Sentences with phrase «pacing of the film does»

However, once it is brought in and while it's on screen, the pace of the film does pick up, but there was nothing new that I hadn't already seen in «Raging Bull,» «Rocky» or «Cinderella Man.»

What Sicario is will warrant you to all wear a mouth guard and some antidepressants, but the kinetic pacing of the film doesn't allow you time to bite all the way down.

Not exact matches

At almost three hours long the film does feel overstretched, with a set - up period of at least 45 minutes which moves at a languorous pace as it doles out arguably unneeded exposition and character motivation.

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 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!

American Pie Presents The Naked Mile's latter half, as a result, moves along at a plodding pace that's compounded by an episodic structure, as the movie lurches from one ill - conceived set - piece to the next with little thought towards momentum or consistency - which inevitably does confirm the film's place as just another interminable waste of time designed to cash in on the original trilogy's success.

The absence of the typical Hollywood pace to which we are all accustomed means the plot does progress slowly, but it is worthwhile adjusting to the film's suspenseful pace.

Okay, the film's story is hardly needled - thin, but it is thin, with a limited sense of meaty consequence and direction that may be intentional, but is still kind of problematic, pumping the final product with natural shortcomings that it doesn't simply fail to dilute, but makes all the more glaring with the aforementioned issues in atmospheric and structural pacing.

The film has so many stupidly random piece of (supposed) comedy that do nt fit with the pacing of the story in there that it feels like were watching a TV show and the channel changes.

The film has so many stupidly random piece of (supposed) comedy that do nt fit with the pacing of the story in there that it feels like were watching a TV show and the channel

If you can get through the excess of characters, and the requisite butt jokes, car chase and tween pop songs, the film does keep both the physical and the verbal comedy coming at a steady pace.

Ultimately, even at an extended 138 minutes, the snail - pace of Les gardiennes doesn't get in the way of the film.

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.

The pace is uneven, the energy sluggish (even the arrival of Malcolm McDowell in the third act doesn't pep things up) and the film feels overlong.

Mercifully light on the soppy sentimentality that often weighs down most kiddie flicks, Peter Rabbit is a fast - paced, gag - a-minute affair that at times recalls the films of Zucker - Abrahams - Zucker in its willingness to do anything for a laugh.

Overall, despite kind of a slow pace towards the beginning, the film quickly picks up and doesn't let go until its final moments.

«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.

For some, it will be very bad news that Ritchie (who co-wrote King Arthur: The Legend of the Sword with Joby Harold and Lionel Wigram) stays in his lane with this film; if you didn't enjoy the look and pace and overall vibe of other Ritchie movies, such as Snatch or Sherlock Holmes, then you might feel that his often jarring and visually exhausting style could overpower the strong performances from a great cast.

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.

It's become something of a trademark for Shyamalan to imbue his films with a slow, deliberate pace - something that doesn't always work (ie Unbreakable).

Of course, director Nick Gomez's odd pacing certainly doesn't help — there are times when the film actually seems to be pausing for laughter or applause.

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.

Paterson is a typical Jim Jarmusch film: slow paced, quirky, filled with a diverse cast of interesting characters (with place serving as a character in and of itself), capturing the beauty and mystery of day to day living while telling a story that doesn't really have a beginning or an ending.

Writer / director Martin McDonagh - making his debut here - has infused the majority of In Bruges with a deliberately - paced, overly talky sensibility that undoubtedly reflects his background as a playwright, and it's certainly difficult not to admire the fervor with which both Farrell and Gleeson tackle their respective characters and the film's ample dialogue (the actors» heavy accents does make it difficult to make out every word, admittedly).

Because of that, I believe people who don't like it will point to the film's quiet parts and deliberate pace as part of its negatives.

Lewin paces his film almost perfectly before bringing things to a resounding and moving conclusion, and all within a sub-100-minute running time that proves — once again — that a film doesn't have to be a three - hour epic to offer something of value.

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.

Armed with Seann William Scott's gloriously over-the-top turn as the title character, Balls Out: Gary the Tennis Coach almost manages to overcome its tedious storyline and hopelessly erratic pace to become a minor comedic masterpiece - yet there eventually does reach a point at which Scott's performance, ingratiating as it is, simply proves unable to compensate for the film's myriad of deficiencies.

Every so often the film's pace slows to a crawl and these ill - fitting supporting players do distort the fluency of the narrative, but «Joe» does still function as a highly impressive character piece.

The distinctly fractured narrative - coupled with an exceedingly deliberate pace - does ensure that one's initial impression of the film is that of an art - house mess, yet there reaches a point at which Egoyan's muddled modus operandi comes into focus and one is subsequently drawn into the proceedings.

The storyline - which follows several characters (including Mark Wahlberg's Elliot and Zooey Deschanel's Alma) as they attempt to survive during an environmental crisis - moves at an appropriately brisk pace, though it does become increasingly difficult to look past the pervading lack of tension within the film's more overtly scary sequences.

The pacing of the film is very deliberate, yet I didn't find it to be dull or meaningless.

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.

At a taut 88 minutes, the film doesn't waste a frame, moving along at a brisk pace and escalating the terror every step of the way.

Triptych is a quiet, slow paced film but does not hurt the effectiveness of the characters.

Unfortunately, what this fine collection of actors can't do beyond just offering up a few nicely acted moments is spark any momentum to the film's pacing, which plays out without any bits of excitement beyond a mildly interesting development here and there.

The films keeps a surprisingly steady pace throughout given the inherent limitations of the plot, and doesn't get too bogged down in third act doldrums.

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.

It does a great job of fixing the pacing issue from the book while also changing the events in a, in my opinion, less niched and improved way, especially for a film.

That means the film, adapted by Schenkkan, can seem wonkish, self - conscious, infuriatingly dismissive of certain characters — Melissa Leo's Lady Bird cries out for her own film, as does Aisha Hinds» Fanny Lou Hamer — and oddly paced.

The film isn't a white knuckle ride, and the pacing can be slow at times, but this is one of those cases where that's sort of the point, and you certainly don't begrudge it.

Aasif Mandvi hits his (very odd, in fairness) role at about twice the volume and pace of anyone else, Justin Bartha barely figures, Mia Farrow is sweet enough, but doesn't make much of an impact, and Christopher Walken is interestingly restrained, adhering to normal human punctuation for the first time in recent memory, but at the same time, hiring Walken to play an average suburban dad is about like hiring Jason Statham for a film where he doesn't punch someone in the face.

The film stalls a little due to some odd pacing that doesn't take advantage of the life or death situation enough.

The directing duo of the Russo brothers have shown themselves so adept at crafting an amazing film before this with Winter Soldier, and they've even bested our Lord and Savior Joss Whedon, in terms of pulling together so many characters on screen at the same time, without sacrificing pacing or story to do so.

The film is sharply put together and expertly paced, while also doing a fine job of balancing its fish - out - of - water insecurities, espionage intrigue and coarse comedy.

The pacing of the film hardly pauses for such ruminations, but Cruise efficiently makes the most of every moment, letting the character breathe when the movie itself does not.

I'm not sure why I keep finding myself coming back to these films with the hopes of receiving some form of entertainment but they can occasionally manage to keep my attention occupied for the better part of a few hours, as Divergent did earlier this year with a well - paced run through its derivative, predictable, franchise - baiting plotline.

While this does help make Prometheus particularly well rounded, the format does send a ton of information your way at a very swift pace, particularly towards the tail end of the film.

The film's pacing further unravels these characters, and soon, Everett starts to take care of her as she begins to lose control of her body, though that's what she was originally hired to do for him.