Sentences with phrase «other films of this sort»

Britton has the most quietly powerful scene — in which she and Bateman have the kind of emotional honesty that other films of this sort (* cough * August Osage County * cough *) lack, but Hahn and Bateman have a sequence that almost equals it (and is far funnier in an uncomfortable sort of way).

But its story is less offensively ingratiating than other films of this sort (which may often be restricted to cable TV budgets and talent).

Not exact matches

The studio where «Chicago Fire,» «Empire» and other shows are filmed is taking control of adjacent Douglas Park streets to build outdoor sets of the sort you'd see in Tinseltown.

This approach would call foul on all sorts of things: Moses wielding a sword but not a staff; Moses being chatty but Aaron having almost no lines; Moses killing lots of people and fighting in the Egyptian army; no «staff - to - snake» scene; no repeated utterances of «let my people go»; no «baby Moses in the Nile» scene; and every other deviation the film takes from the narrative in Exodus 1 - 14.

`'» Realizing that, outside of Freddy Krueger, they are the most popular and they haven't been featured in any sort of battle together, other than a few small fan films, so I thought, let's do it.

This carping ignores the fact that this sort of thing now seems dated and even faintly embarrassing in the genre, a point brought home through the exciting but positively antediluvian coming attractions trailer for the next Bond film, Tomorrow Never Dies, prior to the Peacemaker screening (which, in retrospect, makes the other trailer, for the Bruce Willis film The Jackal, seem even more pointless).

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.

The film is sort of a mystery, the script tells the other side of Bruce Robertson's story.

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

By the time the screenplay provides its «reveal», we know what's coming, having been trained by other films to expect this sort of thing.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

And she sees her film as a love story, too, of a sort too rarely seen onscreen: a man and woman who trust each other as colleagues.

One thing you should know about Infernal Affairs II, other than it is a sequel, is that it is also a much different sort of film than the first one.

As the film jumps from location to location, chyron to chyron, picking up storylines listlessly while letting others lay fallow for a while, out of sight but without any sort of urgency at their displacement, the best moments emerge as those featuring Mark Ruffalo as Bruce Banner / Hulk, conveying an ocean of regret in the delivery of the word «Nat» to his lost love, Black Widow (Scarlett Johansson)-- or those between Paul Bettany's «Vision» and Elizabeth Olsen's «Scarlet Witch,» who share a stolen moment together in Scotland before what they believe will be their deaths.

A lot in the way this film was shot, with this speed and the high stakes and the technicalities and the dependency on each other and the, also the effects, you know the props and things, the cameras, the lighting and the removing of tables and putting them back, you know all those things sort of created this high level intensity and pressure that felt sort of emblematic sort of how it feels on the stage.»

Johnson and Heyman have a script here that deserves Best Original Screenplay consideration, almost simply for how well they've created a quartet of characters (Burrell and Wilson's supporting players don't behave as these sorts of characters would in other films), though the balance of both comedic and dramatic emotion is tremendously done as well.

Maybe not ALL his films are hits, but pretty much all of them have some sort of cult following (The Mariachi trilogy, Spy Kids, Sin City, Machete, Dusk Till Dawn, Planet Terror)... and I'll take him over Michael Bay or any other cookie cutter director.

Local New York - based filmmaker Noah Baumbach has two new films coming out this year, the first being the wacky While We're Young about a couple growing older (see the trailer), and the other being Mistress America, a sort - of - sequel to his 2012 film Frances Ha.

The film strains credulity even for a vid - game fantasy by letting the leading lady recover awfully quickly from bad injuries, but other than that Vikander commands attention and is the element here that makes Tomb Raider sort of watchable.»

In a time when it seems that every other movie makes some claim to being a film noir, L.A. Confidential is the real thing — a gritty, sordid tale of sex, scandal, betrayal, and corruption of all sorts (police, political, press — and, of course, very personal) in 1940s Hollywood.

Sort of quietly and without nearly the fanfare of some other properties, Marvel has seen their Captain America series of films become some of the most popular in their cinematic universe.

Like many of Rogen's other films, «Sausage Party» exists to poke fun at films in general with its meta - references and seeks to emphasize some sort of screwed up part of our psyches.

It delivers exactly the sort of cinema experience that it promises to deliver with more integrity and a little more substance than many other films of its ilk.

It's interesting to see a film about a space alien that doesn't resemble anything we've ever seen before, as most others have some sort of humanoid appearance, (or reptilian, etc.) Indeed, it's a much more plausible depiction of an alien threat than most other sci - fi efforts have featured, almost the opposite in terms of story as The War of the Worlds which featured aliens defeated from exposures to germs and viruses of our own.

Stamp's propensity to be wasted in films (The Limey notwithstanding) continues in Link, while the other humans (three himbo victims and an animal - control guy of sorts who hands his rifle to Link for no good reason) are just additional victims for when Jane proves dimwittedly resilient.

Indeed, Leigh's own capsule description of his film, published in the Cannes film festival catalog, sounds like the sort of thing Jack Valenti might have come up with for an after - dinner speech: «Secrets and Lies is about roots and identity, the ever - changing images we all have of ourselves and each other, and our compulsive need to reaffirm constantly who and what we are, and where we come from.

don't call attention to themselves the way the other nominees in the category do, but the care with which the film transformed Alicia Vikander into an android is the sort of work that so often goes unrecognized by the Academy.

