Sentences with phrase «pacing of the film better»

This trailer captures the tone and pacing of the film better than the first one and shows off the glorious cinematography, costume and production design.

Not exact matches

Here, some of the weaknesses are still apparent, but Snyder's extended film proves entertaining and largely dramatically satisfying, with strong production values and good pacing.

It's Spielberg's best and truest action film since Jaws, relentlessly paced, pitch - perfectly acted (the young Fanning is almost certain to get a Best Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has enbest and truest action film since Jaws, relentlessly paced, pitch - perfectly acted (the young Fanning is almost certain to get a Best Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has enBest Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has ended.

George Bowers does a very good job here creating lots of creepy atmosphere, good lighting, with some great zoom in's, and keeping the film at an engaging pace!

For someone with my background, the film is effectively paced with a good balance of exposition, character development, and special effects - enhanced action.

Good production values for a low budget film and good acting from the main characters and most of the cast and good pace but the story feels empty, cliché, flaw and lack of deGood production values for a low budget film and good acting from the main characters and most of the cast and good pace but the story feels empty, cliché, flaw and lack of degood acting from the main characters and most of the cast and good pace but the story feels empty, cliché, flaw and lack of degood pace but the story feels empty, cliché, flaw and lack of depth.

That said, the bar was set pretty low by Simon West's horrid original film, meaning that Jan de Bant, while getting the pace a little better, finds himself slacking off in the pleasures of being Judas» son.

A fast - paced, dialogue - driven, well - constructed little film about the immorality of our times, specifically playboy Roger (Campbell Scott) and how he decides to give his 16 - year old nephew (Jesse Eisenberg) in town a crash course in how to get laid after his nephew asks for his help.

So well - paced, well - executed, and helming one of the most needed stories in such a long time, «Detachment» is the type of film that is right up my alley.

Watching the movie, you feel the constriction and the disgust of the life below, but Holland, pacing the film well, knows when to come up for air.

The film's well - paced and well - acted, and I couldn't take my eyes off it most of the way.

Pace's cinematic high point was her portrayal of street - smart Iris in Cotton Comes to Harlem (1970), for which she received many of the film's best reviews.

Retardation to momentum is further well - secured by unevenness to pacing, because, at 106 minutes, this film's seemingly tight runtime is achieved through a combination of thinning and bloating, placing little attention to exposition, and plenty of attention to repetitious, almost episodic filler, which wear down momentum until aimlessness sets in, slowly, but surely wearing down dramatic bite.

It's a film so well paced with a message so relevant that it deserves an audience bigger than what it got and it deserves more of an emotional impact than will resonant throughout.

My only problem I have with this movie is that the film does have a somewhat slow pace for a animated movie especially for a 90 minute animated film, but everything is all done extremely well and it is definitely one of Ghiblis best.

Yonebayashi gives Arrietty an excellent sense of balance, with the adventure aspects of the story, which feel legitimately dangerous providing well - paced contrast the film's more placid moments.

This is a well paced and very entertaining film that remains one of the best examples of excellent 1970's filmmaking.

Here he was one of the reasons the film somewhat came alive with an energetic pace, well executed scare scenes and polished visuals.

Chronicling the high - octane career of Ayrton Senna, the fast - paced fourth feature from The Warrior, The Return and Far North director appeals to a broad audience and ranks among the best factual efforts of the year, a feat made all the more impressive considering the fact that the film does not include a second of new footage.

This is a well - paced film that doesn't slow down, and flows smoothly like a kind of tone poem.

This feeling, along with the slow pace of the film leaves the viewer feeling a bit detached as well.

This is a movie that places mood and character above all else, and while that might not be everyone's cup of tea, Michaël R. Roskam's «The Drop» is a well - paced and expertly acted film that serves as a fitting end to one actor's career and the exciting emergence of another.

The pacing is good, but the film also comes with many obvious markers of rough editing and recuts, which makes the middle section feel muddled and disjointed; it's hard to see certain scenes as sequential and purposed, rather than stitched together from parts of what was seemingly a deeper (and longer) character study.

One obvious reality is that the film condenses the text to fit a reasonable runtime of 133 well - paced minutes, with Charles» eccentric widowed father and the youngest Flyte sibling appearing to be the most reduced among principal characters.

The film is anything but rushed and that is in its favor; a string of fast - paced set pieces weighs down any movie and Miyazaki has the good sense to balance the adventure with quiet but meaningful character moments.

