Sentences with phrase «out of this interesting film»

I hope you get something out of this interesting film man.

Not exact matches

When legendary film director Martin Scorsese expressed interest in executive producing Verdi and Kraft's biopic about world champion boxer Vinny Pazienza, called Bleed for This, Verdi was out of town, but sent the then 22 - year - old Kraft to Scorsese's house to take the meeting.

One interesting thing to note: all of these films came out since 2000.

«It's just a way to get out the kind of edgy, interesting and sometimes enlightening content that these films sometimes provide.»

So that's our interest and getting the communication that comes out of that, whether it's the book or the films hopefully it's coming out of a real thing that's actually being lived and not just talking about some stuff.»

This film understood that Iron Man is most interesting when he's out of the armor, and went great lengths to force Tony Stark to rely on his wits instead of his gadgets.

Some of this activity can be credited to The Passion of The Christ, which shattered box - office records and sparked interest in religious films when it came out in 2004.

She is too occupied with her announcing duties for HBO, coaching Navratilova and Mayotte, speaking engagements, a fancy to get into television and film production, a new chain of play schools called the Discovery Zone that promote and study exercise for children under 12, and her longest - standing project, Team Tennis, which represents her most fervid interest: to take the sport out of elite clubs and bring it to the masses.

And film and television are only one special interest group out of many that are present in Albany.

On this week's edition of Press Pass, WBFO's Pat Feldballe and Buffalo Niagara Film Commissioner Tim Clark talk about the increasing interest film producers are showing in Western New York and how the number of scouting requests from out - of - town filmmakers continues to go up.

As far as Expelled is concerned, none of that exists and although, yes, the film does say that they give themselves, the sort of, the pretense of not blaming Darwin, you get a couple of people including Ben Stein saying «of course no one is saying Darwin cast the Holocaust,» but of course they then make every possible connection they can; and I think it's interesting that if you took out those little excuses that said, «of course no one says Darwin cast the Holocaust,» that is exactly what someone would understand from the film.

I am interested in all sorts of things, but really like going to the cinema or watching films at home, eating out, visiting places of i...

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.

Despite an interesting premise and excellent cast, the film flopped, but Arquette continued to work steadily the following year, with lead roles in the black comedy Goodbye Lover; Stigmata, in which she starred opposite Gabriel Byrne as the unwitting target of a supernatural phenomenon; and Martin Scorsese's Bringing out the Dead, a film starring Arquette's then - husband Cage as a burnt - out paramedic.Following the weightiness of the creepy Stigmata and the disturbing Bringing Out the Dead, Arquette took things in a decidedly lighter direction with her next two projecout the Dead, a film starring Arquette's then - husband Cage as a burnt - out paramedic.Following the weightiness of the creepy Stigmata and the disturbing Bringing Out the Dead, Arquette took things in a decidedly lighter direction with her next two projecout paramedic.Following the weightiness of the creepy Stigmata and the disturbing Bringing Out the Dead, Arquette took things in a decidedly lighter direction with her next two projecOut the Dead, Arquette took things in a decidedly lighter direction with her next two projects.

While Yates doesn't do anything shockingly out of turn with the film, I found myself struggling to connect with the epic, symbolic conflict and was more interested in the smaller moments.

As with Eli Roth's Hostel films, the context should be clear to anyone aware of the role America plays in the developing world and the festering anti-American hostilities out there... or to anyone interested in the politics of horror and / or familiar with the genre conventions in this regard.

Being a fan of quirky indie films, I was very interested in checking out the Max Landis penned, Paco Cabezas directed «Mr. Right.»

Aside from this being a lot less interesting than the original stories, it also gives us a film with more characters than the story has any use for, and that in turn makes what there is of a story feel baggy and drawn out.

They pull you out of the moment far too often to switch to the control room sequences - which is what makes this film entirely unique and interesting - and funny!

a visually striking, but emotionally flat mash - up of romantic drama, film noir, and science fiction that sounds much more interesting than it turns out to be

The film which begins with the emptying out of a flat develops into a riveting adventure, involving unexpected national interests, a friendship that crosses enemy lines, and deeply repressed family emotions.

The film is called Truth Or Dare and it's the truths that are more interesting, bringing skeletons out of everyone's closet and driving a dent in relationships.

It's ultimately clear, however, that Fear and Desire simply isn't able to justify its feature - length running time (ie the whole thing feels padded - out even at 61 minutes), with the movie's less - than - consistent vibe paving the way for a second half that could hardly be less interesting or anti-climactic - which does, in the end, confirm the film's place as a fairly ineffective first effort that does, at least, highlight the eye - catching visual sensibilities of its preternaturally - talented director.

But these are esoteric points of interest that will intrigue mostly those who've seen too many films in their life and actively seek out strange and opaque takes on familiar subject matter.