The cast is full of the sort of people you might expect, from producer Seth Rogen playing the film's script supervisor and de facto secret director, Paul Scheer as the DP and Alison Brie as Greg's romantic partner, with the likes of Jason Mantzoukas, Josh Hutcherson, Zac Efron and Zoey Deutch (among many, many others) filling out the world and this version of The Room's cast.

To my knowledge, the only other studio film that is sort of like this one is The To Do List which was written and directed by Maggie Carey.

SCHRADER: When I was a film critic, I lived in a house with other students at UCLA, and they were making a biker movie, and I thought that was sort of déclassé.

So we had to be true to it to a degree, but on the other hand, we're also making a film that had to sort of be cohesive as one piece.

Among the certainties in the world of film criticism — there will be a series of pieces bemoaning critics» inability to stop a terrible summer film from becoming a blockbuster; Armond White will often stake out a position in opposition to many of his fellow critics; movies about middle - aged men having their mid-life crises sorted out by women well out of their league will always receive mostly kind notices; etc. — there's one that stands above all others.

Other oddities: how Jackson sets up each segment in a very overdramatic way, how the other commenting celebrities appear in a moving parchment of sorts, how some of the questions are either no - brainers or a stretch in relating to the movie, how the ordinary kids are strangely posed and filmed, and how the whole thing is both bordered by oak and letterbOther oddities: how Jackson sets up each segment in a very overdramatic way, how the other commenting celebrities appear in a moving parchment of sorts, how some of the questions are either no - brainers or a stretch in relating to the movie, how the ordinary kids are strangely posed and filmed, and how the whole thing is both bordered by oak and letterbother commenting celebrities appear in a moving parchment of sorts, how some of the questions are either no - brainers or a stretch in relating to the movie, how the ordinary kids are strangely posed and filmed, and how the whole thing is both bordered by oak and letterboxed.

It had more pizzazz than anything else that seems like a Best Film of the season, it managed to be explicitly about movies without violating its trajectories as a first - rate genre film (thriller), it was rife with the best, least slavish sort of hommages, and it tapped into the moods and mannerisms of other cinéastes like Nick Ray, Hitchcock, and Hopper without for a moment ceasing to be Ein Film von Wim Wenders.

When it comes to Hollywood blockbusters, that's often the best one can hope for, and Scott Pilgrim might almost be described as a better sort of misogynistic film because if offers distractions from its misogyny rather than foregrounding it as so many others do.

Sort of interesting to see a consensus develop on these films (though I think with more time, the «magic» of Slumdog will fade), especially The Lives of Others, which I feared would be unjustly known as «the movie that stole Pan's Labyrinth's Oscar.»

It is certainly interesting and provocative, but somewhat slight when compared to other films to cover important popular figures, mostly treated as a sort of «coming of age» film for the elderly Queen of England and the attitude of the Royal Family towards the public.

Linklater's other films share a sort of meandering quality defined early on with 1991's Slacker, which moved focus from one character to the next as they interacted with different people.

These days, it's more and more difficult to watch a film like Kicking and Screaming and expect to wallow in the same sort of post-college responsibility - free haze as you hope to have inspiration find you instead of the other way around.

In her second such turn of the year in a distaff ensemble film (both written and directed by men; the other, Casa de Los Babys, also with Gyllenhaal), Marcia Gay Harden appears as some sort of fruitcake and walks away with the film as the most interesting fabrication in director Mike Newell's dyspeptic fabulism.

They mention Jason Clarke still being in the mix, while other sources are saying he's sort of moved - on or is too busy to be apart of the film.

This year's best picture Oscar, after all, went for the first time to a science - fiction film of sorts, Guillermo del Toro's adoring monster - movie homage The Shape of Water — beating, among others, Get Out, Jordan Peele's wickedly playful collision of old - school horror with brisk, bracing racial politics.

One other thing we talked about is how [the film] also has this timeless college milieu, and I thought about some of the musical motifs that could connect to this sort of experience and time.

This glowing image also provides some sort of compensation as, for once, there are no Italian films in any of the other official selections, though the parallel section Director's Fortnight does have three.

That the film hired none other than Cliff Martinez (Drive, The Neon Demon) to compose the score is nothing sort of genius.

He is hamstrung a tad by the vagueness of the script, but the emotional content is fulfilled, which is key for a film like this, with its allusions to Spielberg and other sorts of Amblin-esque road adventure films.

Nebraska will likely be remembered more for Bruce Dern's strong performance at the heart of the film than it will be for most other respects, though it isn't the sort of must - see turn that will garner popular interest outside of Awards committees and longtime Dern fans.

Retreading «Prisoners» territory to an extent that at times makes you wonder if they're two parts of some sort of Canadian auteur experiment that no one else is in on, what is lost in the transfer, however, is any of the Villeneuve film's subtlety or shading, and we are left only with its most lurid, credulity - stretching highlights, with all other textures blasted out to snowy blankness.

Others cite the overbearing religious symbolism, starting with his disinterest in church as a lad to his ultimately becoming a bit of a Christ figure of sorts (perhaps not a coincidence that the film found a Christmas Day release), as being a bit too overbearing, but I find it one of the more fascinating artistic flourishes, and it brings great relevance to Zamporini's life and dedication to his religious pursuits beyond the scope of the film.

While Diaz is on the money as the film's «straight man» of sorts, this is really Leslie Mann's chance to shine as a lead comedienne in an effort that should make film producers other than Judd Apatow take note of her talent.