He makes a movie that's unlike anything else in the MCU, and while certain beats and story points follow a traditional pattern, the world Coogler has crafted as well as the people he has constructed to live within it are so uniquely three - dimensional I sat in mesmerized awe for every single second of the film's briskly paced 134 - minute running time.

It's a distinct change of pace after the first section of the film, which is, I think, why I didn't like it as much the first time I saw it, but in fact this part of the story is well done and quite compelling.

The film is pretty well crafted and the pacing of the story is well thought out meaning the film is never too dull or boring, it's always exciting and thrilling.

A veteran action director, McTeigue shoots individual fight scenes well enough, but never provides any modulation or sense of escalating terror — at no point is anyone allowed to crack a smile, and even when the children are threatened with imminent death, the film's pace never seems to quicken.

Writer / director M. Night Shyamalan's penchant for a deliberate narrative is certainly in full effect with Unbreakable, as the movie, though consistently entertaining and occasionally engrossing, progresses at a lackadaisical pace that tends to prevent the viewer from wholeheartedly embracing the material - with the film ultimately faring better than, for example, The Sixth Sense due to its progressively absorbing narrative (ie there's a sense of forward momentum that was almost entirely absent from that earlier picture).

Les Affamés definitely isn't the gore fest the Romero - type zombie movies usually are, but there are still plenty of jump scares throughout the film, although, to be fair, they mostly do these well, thanks to a sparse use of background music and some well - paced scenes.

The rest of the film is fine and moves along at a good enough pace.

Here's a change of pace, a good film that would have been great had the filmmakers been allowed to lengthen the running time.

The film has a jerky pace to it, lurching and twisting from simple, well - considered stretches of dialogue in the beginning to the horrifically violent, agonizingly unrelenting final set piece.

Even with its measured pace and sparse plot, the film's indulgence in stillness is one of the best things about it.

The combination of an overblown narrative and an overwrought style, and neither structure aspect's being as realized as they should be, render the film, well, sort of monotonous, at least when pacing is further stiffened by a chilled directorial atmosphere which dull things down, occasionally as tedious.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

Mud suffers from uneven pacing and while the climax is thrilling and well executed, the final few minutes seem out of place compared with the themes and mood of the rest of the film.

Anorak: «The film flows at a good pace, and even without the fantasy action pieces every 20 minutes the events transpiring in the whorehouse world are captivating in and of themselves.»

His last outing wearing those dual hats was 2005's Crash, a film some (including myself) claimed one of the best of that year, but that others derided for lacking subtlety and being manipulative and poorly paced.

I've read the novel upon which this film is based, and I feel that the film paces better than the book, so fans of the books will likely enjoy these adaptations.

Featuring the best work from Carrey and McGregor in years (and a reminder of Carrey's phenomenal and chameleonic talents when given the right material), a smart and witty script adapted by the directors from McVicker's novel, and a cracking pace that neither hurries nor languishes, it combines the highlights of the heist and escape genres with dashes of dark humour and irreverence to create a film best described as a wicked delight.

Steven Spielberg always puts his best foot forward and while the story wasn't paced or created in the best of fashions, it was a joyous visual film that allowed newcomer Jeremy Irvine and Emily Watson to show some beautiful humanity.

The quiet, deliberate pace of Lincoln's rhetoric is matched by the film itself, yet the film is at its best when these intimate moments unfold.

This is a movie that places mood and character above all else, and though it comes with the undesirable label of being James Gandolfini's final screen appearance, «The Drop» is a well - paced and expertly acted film that serves as a fitting end to one actor's career and the exciting emergence of another.

Donaldson incorporates a good deal of action to keep the film's pace brisk, while observing the mounting chaos through the eyes of Smith.

Some of the minor characters don't work as well for the film as they do for the book due to the pacing of the film and overall narrative.

All of this plays out with well - paced efficiency, so that it's not entirely a problem that the film acknowledges its influences while never attempting to escape them.

If the film would have consisted of a pace closer to what is seen in the final act, you're talking about a movie that I would consider to be a much better watch.

While the slower pacing in the beginning of the film, as well as the focus on the strength and empowerment of all three young women may not interest fans of «more traditional» westerns, the film is a fantastic look at the willpower and resolve of three strong capable women in the face of some of the worst conditions that war can bring about.