Sentences with phrase «of uneven films»

At present, phosphorene can only be obtained by mechanical and chemical exfoliation of black phosphorus, which is costly and produces low yields of uneven films.

Gaudio demonstrates his gift for creating magical set pieces, but it's difficult to admire anything beyond the visuals and good intentions of this uneven film.

Not exact matches

When that mix seems uneven, we recommend that studios follow the example of DreamWorks which prefaced their 1998 film The Prince of Egypt with the following disclaimer:

The door, just uphill from the Albuquerque Seismological Laboratory, leads into a cave that looks like the villain's lair in a James Bond film: the uneven stone walls painted white, an array of shiny instruments strewn about.

Aurelien Manchon, an Associate Professor of Material Science and Engineering at the University, notes that one of the main reasons for the appeal of skyrmions is their ability to avoid defects or uneven patches in thin films that would normally trap or «pin» a magnetic charge.

The inclusion of a few admittedly energetic interludes - eg Ronny confronts Geneva's tattooed, high - on - oxycontin boyfriend (Channing Tatum's Zip)- goes a long way towards sustaining the film's watchable atmosphere, yet it's hard to deny that the whole thing is, in the final analysis, far too sedate and uneven to make a wholeheartedly positive impact on the viewer.

While it's not a perfect comedy, and more than a little uneven, I still laughed my ass off through most of the film, and probably had more honest laughs here than I did with THE HANGOVER 2.

Even viewers able to get past the disturbing setup of the film's critical plot element will find an uneven mess of under - realized ideas and overdone grotesqueries.

Indulgent and uneven, but in spots gruesomely funny, the new film badly lacks the basic momentum of the original's formulaic plot.

This belated second sequel to The Three Musketeers is a rather slapdash, uneven patchwork of weak writing and sloppily directed set pieces that fails to recreate the magic of the previous films.

The film did only a fraction of the business of, say, the previous year's Nightmare on Elm Street 3: Dream Warriors, but it did earn a few favorable reviews even as it repulsed critics such as Roger Ebert.Thereafter, Fleming's career waxed extremely uneven from a critical standpoint, though his grosses remained generally favorable throughout and the projects kept rolling in.

Half of the film I absolutely loved while the other half I absolutely hated; the tone is uneven and truly bizarre.

A pretty uneven film, lurching from comedy to violence to sentiment, but it's best when it sticks in the realm of flat - out farce.

The writing and tone of Fading Gigolo is too uneven to make for a coherent, admirable film.

Throughout the film there are several cinematic camera tricks, which hit the mark about half the time (and are annoying the other half), and overall the performances of the cast are good, though I thought that the cheerleader's portrayal was a bit uneven, perhaps due to the script that had her alternatevely playing hot and cold.

The pace is uneven, the energy sluggish (even the arrival of Malcolm McDowell in the third act doesn't pep things up) and the film feels overlong.

The first half of the film is dreadfully contrived and artificial, from the uneven acting to the stereotype - filled script, to the aforementioned set and production design.

Variety also has faint praise for the «shrewd comic instincts» of the film which save an «uneven, excessively quirky but ultimately ingratiating story.»

Stone's misguided efforts to turn Alexander into a drama of Shakespearean proportions undoubtedly plays a big role in the film's wildly uneven tone, which flits wildly between talky period piece and flamboyant melodrama (often within the space of a few scenes).

Just before his death in 1989, Franklin Schaffner returned to the small, intimate type of film with which he began his career with the uneven but occasionally worthwhile Welcome Home.

This low - budget horror film produced by Roger Corman and directed by Coppola before he went on the become a famous filmmaker has evident shades of Psycho but is not even frightening, with a lame, uneven plot in which nothing much really happens.

THR enjoys Cianfrance's «mastery of atmospherics and tone» but finds the film overall to be «uneven and perhaps overly ambitious» despite «moments of searing power.»

The film's superb action sequences, beautiful cinematography, fine performances and haunting soundtrack are real stand - outs, but, unfortunately, they're undercut by uneven pacing and the inclusion of a little too much padding.

The final result is a hopelessly uneven endeavor that's good for a few laughs but little else, with the film's almost total absence of palpable scares cementing its place as a less - than - stellar horror offering.

While David Fincher's film underlined the sharp wit and moral ambiguity of Gone Girl, this latest Flynn adaptation starts off with the handicap of a less gripping yarn, combined with the uneven track record of director Gilles Paquet - Brenner (Sarah's Key, Walled In).

The problem with this Richard LaGravenese adaptation of Jason Robert Brown's 2002 stage show is that the asynchrony that exists between its characters extends to the actors playing them, making the film feel uneven for the wrong reasons.

