Sentences with phrase «on film as a whole»

Whether you would put them on your own list, or choose a different movie mom to recognize, there is no denying the importance these women have within their stories, and for the legacy of moms on film as a whole.

Not exact matches

With the advent of the professional youthworker, there also came the danger that the church as a whole and parents of teens in particular would feel that they couldn't do the discipling job, that we needed people who watched the same films, wore the same clothes, could bear to listen to the same music, and could actually get as far as Level 2 on a computer game.

But on the whole the film promotes an ideological reaction against all establishments rather than an understanding of oneself as personally, and inevitably, involved in society and its establishments and therefore also in the crucifixion.

As for leftovers, I saved the sauce separately from the pasta and veg, put it in the smallest container it could fit in, put cling film on it so that it touched the whole top of the sauce, and placed in the fridge.

It didn't appear as though the French defender was too concerned about it though as the camera panned round to show him in fits of laughter filming the whole thing on his phone.

«I went there because I wanted a proof of the fact that the site was just fenced and there was a heap of sand there as Nana Addo was claiming... I went there with the MP of Salaga, with the Regional Minister and with the Police Department that was escorting the Regional Minister and we filmed the whole place and that is the story we put out for people to know and for Nana Addo to know that if they are relying on information by his propagandists then he is threading on dangerous grounds; because what we saw there was an exact opposite of what he sought to portray in his true state of the nation's address and what we saw vindicated the President's assertion that there was a 60 - bed hospital construction in Salaga.»

After finding notable success in film and television, Ellen's exposure and influence reached a whole new level when she came out as a lesbian on The Oprah Winfrey Show.

As much as I hate to say it, given the ambitious intentions and great heart on display, the film as a whole falls flaAs much as I hate to say it, given the ambitious intentions and great heart on display, the film as a whole falls flaas I hate to say it, given the ambitious intentions and great heart on display, the film as a whole falls flaas a whole falls flat.

The film is limiting potential enough by conceptually simply studying on Oscar Wilde's sexual revelations and their subsequent consequences, rather than the whole of his brilliant life and tragic downfall, but when it comes to the execution, not enough studying is done in this often inspired, and just as often undercooked character drama which at least finds superficiality in its resonance.

Hitler: The Rise of Evil is imperfect, but as a whole, it's a good try at capturing Hitler's life on film.

The acting on display here is immensely powerful, as is the whole film.

As a result, it's impossible to connect with the storyline or the plight of the film's human characters (one would think that this premise worked a whole lot better on the page).

Built as a road movie in its first hour of footage, the film accompanies a truck driver on his way from Kosovo to Belgrade... It's in the whole of this journey where the film seems more robust... [Full review in Spanish]

In a weird way, that can be a little disturbing to some folks, but films such as Shallow Hal, Stuck on You, and Me, Myself & Irene illustrate their unique treatise on democracy, in which we are all collectively equal in our wonderful, horrible, messy humanity: a whole wide world of freaks.

While the film is seemingly accessible as a portrait of an artist who seems particularly attuned to his own creative process, and particularly adept at describing this attunement (Cave has given several long - form lectures on the peculiar metaphysics of songcraft), it's unlikely that many who aren't already whole - hog Bad Seeds fans would be able to stomach much of Cave's self - styled pomposity.

I quite recommend that you watch «Harry Potter and the Deathly Hallows» as a whole for the full effect but this film does stand very well on its own.

In the film's final shot, Stewart's Maureen reveals a face that is not so much scared as uncertain, apprehensive, quietly waiting on the verge of something unknown; we hear a faint intake of breath before the picture of her fades, ghostlike, the whole screen bleaching to a whiter shade of pale.

1 The whole film seems to be hovering — just like the young man on the bridge — between a world we tend to call «reality» and one we refer to as «dreams».

This whole film for me, I felt like a fan meeting all these people and the characters that I'd watched on screen and admired and to be on screen with them as Thor but as Chris also was pretty exciting.»

Ultimately, I found the film to be just OK, and as narcissistic and self - congratulatory as this is: the best part about the whole experience, was seeing myself on the big - screen as a panicked / witless civilian.

The script has some creative perks, including inserts of satiric humor amidst this outrageously absurd situation (though the film as a whole is far from campy enough to enjoy on that level).

Instead, we're focusing on the movies that have somehow been rejected by audiences as a whole, or in some cases, films that have vanished from the public's collective consciousness.

When it comes to his latest directorial effort, an adaptation of cartoonist John Callahan «s memoir Don't Worry, He Won't Get Far on Foot, the movie is undoubtedly remarkable, but it's due to the performances Van Sant pulls from his actors rather than the film as a whole.

While Baum's writings are credited, the screenplay by Mitchell Kapner (The Whole Nine Yards) and David Lindsay - Abaire (Rabbit Hole, Rise of the Guardians) is largely its own original entity, one modeled as much on the Garland film as anything else.

By this point the action is flashing by like a fire engine without any clear end in sight, other than more and more violence, and the film feels as if it could go on indefinitely, or at least until the whole of Queens lies dead on the restaurant floor.

From that, the rest of the film follows, for there is no broadly, easily villainous type present in the film at all, whether student, faculty, administrator, or even parent; thus the focus more clearly and cleanly zeroes in on the central idea at hand: that the two are their own worst enemies, and they need to get over themselves to be awakened to what's truly worthwhile in their lives and in life as a whole.

