Sentences with phrase «on anyone in the film»

When the action pauses you can count on anyone in the film bursting into an ABBA song.

Not exact matches

Does anyone else see the humor in the creationists debating their point of view over the Internet (invented by science), filmed on cameras (based on science) in a hall lit by electricity (harnessed by science).

This film allows you a high level of privacy during the day, preventing anyone from seeing what's going on in your private life.

Early in my challenge I had heard about the Summer Screen series at Somerset House, and keen to include one of the evenings in my 30 Dates by 30 Challenge, I posted on Facebook to ask if anyone had a friend who might like to go and watch an outdoor film with me.

, Australia suffered a case of critic tall - poppy syndrome, in which it seemed the film was doomed for universal criticism before anyone had laid eyes on it.

The only draw of the film was the dancing talent that was shown, which, as I feel that anyone else in that theater can support me on, would be better seen at a REAL dance studio today.

He did several suspense films, including Johnny Allegro and Dangerous Profession, but it was his work on The Window that earned Tetzlaff a permanent place in the memories of filmgoers — a dark, chilling, and suspenseful thriller, based on the fable of the boy - who - cried - wolf, this film, about a young boy (Bobby Driscoll) known for telling tall tales, who witnesses a murder in his tenement building and can't get anyone to believe him, was an instant hit.

Anyone who pays even the faintest bit of attention to the behind - the - scenes goings - on in Hollywood must be aware that its original directors Phil Lord and Chris Miller — the guys behind The LEGO Movie and 21 Jump Street — had a creative disagreement with Lucasfilm, leaving the film in the safe - as - cotton - wool - padded - houses hands of Ron Howard (a close chum of one George Lucas).

* But thankfully Evans does a fantastic job as the Captain and all the other actors do great jobs too and don't make any of the characters too stupid or cheesy unlike how other 40s era films made in the 90s, 2000s and on have been (Red Tails anyone?)

The film offers the spectacle of a filmmaker not only stuck in arrested development, but basking in it, thumbing his nose at anyone who would dare to call him out on it.

The same accident plays out twice more elsewhere in America, on the plains of Wyoming and in the Florida Everglades: anyone who has played the game or seen the trailer will already know the results, but the film has so much fun unveiling them it would be a pity to give them away in print.

He had a way of dissecting a film and commenting on it in a way that was easy for anyone to understand.

For her role in the film adaptation of the bestseller The Girl on the Train, Emily Blunt was excited to get her head around a character unlike anyone she's ever played.

There's no word yet on returning cast members, but given the title and the fact that he appeared to be having more fun than anyone else in the first film, expect Rupert Everett to once again get in touch with his Camilla Parker - Bowles side in the role of Headmistress Fritton.

See Also: There's not a lot comparable to «The Lobster» in Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at alin Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at alIn Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at all.

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.

The film that reached the top spot in my opinion is also the film on this list I would be most apprehensive to recommend to anyone.

Now, in a move that should please anyone who likes to see the development of a great actor / director team, they're poised to work together again on a film called Low Life.

Gavin O'Connor came on board in the eleventh hour and brought his workmanlike grit and professionalism to help save this film from falling off the rails, putting together a perfectly acceptable picture that won't be a blemish on anyone's record, but won't stand out either.

The most notable example of this occurs early on in the film when Zuri (Forest Whitaker) asks if anyone is willing to challenge T'Challa for the power of Black Panther.

On the other hand, anyone with sensitivities about how inhumane man can be towards animals will likely appreciate the messages conveyed in this film where man gets a taste of his own medicine.

With some 10,000 entries, including hundreds of titles we never covered in our annual guide, this is the perfect companion for anyone who watches TCM or dotes on silent films, European classics, and the golden age of Hollywood.

Having abandoned hope to save anyone, he gave up on life, sipping regularly from his hip flask and walking throughout much of the film in an alcoholic haze.

