While the acting, costumes, sets, and cinematography were all strong, the
weak point of the film is the lack of suspense.
One of the most
standout points of the film is a scene that takes place towards the end that involves kitchen appliances and a swimming pool.
That was obviously one of the
high points of the film, but what makes the film good is the elaborate plot twists that the film offers to the unsuspecting viewer.
This is just a teaser, but but damn does it have some unsettling moments in it, which is the
whole point of the film.
Thus begins a romantic relationship between the two of them and that relationship — which is quickly discovered - soon becomes the
focal point of the film as the romance begins interrupting their idyllic lives.
From the
midway point of the film, and certainly with the introduction of Dennis Hopper, there is no way this film can end on a high note and honour its trajectory with realism.
Perhaps it's missing the
entire point of the film, but it seems unlikely that AI as smart as Andrew would think relish the opportunity to become fragile or breakable.
Final verdict: The cast came together with fantastic vocals, aided by a director, who was able to highlight the
key points of the film.
The
turning point of the film comes when Somerset and Mills are faced with the killer, and they allow him to speak to them directly.
Indeed, 40 Days and 40 Nights attempts to vaginize the penis (Matt is suddenly the coveted and the raped) while maintaining that its protagonist is himself helpless to his member's power (the turning
point of the film comes when Matt proudly declares that his penis is no longer in charge).
The
lowest point of the film is a badly conceived pseudo-romance involving the adventurer Walter Raleigh (Clive Owen), just returned from founding the colony of Virginia, so named for Elizabeth's official physical condition.
The Spierig Brothers («Daybreakers») mesmerizing film Predestination postulates that it is real, but that is only the
starting point of a film that challenges us at every...
The cinematography is a treat with clinical white colours clashing brutally with harsh reds and blacks, and the visuals are the
strongest point of the film.
Even during the most
serious points of the film, where they flee Austria on the rise of Nazi Germany, the family finds their escape in song and journey to safety over the same hills where they learned to twirl.
Well, they are right in that regard, which seems to be the
real point of the film in the end, as these are people who live from day to day without much to look forward to except to go to work and drink all night, then do it all again the next day.
The high
point of the film however, is that the film looks great, and it's well shot, but overall it's an empty vessel, a film that lacks effective execution to make a truly exciting thrill ride from start to finish.
It's a great looking movie with and the story has an interesting, if not as original as Roger Ebert seemed to think it was, structure, with Fiennes's story told in flashback to Binoche until it reaches the
beginning point of the film.
The Finley - renovated Crest 70 deserves credit for two authentic high
points of any film year, the belated opportunities to see Dersu Uzala and Close Encounters of the Third Kind in 70 mm.
Sure, it has the whole sports movie vibe for the build -
up point of the film: there's a big game to be won, the main character struggles to work as a team, the coach character is distant and fatherly.
The truly remarkable
talking points of the film are the outstanding performances of Bill Sage, Julia Garner, Amber Childers and Michael Parks.
Humour is one of the
good points of the film, it doesn't take itself too seriously and it is the funniest of the franchise so far.
Setting up for a strong start and middle act, Joy's final act is perhaps the weakest
point of the film ringing a bit hollow, still the overall takeaway is still smiles and hope.
Bell does some good work, Mamie Gummer (Meryl Streep's daughter) is solid, and Martin Starr is funny as always, but if you saw Melanie Lynskey's Hello I Must Be Going last year, you've already seen the major plot
points of this film play out in a much more effective manner.
These moments of pathos wonderfully undercut even the most
cathartic points of the film; even when he lucks out and remains alive, what Solomon has seen can never be undone.
It's approaching the
convergence point of film and video game which David Cage, despite grandiose claims and endless disappointment, has never quite managed to achieve.
The high
point of my film career was a rock video I made in 1978 for Alan Suicide's song Frankie Teardrop, collaborating with Alan and Edit DeAk as well as the video producer Paul Dougherty, which was acquired by Barbara London for the film collection of MoMA.
Some people want to say that because we're not sure, [the] worst case would be that sea levels could rise much more, but the
fundamental point of the film is exactly that worst - case scenarios are great for scares but very poor for making good policy.
Yes, she is a co-lead in a popular film with the older Academy members, but the performance itself has never been the distinctive
focal point of the film's praise.
The script makes her just as essential to the jokes as Rogen and while at times, I felt she was a little shaky when it came to delivery, all doubt for the actress is thrown away in one scene at the
midway point of the film, when she instantly becomes the latest crush of every teenage boy in the audience.
The ridiculous size of the ensemble is the
selling point of this film, though after a while, your mind starts to wander back to «Black Panther,» which was so satisfying, and fleet of foot, and full of interesting characters.
Instead of documentaries and interviews and the like, the second disc offers an alternate cut of the film, which only runs a few minutes longer but features a different ending that changes the
entire point of the film... for the better, in my opinion.
Unfortunately, the film's third act strays into territory of wish - fulfillment and major suspension of disbelief, still with an unsure outcome, but such a tonal curve ball, that it muddles the
whole point of the film.
This is the subtext Allen is getting at: Jasmine and Ginny hurt themselves more than they hurt the ones they were angry at, making the idiom,» Cutting off the nose to spite the face» the
key point of both films.
But the
main points of this film, the intensity of old school nun training and the effect that Vatican 2 had on Catholic nuns, are very well told, very well acted and quite poignant.
The Blu - Ray edition from Anchor Bay does indeed feature a beautiful transfer that showcases the one
strong point of the film: the cinematography.
Phrases with «point of the film»