Sentences with phrase «piece of a film like»

Mann was honored to see her work used as the central piece of a film like this, and besides the critics» praise, her work gained recognition in the form of an Oscar nomination for Best Original Song («Save Me»), one of three Academy nominations the film received (Best Original Screenplay for Anderson, Best Supporting Actor for Cruise).

Not exact matches

Controlling electronic devices using your brain may sound like something straight out of a sci - fi film, but it's all in a day's work for Toronto's «little piece of techno - Neverland.»

Some would even call a film like The Post, directed by Steven Spielberg, a piece of light propaganda for the free press, while others would celebrate it as a necessary gut check for how fragile our institutions and constitutional rights truly are.

It's fair to call a film like The Post workmanlike in its delivery, a stylistically safe piece of art that feels more compelling in the abstract considering current events.

We're doing lots of family things but we also have time to ourselves when Sausage likes to watch a film, Husband likes to play a game on his PC and I attend to blogging bits and pieces.

It looks like a small piece of transparent film with tiny engravings on it, and is flexible enough to be bent into a tube.

They involve a painstaking process where a thin film is laid on a flat surface, lifted off and then adhered to a curved piece of plastic almost like a sticker, according to Jakhanwal.

Viewers can click to view and purchase the pieces featured in the film — from labels like Louis Vuitton, Kenzo, La Perla and Maison Martin Margiela — though the YouTube version of the film is, sadly, not shoppable.

As usual, I filmed my capsule wardrobe so you can get a good idea of what the pieces are like, and I've also included a listing of each piece with links to currently available items.

My biggest interests are music and film I like to believe everyone can be touched by music or a great piece of film.

It's not a message that audiences will extract as a prickly needle from the haystack of situational (read random) comic set - pieces that the filmmakers play like trump cards from the bottom of a stacked deck, but it does anchor film's narrative boat.

While you will never meet anyone like the people in this or his other films, you will recognize bits and pieces of everyone in each.

Seven Samurai has badly aged on film, there are blotches everywhere, it is grainy, it looks like a piece of shit, and it has this lower fps.

What we get is a collection of moderately violent action set - pieces untroubled by humour or broader coherence... Forster, who directed the Bond film Quantum of Solace, has done his best to piece together a story from these incompatible parts, but the final product has an elaborate uselessness about it, like a broken teapot glued back together with the missing pieces replaced by parts of a vacuum cleaner.

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.

Though Akel and Mass share writing credit, Chalk was actually shot in a loose, improvisational manner in the mode of Christopher Guest's films, and its best set pieces are like devastatingly effective pinpricks puncturing the Hollywood hot - air balloon of inspirational teacher / coach melodramas.

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

Half the pleasure of giant - monster movies is allowing our suspension of disbelief to buckle like a bridge in Godzilla's path, and true to form, the film saves a few gonzo twists (including one especially outlandish bonus mutation) for the grand finale — an extended set - piece in which the three creatures converge on Chicago, which has typically gotten off easy where natural disasters are concerned.

If you placed a few hundred random people into a movie theatre and asked them to invest their time in this film, I can guarantee that at least 50 percent would either walk out or despise their experience, but that's okay because not everyone likes every single piece of art.

No, people, this type of film is quite a ways away from being something like «Rock of Ages», but the idea of a period piece about a prominent rock music club is close enough to make the handful of people who know about «CBGB» get the «heebie - jeebies».

Pieced together like a crime picture, but marked with the bloody thumbprint of the horror genre, the film tells of newly engaged couple Sam (Harriet Dyer) and Ian (Ian Meadows), who discover an abandoned tent and evidence of a multiple murder.

Mr. Weerasethakul's film is like a piece of chamber music slowly, deftly expanding into a full symphonic movement; to watch it is to enter a fugue state that has the music and rhythms of another culture.

An early scene that sees Toni skipping rope and contemplating the world around her (her defining characteristic) is exemplary: all of a sudden, the soundtrack becomes possessed with what sounds like a piece of music originally recorded for a 1940s swamp - monster horror film.

The film is actually inspired by the Biblical tale of Job, and looks like a provocative, masterfully shot piece of cinema.

I came into the film with a certain «checklist» of things that I expected from a popcorn blockbuster like Transformers... explosions, great set - pieces, great battle sequences, amazing cgi and 3D, and of course beautiful women, and was hugely satisfied with the film.