On the whole, On Chesil Beach presents a deeply moving story with intricate ramifications and a big secret at the heart of its storyline, but the film somehow fails to ignite the same feelings and emotions as the book does.

(Note: «Need» in a sense that, if good, the making of said film would have a meaningful impact on Hollywood as a whole, not «need» as in, «Deadpool was such a badass movie, I fucking need Deadpool 2 now!»).

This time he's filmed the whole thing on iPhones, which as Sean Baker's Tangerine demonstrated, is a highly underutilized medium for creative, economical filmmaking.

It's no different here, Waltz steals the whole film as a bounty hunter who takes Django under his wing and accompanies him on his mission to rescue his wife, Broomhilda (Kerry Washington).

As someone who appreciates the art form as it is more commonly employed, I didn't find much to love about this bleak, bloody film, whose story and characterizations felt lacking on the wholAs someone who appreciates the art form as it is more commonly employed, I didn't find much to love about this bleak, bloody film, whose story and characterizations felt lacking on the wholas it is more commonly employed, I didn't find much to love about this bleak, bloody film, whose story and characterizations felt lacking on the whole.

Yes folks, it's been almost two decades since Celine (Julie Delpy) and Jesse (Ethan Hawke) first met on that train to Budapest, and now three films and a whole lot of life talk behind them, their relationship is as juicy as ever.

The leaning on archetypes, some of them questionable, and stylisation across a whole range of Japanese artforms, are manoeuvres certain to get Anderson in hot water once the film is more widely seen, just as The Darjeeling Limited — a much more vacuously touristy exercise — was accused of mishandling race.

But while there is a note of wide - eyed childlike wonderment early on, the film as a whole fails to develop any sustained sense of the magical spell the story calls for.

While I wouldn't proclaim it a great film as a whole, it is a great debut as a film creator for its star, as there are so many ways this material could have been done wrong, potentially tarnishing the good - guy appeal of Gordon - Levitt, one of the rare child stars who has made the transition to movie star into adulthood without being pigeonholed or gone off on a path of self destruction.

In the kind of film that usually relies on the performances of its pop - in cameos — and there is quite a handful, including Anthony Anderson, Ethan Embry, Neil Patrick Harris, Luis Guzman, Ryan Reynolds and Fred Willard — Cho and Penn keep control of the wheel the whole way through, never missing a beat on their unadulterated wit as they continue to push the moral envelope in their search for a late - night snack.

Even though Bigelow had to face some harsh criticism from women who saw Strange Days as an anti-women film because of the shocking violence on display, it could be argued Strange Days is a pure feminist picture, as Angela Bassett's Mace is a physically imposing, capable, intelligent yet distinctly feminine character who might be the supporting pillar of Ralph Fiennes» lost soul, but in some ways remains the emotional center of the whole film.

It may be fair to say that some movies made with the plot revolving around Christmas are far better than others, but on the whole Four Christmases could be quite a fun movie for the most part, although, as already mentioned, the film perhaps takes a turn towards more serious issues as it progresses.

Thus, together the essays form a discourse based on a specific mode of spectatorship within the study of Japanese cinema, while the section as a whole marginalises popular reception of films by ordinary filmgoers.

Finally, each disc includes an assortment of outtakes and photo galleries, and the set contains a 58 - page booklet with four essays, one on each individual film and one about the collection as a whole.

That same aura of disposability and indifference hangs over the film as a whole, which isn't a wreck so much as stalled out on the side of the road.

The first point is clearly absurd and as for the second, while I am rarely an advocate of very long albums for film scores, in this case I would have to agree; unfortunately, Goldenthal recorded half of his score in New York and half in Los Angeles and so because of reuse fees, he and producer Robert Townson had to choose which of the two sets of recordings to give on the album, and they decided that on the whole the New York half was more interesting - and I wouldn't disagree.

In the wake of Christopher Nolan's «Dunkirk,» Wright's film takes on a whole other glow as the external stakes of England's retreat from the European mainland during World War II deepen amid situation - room barking and politicking.

Fantastic filmmakers and an author responsible for a whole new world of magic can be found at Carnegie Hall on November 12, as JK Rowling hosts a special advance screening of «Harry Potter» spinoff / prequel film «Fantastic Beasts and Where to Find Them» to benefit the Lumos Foundation.

Movies based on true stories are already hard enough to critique on a plot or character level, but when you're dealing with such a harrowing, difficult story as the one about what happened on New Year's Day of 2009 in a BART Station by Oakland, California, there are a lot of things that need to be acknowledged, regardless of your overall feelings for the film as a whole.

While «Hook» reeked as a film on the whole, Hoffman's portrayal of Captain Hook was nothing short of incredible.

None of Johnson's «triumphs» are played as such — the Civil Rights Act is passed midway through the film, and the whole thing ends on an almost bitterly interior note.

The panel aims to explore topics such as empathy's place in the sea - change in the production and distribution of films, how increasing the number of women at all levels of the film industry will effect this, and its impact on film criticism and influence on society as a whole.

Despite its whimsical story and its consistent — as well as consistently dry — humor, the whole film is centered on such moments of remorse — for what has passed and for how the future is being shaped.

The disjunction between the gravity of their plan and the casualness with which they discuss it is bleakly funny at first, but quickly becomes repetitive, and the film as a whole is so predicated on their blasé indifference to life that a corresponding indifference seems the only rational response.