Sentences with phrase «pacing of the film seem»

The music, the cinematography and the overall pacing of the film seem spot on.

Not exact matches

Noah seems to work as a film because of a plot that is paced to move along, convincing special effects, and quality performances from name brand actors like Russell Crowe and Anthony Hopkins.

For a film that's just shy of being three hours long, it never felt bloated; every sequence seemed to have its place, and at the right pace.

The direction by Marc Forster (Quantum of Solace, Stranger Than Fiction) delivers a fast - paced zombie thriller, and with Brad Pitt front and center, there is a grounding of the film in seeming more intelligent and plausible than your typical scare flick.

And while the filmmaker seems to be back at his pace of delivering a film every two or three years, the arrival of a new Tarantino picture generally makes the cinema world sit up and take notice.

It just hums as Affleck and editor William Goldenberg («Heat,» «The Insider») have paced their storytelling with such finesse that even the most disparate elements of the film seem of a whole.

From a pacing perspective, the ending seemed a bit rushed as the majority of the film focused on the police interrogations, often at gunpoint.

This can detract from the pacing at some points, especially since the film tends to intercut between the revelations of Harry's past, and his friends» efforts to destroy the items which, by comparison, seem far less integral to the plot.

The film declines to invite the viewer into its world; events unfold at a painfully slow pace, while some of the plot developments seem bewilderingly random.

A nice change - of - pace from the kind of hip cynicism that seems to infuse even the most genial of Hollywood family films these days.»

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 the sort of set - up that would seem to lend itself naturally to a briskly - paced, unapologetically violent B movie, and while there are certainly a number of enthralling sequences peppered throughout, Outlander's oppressively bloated sensibilities play an instrumental role in diminishing its overall impact (ie the film should've topped out at 80 minutes, max).

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.

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.

The new film The Light Between Oceans might seem like a change of pace for indie director Derek Cianfrance.

The film seems to drag by in places which rendered it a much slower - moving hour and forty - five minutes than it should have been with such a star - studded cast; the flaw in its pacing is something that should be unforgivable given the playfulness of the style and tones on display.

The film moves at a languid pace that seems appropriate for its setting, utilising the true beauty of Bruges to great effect while imbuing the experience with a sense of make - believe that perhaps allows the violence that comes to be even more shocking.

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 final showdown in this film may very well be the best shoot out in the history of the western; its length, pace, and the way in which it was framed all seem perfectly calculated by Costner.

Leaping to prominence with this expertly scripted ghost story, the director seemed to have it all: a talent for pacing and atmosphere, a Rod Serling-esque gift for a clever twist ending (only one of them at this point in his career), and an easy way with actors, especially this film's Haley Joel Osment, a rare horror Oscar nominee.

And while the cliched idea of a body switch comedy might not seem appealing on the surface, director David Dobkin keeps things interesting by pacing the film like a runaway train.

Although the film moves at a steady pace, and has some funny scenes (especially the one where the farmers sing), the writers unfortunately seem to disconnect with the characters near the end of the film.

The drained color of Spielberg's film should be expected of yet another collaboration with cinematographer Janusz Kaminski, but it is the patient, respectful pace and distance of the shots that seems so unlike the director.

When it comes to The Desolation of Smaug however, a film that audiences seem to agree is better paced than the first film, I'm slightly disappointed.

The borderline breakneck pace only becomes a hurdle in the film's last ten minutes, when multiple threads seem set up for third - act payoffs and hastily abandoned for the sake of wrapping this puppy up.

The film thereafter establishes itself as a fast - paced, downright fun horror - movie ride that's ideally suited to its Midnight Madness slot, although it's admittedly difficult not to question the inclusion of an entirely useless subplot detailing the ongoing exploits of Brent's best friend (ie it seems like the two storylines are going to converge at some point, but this never happens).

The final moments of this film seem to justify a lot of the build - up, but never the snail's crawl pace of storytelling.

One is tempted to blame a 86 - minute run time, and the rushed nature of some character awakenings (Edwards's in particular) would seem to support that, but then the snail's pace of the talky, inert proceedings make the film — and Murphy — feel like its wasting its precious, limited time.

I am a big fan of Statham from movies like Crank, The Transporter, The Italian Job, and Snatch, and where this movie is perfect for him to be in, the film is just so slowly paced that when it does come time for Broker to kick some ass, it just seems out of place.

At a run time of two hours and twenty minutes, many might call the film «boring», and there are certainly moments in the film that seem drawn out or and too slowly paced, but this is mostly by design.

Although the movie had a lot of characters to focus on and a lot of story to tell, its running time might have seemed excessive if the film's pacing hadn't been so well - defined.

I have to believe you had all your family members write concuring your terrible review, as everyone I seen in a very Large theatre seem to love it, I am sure movies like YA YA Sister hood and other slower paced films will still be made for folks like you, its just a shame that someone so out of touch with what the «public» likes is getting paid to review movies.Your like the George bush of Movie critics.

I'm not sure to what extent Franzioni would have written «carnage and splattering goes here», but the fast - paced gore that marked his previous film unfortunately seems to have returned, as has an apparent fondness of Braveheart.

Most comical of all is that while only about 100 minutes, the film seems to last forever due to horrible pacing and the fact that the cold slows the chase and fight scenes down to a freezing crawl.

Even the reasoning behind the whole alien invasion seems pretty plausible, and though the film doesn't have time to get caught up in a lot exposition, the little bit there is never stalls the rapid pace of the story.

Though the films are shot in real time, their pace seems out of sync with the accelerated speed at which we usually encounter moving images.

Although the films do not manipulate time, their pace seems out of sync with the accelerated speed of the world and the speed at which we are used to encountering images.

While constructed from a dizzying variety of periods, contexts and film genres whose storylines seem to have shattered in a multitude of narrative shards, The Clock uncannily proceeds at a unified pace as if re-ordered by the latent narrative of time itself.

In addition, the film presents some great food for thought about our current system of building codes and zoning regulations, which hasn't seemed to keep up with the pace of alternative building innovations.

At first glance, the pacing, tone, and humor of the trailer seems consistent with previous Ocean films.