Dzundza has worked in some interesting and / or popular films over the course of his career including Michael Cimino's «The Deer Hunter» (1978), Robert Altman's «Streamers» (1983), «No Way Out» (1987), Clint Eastwood's «White Hunter, Black Heart» (1990), and «Basic Instinct» (1992).

The more interesting aspects of the previous film, namely Dolph Lundgreen's blasé fish - out - of - water observations, are replaced with a rush to get to the finish line, resulting in one of the most predictable, formulaic fantasy films imaginable.

With the interesting ways this is shot, the texture and feel of this beautiful film and the use of black and white to bring out Johnson and Howard's performances was perpetually brilliant.

After all of the interesting and fun effects of the preceding 110 minutes, the final effects make you wonder if the CGI folks pulled an all - nighter to rush this film out — like a cram session before a final exam.

Ironically, much of what is spoken of in the voice - overs is far more interesting than some of the portions of the film that are acted out.

It was a bold move that didn't work out so well for the Indiana Jones franchise, but here it was one of the most interesting things about this film.

But this time out, Gore Verbinski «s last go - round, it seemed the only way they could cram in more Sparrow was to include a hallucination subplot in which we get multiple Sparrows talking to each other — the film abandoning even the pretense of interest in the bland, chemistry - free romance between Keira Knightley and Orlando Bloom.

There are plenty of other animated and other films in the sea, thus my lack of interest in seeking KFP out.

Maresco is not interested in making a political film but simply in riffing on the notion that powerful men who come out of nowhere have to be funded by someone with a clear intent to intervene in politics.

This movie was interesting in that it came out about the same time as the similar - themed The Truman Show, and that both films were an eerie foreshadowing of what was to come in television for the next decade.

Apart from this revival of interest in specialized film titles, what stands out is the way distributors placed their films for maximum impact against intense peak holiday competition.

He has an affability and grace that makes him interesting to watch, but Silberling's film is the equivalent of a funny 20 - minute short that is dragged out to a full - length feature through music interludes and montages involving Paz Vega getting dressed, washing her car, or Freeman learning about Target (the department store).

The film is bolstered by her knack for dialogue and character, but also in not pressing too hard in order to get laughs that aren't there, letting smaller conversations play out naturally, and having supporting characters mirror the main story in a fashion which draws out interesting tidbits without stopping the overall momentum of the character's journey at large.

They don't even really make a big deal out of gayness in this version, which is odd, but this is a dumbed down and less interesting version of the same story, which would be fine if it took advantage of having actors who don't even have to act if they can dance in a film like this.

It'll be interesting to see if Harry (Dane DeHaan) or Norman Osborn takes a villainous turn in this film, or if they're part of a larger arc that will play out over subsequent entries in the franchise.

We stay in Sodom for the second half of the film, as Zed and Oh weave in and out of slavery, as do their old love interests.

I'm still not crazy about the overly auto - tuned nature of the songs, but Gluck's last two films (Easy A and Friends with Benefits) have been pleasantly surprising, so I'm interested to see how the full feature plays out.

If your kids are old enough to watch a film without constant supervision, you'd probably to well to drop them off and check out another film in the cineplex while its showing, as this is almost completely devoid of interest for anyone who has seen more than five movies in their lifetime.

Against All Odds is an interesting but ultimately flawed remake of the film noir classic Out of the Past (which is paid homage to by casting the star of the original (Greer, The Big Steal) as the mother).

For those unsure of how this film will play out, like me, it's slightly interesting in some spots to watch Poirpot work out the tangled web surrounding the murder.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

There are a number of interesting sonic elements in the film — the propulsive bass, the blanketing textures of Hans Zimmer and James Newton Howard's score, the crispness of artillery fire, and the supple sounds of Batman's cape — but the vocal track stands out as a real accomplishment for reasons that you probably did not even consider.

Now that the film is out and everyone can get all of the answers they had been manically theorizing over for the past couple of months, the truth is that 10 Cloverfield Lane isn't nearly as interesting as the mysterious buildup to its release.

I mean all of these films are due for an upgrade of some kind, I especially would be interested to see how a more book accurate Phantom of the Opera would fill out, but hopefully with more Christine and less... ugh Raoul.

JESSICA CHASTAIN: Basically, the film follows along with the book, but also a lot of very interesting things happened to Molly after the book came out, which includes being arrested by the FBI, and so [Aaron Sorkin] really has woven together the different parts of her life: her athletic and academic excellence, alongside with going to Los Angeles and trying to figure out what one has to become to be a leader and to find success — and all that is also woven with her court case.

There are so many films coming out in 2018, but we've got our eyes on some of the biggest, most interesting, and peculiar ones that keep us checking for release dates and ticket pre-sales.