It's a difficult role, required to anchor a mystical, dreamy story in some sense of the real, but Farrell's inherent earthiness works to balance the films more whimsical tendencies, and makes it an offbeat charmer that's a win in the uneven filmographies of both director and star.

While the film may be an uneven blend of shock therapy and wholesome homespun wisdom, anyone in the mood for a colourful and camp confection with plenty of bawdy humour will find Mental fits the bill.

The result gives the film an uneven feel, as the story of Robbie, his girlfriend and baby son is left behind and wanders off into madcap heist territory.

A much loved film by many, it's unfortunately also a very uneven film as well and how much you forgive its poor qualities will greatly influence your enjoyment of it's strong points.

It shouldn't be terribly surprising to anyone who has followed the production of this film that it's wildly uneven, but if you temper your expectations accordingly, there are a lot of compelling ideas and gnarly moments here.

Not only does the uneven Tomorrowland ultimately disappoint as a Bird film, its failure carries potential disappointment for Disney fans hoping the company might find a reason to produce more in - house movies beyond live - action recreations of their classic cartoons.

The rest of the film, however, is quite uneven, and most of the jokes don't work.

As if that's not aggravating enough, on top of being uneven, the style of the film is already pretty problematic by its own right, because beyond pacing and focal consistency, there are such questionable structuring moves as the awkward placement of a text prologue before each segment, or overly thematic imagery, or ostensibly somewhat disjointed characterization, whose experimental tastes distance one's investment almost as much as experimental direction which relies too heavily on artistry and atmosphere to dramatically thrive.

A beefed - up Joaquin Phoenix dominates Lynne Ramsay's bleak and uneven new film with the most muscular role of his career.

The film is seriously uneven with its focus, just as its uneven with its pacing and, yes, even its style, which is often grounded, or at least highly atmospheric, until jarring into a touch of abstractionism which is not realized enough for the film to flow with its themes.

But it's also less the subject of this captivating, uneven film than an excuse for its director to add to his collection of memorable faces and voices.

Sure the film is at times uneven, but it manages to be an entertaining and thrilling adventure that is simply loads of fun.

Nothing in Footloose comes close, in this respect, to the best moments of Brewer's previous, vibrant if uneven films Hustle & Flow and Black Snake Moan, but this heartfelt retread of a notably thin popcorn property does come alive during an illicit dance - off at a drive - in or when a line dance devolves into sweaty gyrations — basically, when the teenagers are fulfilling the grown - ups» worst fears.

Coming out of the same film - student club as Martin Scorsese, George Lucas, Brian De Palma, etc., Paul Schrader has always been a highly intelligent filmmaker, but an uneven one.

That something proves elusive over the course of Valérie Müller and Angelin Preljocaj's uneven, intermittently engaging film.

By definition, grab - bag films are uneven, and some of Coffee And Cigarettes» segments — a meeting of Spike Lee's less - charismatic siblings, an aloof beauty's lonely afternoon — capture Jarmusch at his most oblique and least rewarding.

Winter in the Blood Directors Alex and Andrew Smith attempt the monumental task of adapting James Welch's first novel, Winter in the Blood, the result a wildly uneven, but daring film.

Mud suffers from uneven pacing and while the climax is thrilling and well executed, the final few minutes seem out of place compared with the themes and mood of the rest of the film.

In truth, however, this phenomenon was uneven, and was more pronounced in Germany and Anglophone nations than in countries such as Italy (where most of their post-1970 films were made), Portugal and the Spanish - speaking world, in which the Straubs found more steadfast support for their radical work.

Payne also masters the tone of the film, because even among the saddest of scenes, you'll find yourself laughing as well, and the tone never seems uneven.

Occasionally uneven, this is nevertheless one of the brothers» most endearing films, with a climax involving a gun and an inhaler that is quite possibly the single funniest thing they ever did, at least until the whole of Burn After Reading.

With the opportunity to work with director - of - the - moment Richard Kelly (DONNIE DARKO), Timberlake took a role in SOUTHLAND TALES, a strange and uneven film that never really makes sense, with interwoven characters and timelines set in a futuristic LA.

The non-horror elements of the film are uneven in general: The score, so effective in the fright scenes, suddenly evokes eye rolls when things start to get sentimental, and there's one scene of unintentional comedy where the film's retro»70s setting — another element downplayed in the first film but foregrounded here — collides with its demonic imagery in an honestly pretty silly way.

The tone of the film is uneven, sometimes comical, sometimes just odd, but that's not to say they aren't enjoyable precisely for being interesting.