Sentences with phrase «other end of the film»

Meanwhile, at the other end of the film food chain, I failed to see Ned Benson's The Disappearance of Eleanor Rigby: Him and Her, described in the catalog as an «unprecedented cinematic event» — but I did see Raya Martin and Cinema Scope editor and Locarno Film Festival programmer Mark Peranson's La última película.

On the other end of the film, there's some repetition, with the biggest reveal coming multiple times — which is thematically appropriate, as it turns out, but still frustrating.

Not exact matches

The deal, expected to close by the end of the year, would give AT&T control of cable TV channels HBO and CNN, film studio Warner Bros and other coveted media assets.

It was he, along with Ismail Merchant, who filmed Howards End and so many other literary adaptations some years ago, many of them quite good.

What other solutions are out there, not that I want to give away the ending of your film?

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«Crucially, the end of that film and others of its time, spoke of hope and featured the overthrow of the controlling voodoo master by his «zombie» slaves,» Dr Pearce explains.

At the other end of the cup spectrum, Pamela Anderson reportedly quipped last year at an Italian film festival: «My boobs have had the career; I'm just tagging along.»

Director Tom Dey's film is yet another by - the - numbers romantic comedy where the same tired escapades ensue, including one character's climactic discovery of the other's secret (in this case, when Tripp finds out about Paula's career as a female Hitch), and their eventual reunion at the end.

End Of Watch is a fantastic film viewed from a different angle to other films in the genre.

«Seeking a Friend for the End of the World's screenwriter, Lorene Scafaria, who also made her feature film directorial debut with the romantic dramedy, perfectly captured the essence of people needing to find comfort in each other during dire circumstances with Dodge and Penny.

There are two main stories really, one which sees Kronk back with «Yzma» again and the other revolving around his job as a camp counselor for the Junior Chipmunks, something that was touched on at the end of the first film.

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.

Some of his most notable film credits include TYRANNOSAUR, SNOW WHITE AND THE HUNTSMAN, JACK THE GIANT SLAYER, WAR HORSE, SHERLOCK HOLMES: A GAME OF SHADOWS, HANCOCK, MISSION: IMPOSSIBLE III, V FOR VENDETTA, MIAMI VICE, THE ILLUSIONIST, 21 GRAMS, and GANGS OF NEW YORK, among others, and most recently could be seen in THE WORLD»S END and STILL LIFof his most notable film credits include TYRANNOSAUR, SNOW WHITE AND THE HUNTSMAN, JACK THE GIANT SLAYER, WAR HORSE, SHERLOCK HOLMES: A GAME OF SHADOWS, HANCOCK, MISSION: IMPOSSIBLE III, V FOR VENDETTA, MIAMI VICE, THE ILLUSIONIST, 21 GRAMS, and GANGS OF NEW YORK, among others, and most recently could be seen in THE WORLD»S END and STILL LIFOF SHADOWS, HANCOCK, MISSION: IMPOSSIBLE III, V FOR VENDETTA, MIAMI VICE, THE ILLUSIONIST, 21 GRAMS, and GANGS OF NEW YORK, among others, and most recently could be seen in THE WORLD»S END and STILL LIFOF NEW YORK, among others, and most recently could be seen in THE WORLD»S END and STILL LIFE.

There were plenty of other problems, though - did anyone else notice the «stone» pillar that Neeson and Zeta - Jones were cowering against at the end of the film SQUISHED when Neeson put his weight on it to stand up??

The film works up to a totally conventional ending: It's never much of a comedy or an exploration of the phone - sex phenomenon, and it often seems to be just an excuse for Madonna, John Turturro, Quentin Tarantino and other Lee pals to make cameo appearances and mug for the camera.

The confinement, which lasted until the war's end, is also the longest stretch of the film, and might easily have been made into a whole movie, with the other chapters of his life added as footnotes.

Although Vic ends up safely behind bars, other bodies begin to turn up — more than 20 by the end of the film.

I'm sure this one film has more Trek technical mumbo jumbo speeches than any other, by the end of the film I had actually lost how or what they were all suppose to be doing.

The plot lacks the dark undertones and fatalism of the other films and an attempt to «get deep» at the end doesn't do it alone.

«The Neon Demon» was a beautiful entirely extremely disturbing thriller, totally hardcore, and the role of Elle Fanning was outstanding, Nicolas Winding Refn did an acceptable job, but from start was exciting until the middle of the I felt intermittent film, sometimes the pace increases and other decreases, but ended in the most disturbing way possible, certainly a hardcore film, a half scale.

The film itself seems reluctant to tie itself off, giving us one of the great end - credits - as - scene sequences of the last year (Call Me by Your Name and Good Time being other memorable examples).

That losing streak is almost certain to be ended in February, this film and this year being the obvious vessels to recognize not just a fearless, committed, and physical performance full of snot and beard but a body of work over the past quarter - century seemingly unrivaled by any other actor.

After the thrill of the chase, the lookalike's escape, and the disappointment of missing the reward, the film ends optimistically with a long shot, lasting over half a minute, of all the boys and other people in the background.

At the same time, Uchida is responsible for some of the most remarkable swordplay films of the 1950s and»60s; his five - film Musashi Miyamoto epic (not screened at MOMA), starring Kinnosuke Nakamura in the title role and Ken Takakura as his arch-nemesis Kojiro, surpasses the better - known Inagaki Samurai Trilogy starring Toshiro Mifune in terms of both drama and swordplay, yet remains little - known in the West (despite its availability on DVD in the U.S.) After the BAM retrospective (and others) in 2008, most of Uchida's films remained unscreened and undistributed in America, so with MOMA's bigger series recently ending, it's time again to encourage distributors like the Criterion Collection, Kino Lorber, and Arrow Video to bring out more of the director's masterpieces, both for critical reconsideration and for those whom the veteran filmmaker will be a major new discovery.