It's hard to imagine a more subtle version of such an extreme story, but the film starts to feel a bit like a carefully calculated lesson more than an organic piece of storytelling.

Along with a constant stream of barbed humour, the film has an enjoyably knotted mystery plot and action set - pieces that feel like...

Death tends to make us look back at our lives, and Lonergan's script is presented like that where the film relies on plenty of flashbacks to fill in the pieces of what happened with his characters.

Affleck is no different and only recently through his directing films like Gone Baby Gone, The Town and Argo helped the actor pull himself out of acting - jail from piece - of - shit movies like Gili and.

Junge, detained in Russia for a period at the end of World War II before finding work as a magazine editor, treats the unseen Heller like a priest; one might say that her regret drives the piece, resulting in not a lurid film about Hitler (which has disappointed those critics out for something pulpier), but a deathbed confession.

Like most John le Carré movies, Our Kind of Traitor is a handsome and well - polished piece of filmmaking, and the film earns a strong shot in the arm from its more - than - capable ensemble cast.

Three years ago one of my favorite films of the year, Paris Je» Taime was released to theaters and I was actually taken aback at how much I liked the piece.

There's much discussion about how the film is supposedly a game changer, how it's more in tune with the current zeitgeist as opposed to the traditional narrative strengths and linearity of a period piece like The King's Speech.

The film, much like Willis» performance, never flatlines, but it never delivers the thrills you expect from this type of genre piece.

Pieces of The Crown are more brilliant on their own than they are as a series, taken in as shorter, intently focused films like «The Queen» and another Morgan achievement, the play and film versions of «Frost / Nixon.»

Movies like Leon: The Professional and even Jason Bourne echo throughout the film's exhausting proceedings, but whereas those films had a certain edge in their approach, not to mention solid action set pieces and, most important of all, expressive performances, The Hunter's Prayer serves to be a shoddily - executed version in comparison.

That's the surface message of «A Lego Brickumentary,» a new film that feels more like a promotional piece for the celebrated building blocks than a documentary.

Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull off.

This is Grunberg's first feature film, but he has worked as an assistant director for the likes of Peter Weir, Oliver Stone, Tony Scott and even Gibson himself, which equipped him with the experience to craft impressive set - pieces.

Sure, every film benefits, but it's not that much of a stretch to say vast pieces like Lawrence of Arabia get more out of a big screen presentation than, say, a James Brooks movie, is it?

The best thing about the film, though, is that even though it's all about real events and real people, it still feels like a very well - written piece of fiction — not to say it feels unrealistic, it's more to say that the characters are more developed and intriguing than in most biopics.

Her appearance, to look down her nose at an investigating Lois Lane, feels like a moment that was debated in the editing room, but other reinserted pieces have the extraneous aura of being planned for a Blu - ray long before the film even hit theaters.

Still, this is an informed, fairly candid piece wherein the likes of biographer Eric Lax and punmeister Gene Shalit — who was evidently close friends with Newman — touch on the actor's collaborations with Martin Ritt (inevitably, Paramount's Hud gets short shrift, while the movies Newman made for Robert Altman at Fox are not even mentioned), his feud with Jack Warner, and the two films in which he directed second wife Joanne Woodward.

Like that film, there will no doubt be a number of critics and members of the audience who view it as a revolting piece of trash.

However, with a film like this where even though each of these set pieces start out with these songs they always expand into these elongated tap dance sequences which I'm sure are fantastic for dance films, but something about them just feel repetitive.

Hardcore fans of the show may be annoyed by the musical pieces, so this film is strictly for «South Park» fans who like musicals.

Like a companion piece to last year's Restrepo, this film intimately documents the six - month deployment of four Danish soldiers in Afghanistan.

«Starry Eyes» is as gory as it is corrosively cynical, a supernatural mood piece that's equally influenced by the arthouse horror movies of David Lynch and Roman Polanski, and the grindhouse - ready Satanic Panic films of the»70s, like «To the Devil a Daughter,» and «The Devil Rides out.»

Like its predecessor, «Paddington 2» is a clever delight of visual invention and wit; this sequel draws particularly from the films of Charlie Chaplin and Buster Keaton for its ingenious slapstick action set pieces, while the screenplay by director Paul King and Simon Farnaby packs the dialogue with fun wordplay and tiny details that pay off in major comic ways.

The shorter pieces, which take on various aspects of the film, the story, production and special effects details (like the use of miniatures, which has become a rarity in the CGI age), range from under two minutes to just over twelve minutes.