Sentences with phrase «ones viewing of this film»

One viewing of the film The Passion of the Christ should be enough to show that God's death was the ultimate blasphemy, the ultimate opposition to God.

If I remember correctly after only one viewing of the film he also never said he didn't care about people.

It won two jury awards at Sundance, and arguably an appreciation for Nick Cave the artist would influence any viewer's perception of 20,000 Days On Earth, but what really affects ones viewing of this film is entering into it and viewing it as a documentary disguised as a fictional film, or a fictional film disguised as a documentary.

Not exact matches

A group of scientists from Max Planck Institute for Chemistry and Johannes Gutenberg University of Mainz in Germany recently found that they were able to identify what kind of films a group of subjects viewed — whether it was funny, sad or suspenseful — based on the different combinations of chemicals, or peaks of one in particular, such as carbon dioxide, that were found in the air in the theater.

You'll already have a view on whether it's ok for Christians to watch what Father Ted called «this sort of thing», although there's arguably a difference between watching one age - restricted film or episode and bingeing on one after another.

It is, as well, an antidote to Mississippi Burning, a dishonest, award - winning new film in which blacks wait patiently and fearfully in the background for deliverance by two white FBI agents, played by Gene Hackman and Willem Dafoe, who zealously bend the law in the interest of justice — a film one fears will have a profound effect on the way many Americans view their nation in the King Years («The Dream Dafoed,» as the Village Voice put it).

It's not often that one leaves a movie theater feeling speechless, but anyone on the right side of the culture wars who views the recent film Blast from the Past will find his jaw scraping the sidewalk» and not out of disgust.

Anyone who has attended a Star Trek or Star Wars film on opening day and then gone a few weeks later knows the difference between a piece of art viewed by cult followers and one viewed with casual fans.

(That's my read — one web critic says the film fails because Stone never had the guts to take any point of view.)

Nominated for awards at both the Pan African Film Festival, Bronzelens Film Festivals, and others, it's no wonder TV One, the network dedicated to delivering real life and entertainment programming from the African American point of view, has decided to acquire and air this historical film on Saturday, January 9, 2016.

A film which deserves multiple viewings, one of the aspects which stands out is the mad combination of seriously expensive and impressive special effects with a message so radical it's a surprise Hollywood allowed the film to be produced in the first place.

Each therapy session consisted of participants viewing a film with themes of alcohol dependence, such as Leaving Las Vegas and When a Man Loves a Woman, followed by a one - hour discussion led by a psychologist.

Within six hours of viewing this film, the period during which memories are thought to be consolidated for long - term storage, test subjects were randomly assigned to one of three tasks: answering trivia; playing Tetris, a 1980s video game that involves optimizing visual - spatial cues; or engaging in nothing in particular.

Bottom line: this is one of the most impressive and influential sci - fi action films out there, so it is basically required viewing for fans of the genre, and people interested in great cinema in general.

But speaking as one not of the demographic, and having seen the first film and enjoyed Dudley Moore's antics, my repeat viewing of the remake comes from an admittedly skewed lens.

Deniz Gamze Ergüven, who makes her feature debut as writer - director after a couple of short films, tells the story exclusively from the girls» point of view — both emotionally, as they have all our sympathy, and physically, as almost nothing happens that one of them could not be seeing.

One of the better films made about submarine and anti-submarine warfare, The Enemy Below takes a unique dual view of the action.

Indeed I concentrated specifically on only a few of the film's qualities, or at least the ones that jumped out at me on this viewing.

These minor points aside, Beginners is without doubt one of the best films of 2011, with an outstanding performance from Plummer, great writing, and through being an immensely rewarding viewing experience in general.

The film was funny when first released, however it's not one of those films that has stood the test of time, and quite frankly got sillier with every viewing.

This is one of those rare films that is different every time you view it, and just when you seem to make sense of it all, its true meaning is eternally elusive.

2001 is one of those films that invites discussion and analysis, even (or especially) after repeat viewings.

It is one of the great original works of cinema, maybe even the best; it is a film that is not even a bit dated as I view it once again in 1999 still awed by the spectacle, the accuracy of its scientific statements, and its mystery.

From the blackness of space to incredible views of the Earth's surface, and the claustrophobic space capsule interiors, Gravity delivers one of the most impressive visual and dramatic stories put on film.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle way so multiple viewings is beneficial and a lot of fun.

For my money, The Ides Of March — with its dark view of human nature and satisfyingly twisty plot — is one of the most entertaining films ever made about the political procesOf March — with its dark view of human nature and satisfyingly twisty plot — is one of the most entertaining films ever made about the political procesof human nature and satisfyingly twisty plot — is one of the most entertaining films ever made about the political procesof the most entertaining films ever made about the political process.

If you can see past the rain of blood, Raw is a gorgeously moving film about fear and adolescence — albeit one best viewed on an empty stomach.