You won't see another film this year that coasts as long as it does on the sex appeal and posturing of its actors, and while I can't imagine anyone besides Pitt and Jolie in these roles, it's a shame there's so little meat on the film's bones.

During our interview, which we'll post in full closer to the film's release date, «The Squid and the Whale» director, who shot «Frances» on the quick and quiet (hardly anyone knew it even existed until it premiered at the Telluride Film Festival last year), dished on some of his upcoming projects and it seems he's hitting a prolific stride.

Disturbingly, Bertolucci, a poet raised on the cinema in Langlois's Cinematheque, a «true artist» now refusing interviews to anyone not associated with a «major daily,» has crafted a film that talks about growing out of movie love as something inevitable and to be accepted with resignation.

It also highlights the effort that Linklater has made in support of Independent filmmaking and how he was influential in helping create the Austin Film Society whereby old film prints could be saved and showed, as well as raising money from filmmakers to help make more films.Overall, it does little but scratch the surface and a bit more in - depth analysis to his films would have been welcome but to paraphrase Billy Bob Thornton on the outtakes at the end; «Rick Linklater doesn't need anyone to make a documentary about him.

Three of the films in my top 10 are Netflix releases — Casting JonBenet, Icarus, and Okja — and it's been an uphill battle persuading anyone to watch them even though people could right now, on their couch, for free.

Some of the film's more startling moments and visuals are the most effective and unsettling sequences I've seen in a horror film in recent years, which will be due in part to what personally unsettles me, but may have no impact on anyone else.

The director seems as aware as anyone else of the irony that the worlds biggest, most corporate football club are taking a central role in his first film on the subject, but he never lets these opinions interfere with his story and characters.

Zach isn't particularly keen on the unexciting town until he meets Hannah (Rush, The Giver), the cute girl next door, with whom he becomes fast friends, though Hannah's feisty and reclusive father, revealed later in the film as R. L. Stine himself (Black), thinks she should have nothing to do with Zach or anyone else.

But in a recent interview, Aronofsky left a glimmer of hope open for anyone who would still like to see his take on the revered 1987 Paul Verhoeven film.

The film is equally pitched toward Wallace devotees and those who roll their eyes at anyone reading Infinite Jest on the subway — both crowds will enjoy it in their own ways.

While the extremely in - depth analysis of the film will be appreciated by those who really admire it, I challenge anyone to read this to completion without inflicting lasting pain on their eyes and head.

This is as much psychological thriller as musical drama and it turns on the increasingly toxic chemistry between two clearly damaged people, to the exclusion of pretty much anyone else in the film.

Why Mort, who wrote and directed the film, has chosen to focus on Simone's troubled 1990s period in France is anyone's guess.

Lynne Ramsay is a tremendously talented director, as anyone who has seen her films We Need to Talk About Kevin and Ratcatcher can tell you, which makes the latest ripple in her career quite a bummer: When production began Monday on her latest film, the Natalie Portman - fronted Western Jane Got a Gun, Ramsay was nowhere to be found.

Relying heavily on selective focus, oblique angles, and moody lighting, the film casts post-9 / 11 New York in this discomforting haze, where anyone you see, even our protagonist and the ordinarily affable Ruffalo, could be a monstrous killer / dismemberer.

Any of these films would be worthy of an Oscar win, but I'm personally rooting for the race documentary «13th» (a must - see for anyone, the kind of film they should show in schools) and «O.J.: Made in America,» which is a marathon at nearly eight hours in length (it was shown in parts on ESPN earlier this year), but a completely fascinating look at race, media and society as it was in the 1990s and today, and just happens to be a tragic portrait of the worst fall from grace for a sports star in the history of our country.

Tony Black revisits Avengers: Age of Ultron one year on to see how it holds up... One of my main outlets is podcasting, and recently I asked online if anyone would like to do a speculative episode of my film show in which we «fix» a broken movie, discussing why it failed and how we -LSB-...]

