standard array of American indie signifiers, it's worth emphasizing again that Abbasi's voice is distinct, and is sure to become more sharply defined as his career evolves.

A few additional distributors did release at least 7 films in the U.S. last year but are not listed because most or all of their films do not have Metascores (these were mainly films in foreign languages).

A few additional distributors did release at least 7 films in the U.S. last year but are not listed because some or all of their films do not have Metascores (these were mainly films in foreign languages).

In piecing together the why and how of the Templars» decline showrunner Dominic Minghella and his writing team lazily paste together a collage of conceits familiar to any sword and / or sorcery fan — and many of those films did a better job at selling such a story.

The result is a sad suburban pastoral, a strain of film you don't see much of, or not enough; it may feel somewhat stretched, and Rush's additions to Carver barely push it past ninety minutes, but anything hectic or hasty would have spoiled the mood.

If one of these films does or does not endorse torture, the same goes for the other.

Despite such flaws and a plodding plot, the warm sentimentality of the film does seem to satisfy most chic - flick fans.

«The Snowden / social media plot line of this film does a bit to make Bourne more relevant.

Escaping into the light only proved how profoundly trapped they actually are — they're still trapped in the same compositions, after all — and although the end of the film does provide an image of something resembling hope, claiming that the film manages to «avoid claustrophobia,» as Potemra did, should make any attentive student of film pause.

It's a routine comedy of secrets and deception that only offers an intuitive and inspiring ending the earlier part of the film doesn't deserve.

However, the story in the second part of the film does not match the initial heights the film sets itself.

Unfortunately, it seems that this R4 version might have been mastered from an older video transfer - in fact, this looks very much like the original home video transfer of the film done back in the early 1990s, which at the time was state - of - the - art but pales in comparison to what's possible today.

Fortunately, a lot of the film did work for me and the overarching story choices, I firmly believe, will lead to an amazing 9th film.

Again, it's certainly not a film that's gonna connect with everyone, some parts of the film didn't really click with me entirely to be honest, but I still found it a quietly compelling film.

At least Dan Romer, who contributed to the music from «Beasts of the Southern Wild,» provides a poppy score that entertains even when the rest of the film doesn't.

The first is a specific side of the film we didn't get in the theatrical cut.

But given that the best performance of the film doesn't appear until midway through the picture, one suspects that its chances of picking up a nomination are pretty much nil.

All the copycat quirks do is pull the audience out of the action and remind them that we have all seen this sort of film done a lot better before.

Most of the films he did were full of grandiose stunts, many directed by Hal Needham (Smokey and the Bandit II, Cannonball Run II), a former stunt coordinator himself, so making a film surrounding the life of a stunt man would seem like a very natural fit.

The finer qualities of the rest of the film do keep the story afloat, despite Levinson's tendency to overplay his hand, making Liberty Heights one of the better films of 1999.

The comedy part of the film doesn't work too well at all, mostly due to a poorly thought - out script that lacks authenticity.

A slower version of this film doesn't work as well.

There is little in the film you haven't seen first in the video game, but the creators of the film do add an interesting twist to the story that the games haven't explored (I won't use spoilers here).

The colors and overall handling of this film does not disappoint.

In fact, the majority of the film doesn't even have any direct connection to its kinda - sorta predecessor.

However by the end of the film you don't really feel as if there has been any great change in the character's outlook or behaviour.

Here are ten well - known horror filmmakers who have popped up frequently in a variety of films they didn't make themselves.

Dear Mick: As a fan of Terrence Malick's «The New World,» which version of the film do you prefer?

Just because the main actor of this film does not suit your ideals?

By the end of the film we don't even know what she does for a living, although it's her labour that supports Nash and child; her only moment of regret for getting the short end of life's stick comes during a tantrum she throws when Nash rejects her sexual advances.

The silliness that occupies the latter parts of the film doesn't push the protagonist towards resolution or fulfill any narrative arc satisfactorily.

Of the films I did see, Laurie Anderson's «Heart of a Dog,» Jafar Panahi's «Taxi,» Jeremy Saulnier's «Green Room» and Miguel Gomes» «Arabian Nights Trilogy» were the ones that stood out most.

It may not really strike as deep a chord as Michell seems to be going for, but the contemplative nature of the film does offer some occasional food for thought, and as long as the film stays within modest boundaries, it manages to score some points.

Unfortunately, the muddled tone of the film doesn't allow for this to be fully successful.

That's not to say he's done with studio filmmaking altogether — Warner Bros. is reportedly keen on bringing Ayer back for Suicide Squad 2 but the filmmaker wanted to do something different (see: Bright) first — but when he's not in the mood to helm an awards film or a massive tentpole, Ayer sees Netflix and the like as places where he can get other kinds of films done without a tremendous amount of compromise.

There's the added joy of Angourie Rice (pictured above with Gosling) as March's wise - beyond - her - years 12 - year - old daughter Holly, who tags along resourcefully even when the bullets fly, which in the final third of the film they do with a certain stylised relentlessness.

However, my two viewings of the film did provide a slightly different and deeper appreciation.

Sohn showed a rough animation he made about his own life, and how animation showed him the power of visual storytelling — as Disney animated movies were the one type of film he didn't need to explain to his Korean mother, who didn't know English.

This sort of film does nothing to peak my cinematic interest; riddled with teenage angst coupled with pop music to simply date the film.

Bruckner on the other hand was the only «safe» part of Rick — her performance seemed real enough even if the rest of the film didn't.