As the film becomes confined to Georges and Anne's well - appointed apartment, we settle in for an observation of the day - to - day as Anne's condition worsens (that's the invasion of privacy referred to in my opener above), and the narrative takes its inevitable course — minor immobility but still - bright sentience giving way to paralysis, dementia, force - feeding, loss of bodily - function control, wailing and terrified / terrifying unrecognizability leading up to the point of the unbearable for both husband and wife — we are also treated to a kaleidoscopic view of this couple's comfort with each other, their familiarity, their annoyances, their casually brutal honesty, and their reflexive care for one another.

«Persepolis» pulls off something that's not easy for any film, even a live - action one, to do: It gives us a sense of how a kids» - eye view of the world — particularly the way kids are capable of grasping the idea of injustice, even when more delicate political arguments are beyond their reach — can emerge and grow into an adult sensibility.

By contrast, Lady Bird offers a different kind of view of right now, one that exists outside the anger paradigm except in the way that many are angry women are still left behind in terms of parity in the film industry.

Try if you'd like to judge this simply as an adaptation (a measure it still fails), but it is impossible not to view Burton's movie as a wildly inferior remake of one of the most spectacular fantasy films ever made.

One small but important note; though most of the film is in English, some of it is not and the needed subtitles were not activated by default for me on my first viewing.

But Out 1 was one such film, an unforgivingly experimental work of serpentine narrative structures and conspiratorial cul - de-sacs that demanded the repeat viewings and deep immersion a home video release could afford.

The romance that took film twitter viewers by storm in 2016, Todd Haynes's Carol is a masterclass in mood and subtlety, creating a buzz of electricity the second Rooney Mara and Cate Blanchett are within viewing distance of one another.

The film doesn't get involved in Clough's personal life but focuses on his career with both clubs, starting off with Clough viewed firstly as a small - time Second Division manager then an arrogant manager on top of Division One.

The film presents a lot of statistics — almost more than can be taken in on one viewing, in fact — about the state of manhood in this country, but it also shows examples of what parents and teachers and coaches and other role models can do to raise men who can be strong and powerful without shutting off their feelings.

That's one of the questions at the center of this film, which I'd go so far as to consider essential viewing.

Welcome 2016 with one last look back at the best releases of 2015, as seen by the Parallax View contributors and a few notable Seattle - based film critics.

In one of them, the film's vixenish flirt of a bookseller, played by Elizabeth Banks, strips down in front of Andy, the long - standing virgin of the film's title, gets into her tub, and proceeds to masturbate (underwater, well out of the camera's direct view) with a flexible shower head.

This is one of those horror films that takes a few viewings to really get into due to the fact that it's quite bizarre and eccentric.

The dissection of a real life legal case from every possible point of view may be the main subject from Barbet Schroeder's «Reversal of Fortune» but the heart of the film unquestionably resides in one of the most amazing acting performances in the history of cinema: Jeremy Iron's portrayal of Claus Von Bulow

I admit I really didn't enjoy this one upon a first viewing, but after watching the director's cut of the film, which is far superior, I really got into this one.

In Black & White: The Women (published on Parallax View here) The first of two articles on women in film, this one stepping off from a review of Molly Haskell's From Reverence to Rape By Kathleen Murphy

For my second viewing, I sat in the back of a theater with one of the American film industry's most accomplished production designers as she whispered to me, pointing out where computer - generated imaging was used, where it wasn't, etc..

Haneke's 1997 film is notorious for delivering one of the most painful viewing experiences in contemporary cinema; setting up a standard thriller scenario before breaking the rules, and twisting the emotional knife at every opportunity.

«Armed and Underground: Production Design» (7 mins., 1080i / 16x9) brings production designer Jon Gary Steele into the interview mix for an insider's view of the film's carefully - aged sets (the industrial - site exterior was a real location in Fontana, CA, but the massive interior was built on a soundstage), while «Crash Course: Stunts» (11 mins., 1080i / 16x9) taps stunt coordinator Lance Gilbert to tell, among other stories, the one about crawling around on the floor with his kids» Hot Wheels cars to plan the armoured - truck chase scene with Antal.

On a third viewing of «Milk», one of the best films of they year and a major accomplishment for director Gus Van Sant, I was again struck, no, blown away by the brilliance, the joy, the remarkably loving work of Sean Penn as the doomed politician.

* Shrug * I admit there are some speckles that show sometimes throughout the viewing but I for one believe it is what truly gives this film a sense of realism especially with the tremendous amounts of outdoor camera work.

While the majority of Irish films of recent years have been photographed beautifully, it is my view that, with a few notable exceptions (One Hundred Mornings and Garage leap to mind), they have suffered from undeveloped scripts.

The films, originally aired on British public television in weekly installments, can be seen as separate entities but are best considered one, extensively structured view of how the unchecked evil of the individual becomes a systematic virus.