The next two Avengers movies have been announced as the end of Phase 4 in the MCU and Joe Russo - who is helming the two films with his brother Anthony - accepts that fans believe they know what will happen in the plot from watching the other Marvel movies but he insists there's going to be some shocks for cinema goers.

As is suitable for a film whose title is the Hawaiian word for, among other things, both hello and goodbye, it is a tale of beginnings and endings as former Air Force hotshot Brian Gilchrist (Cooper) returns to Hawaii as the flunky of an eccentric (what else?)

Orci continued a point articulated by director Gavin Hood and others associated with» «Ender's Game» that the message of the film — which includes themes of otherness and centers on an underdog character who finds vindication — is one that gay rights supporters should applaud.

On the complete other end of the spectrum, Bill Murray's first starring role in a movie was also the first film to be directed by Ivan Reitman, who would go on to direct Murray in Stripes and Ghostbusters.

While Malick was busy pondering the very beginnings of life on this planet, two other films set about envisioning the end.

It's the kind of perfect film that leaves you speechless at the end, you don't even know what to say other than «wow.»

In the end, I would agree with the Russo brothers, the love that both Steve and Bucky have for each other is the primary focus of this film.

The title of the film comes from The Grateful Dead, who, along with Bob Dylan, the Beatles, and other musicians from the era are the key to unlocking Gabriel's memories (at least until the song ends).

The viewer ends up more or less surprised by the films sudden escalation, because of the needless time wasted showing other characters without developing them.

What is fascinating, however, is that Eternal Sunshine's happy ending sits rather uncomfortably at the conclusion of a film that demolishes the thematic core of the genre itself: the idea that these two lovers are made for each other and that they will, as a result, live happily ever after.

Those that found Nolan's film to be too complex (or even illogical) will most likely find The Martian at the other end of the spectrum — all is laid out, usually even in strict layman's terminology.

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.

Ultimately its a film that seems it was written in parts with the beginning and the end meshing with each other well but the middle feeling wholly out of place and wrong.

However as a whole, this is a satisfying, and truly unique viewing experience, and we get to see a director who is at ease with such grand ideas of storytelling, and in the end, we get an experience like no other, and for true film lovers, we couldn't ask for any more.

For much of the film both the Fosters are on fairly equal terms with each other but by the time the film ends Claire is having to dress like a prostitute while Phil is left to come up with the final big plan that he inexplicably keeps to himself.

Features both the American and British versions of the film, commentary track by creator / actor Richard O'Brien and co-star Patricia Quinn, an audience participation picture - in - picture track with a live version of the show and a «callback» subtitle track that cues viewers to classic audience responses, featurettes, two deleted musical scenes, outtakes, alternate opening and ending, and other celebrations of the culture of «Rocky Horror.»

In the anthology 30 Years Of Terror, for example, we meet the Mackenzies, the old couple mentioned at the end of the first film when Laurie sends Lindsey and Tommy Doyle (the other kid she's babysitting) to their house for safetOf Terror, for example, we meet the Mackenzies, the old couple mentioned at the end of the first film when Laurie sends Lindsey and Tommy Doyle (the other kid she's babysitting) to their house for safetof the first film when Laurie sends Lindsey and Tommy Doyle (the other kid she's babysitting) to their house for safety.

The real progenitor of these films is not Steven Spielberg, or even Irwin Allen, but Smokey and the Bandit, Honkytonk Freeway and all those other Kentucky - fried demolition derbies that littered up the back end of the seventies with their multiple shunts, pile - ups and smasheroos.

The film is, among other concerns, about mentorship, the end of eras and how the traumas of youth can be carried forward through adulthood.

On the other end there's Collateral Beauty, which is so over the top in its corny tone and its bizarrely arrogant writing, so satisfied with what Loeb clearly seems to think are some revolutionary twists despite the fact that you can see one of them coming the entire film and the other is so ridiculous that no one would be insane enough to even consider it, that you practically feel insulted the entire time you're watching it.

The characters are so exaggeratedly helpless that the film somehow manages to achieve hilarious punchlines toward the end simply by showing them forced to adapt to the mundanity of normal life — what other film could turn «taking baby Aspirin to reduce my risk for heart attack» into a genuinely laugh - out - loud moment?

Though Boyle masks a lot of the script's problems with some nifty visuals and the same kinetic energy prevalent in his other films, the frantic pace only lasts so long before the story grinds to a halt, suffocated by a never - ending series of twists and red herrings that makes it almost impossible to discern what's real.

Miyazaki's film is technically a 2013 movie as it did get an Oscar - qualifying run and ended up on a few of our Best of 2013 Top 10s as well as many other critics» list, but it also technically doesn't get a proper U.S. release until February 21.

The film most like it from that year is David Fincher's Fight Club, in that both aspire to be plangent black satires but ultimately end on flaccid off - notes: the one with the idea of an organized posse of anarchists destroying our financial infrastructure, the other with a homophobic Republican gunning down gay Best Actor winner Kevin Spacey in his last role as accidental Christ before he took on the crown and sandals permanently and on purpose.

After three and a half years without a directorial release, Spielberg ended up with two films scheduled to open within four days of each other and Christmas 2011.