Though most behind - the - scenes features showcase the production process once filming is underway, The Player gives us a glimpse of what goes on behind the scenes of the behind - the - scenes process, where the only dreams that come true are for the people up top — the people who feel that anyone can make a story that will entertain millions, while the lowly creators that nurtured the initial ideas are seen as little more then expendable goods hardly worth receiving input from once the studio handlers squeeze their foots in the door, symbolically getting away with murder — the figurative death of the writer in the Hollywood production process.

While the situations in the film may be clichd (and possibly stolen), they are things that most anyone who has been on a family vacation can relate to.

Even after sitting through nearly an hour of projection problems during our screening of the film — in which anyone could have just as easily left and guessed exactly what happened in the end — I decided to stick it out with the hope that something better was on the way.

In the film's most affecting sequence, Oliver professes his admiration for Elio («You know more than anyone here»), and the two men, positioned on either side of a WWI memorial, come out to each other, literally crossing the divide of history.

The film is very unique in that it's set in the present day and not based on the lives of anyone real.

A serious - minded and decidedly adult fairy tale about a virginal young woman who learns from her brother (Malcolm McDowell) that they are descended from a race of human - panther hybrids doomed to revert to their murderous feline state while making love to anyone outside of their own bloodline — a problem as she has just fallen in love with a sweet - natured zookeeper (John Heard) who specializes in big cats — this is a film swimming in sex, violence, poetry, philosophy and swanky visuals in such extremes that it always seems to be on the verge of becoming utterly ridiculous but it somehow never goes over the edge into camp because of Schrader's serious - minded handling of the material; it may be nonsense but he never treats it as such.

In fact, all of the women in this film, including Kyra Sedgwick who is in this movie for no reason at all, are replaceable parts and could have been played by anyone walking on the street looking for an acting joIn fact, all of the women in this film, including Kyra Sedgwick who is in this movie for no reason at all, are replaceable parts and could have been played by anyone walking on the street looking for an acting join this film, including Kyra Sedgwick who is in this movie for no reason at all, are replaceable parts and could have been played by anyone walking on the street looking for an acting join this movie for no reason at all, are replaceable parts and could have been played by anyone walking on the street looking for an acting job.

In short order they are run off the highway by some cartoon banditos led by John Goodman, and Doug (poor Justin Bartha, who in the course of these films has spent more screentime with a bag on his head than anyone since John Hurt in The Elephant Man) is taken hostage until such time as the guys can locate the whereabouts of... wait for it... yes, Lesley Chow (Ken Jeong)-- who has made off with a goodly pile of Goodman's looIn short order they are run off the highway by some cartoon banditos led by John Goodman, and Doug (poor Justin Bartha, who in the course of these films has spent more screentime with a bag on his head than anyone since John Hurt in The Elephant Man) is taken hostage until such time as the guys can locate the whereabouts of... wait for it... yes, Lesley Chow (Ken Jeong)-- who has made off with a goodly pile of Goodman's looin the course of these films has spent more screentime with a bag on his head than anyone since John Hurt in The Elephant Man) is taken hostage until such time as the guys can locate the whereabouts of... wait for it... yes, Lesley Chow (Ken Jeong)-- who has made off with a goodly pile of Goodman's looin The Elephant Man) is taken hostage until such time as the guys can locate the whereabouts of... wait for it... yes, Lesley Chow (Ken Jeong)-- who has made off with a goodly pile of Goodman's loot.

America's foremost CGI rappers are back, and this time, they're starring in a film that takes the never - fail «premise based on an easily resolvable misunderstanding, if only anyone would talk to each other» to even sadder heights.

Perhaps in 28 years, as the effects go from stunning in 2010 to dated, people will look back and wonder why anyone would be entertained by a such a film, but for today, it delivers on action, effects, solid choreography, art design, and should hold the interest of the genre fans for which it is intended.