Sentences with phrase «pretentious film»

This will be my third year covering the most fun, least pretentious film festival on this spinning marble of madness, and if it's anything like the past two years, it's going to be bonkers.

The programming is eclectic, the vibe is electric, and it's the least pretentious film festival I've ever attended.

by Walter Chaw An experiment in perceptual distortion that questions the nature of viewership and the law of observation that states, in part, that the nature of the process of observation necessitates a change in the essential quality of the observed, Steven Soderbergh's Full Frontal is a hyper - pretentious film - within - a-film-within-a-film conceit so gimmicky it hardly matters that by the end gimmickry is its point.

If you can't stand pretentious film snobs, then these are the guys for you.

Laurie Anderson's undeniable knack for beautiful lyricism and turns what could've been a very pretentious film into an unspeakably sad yet hopeful meditation on love, life and what may come after it.

I Origins, on the other hand, is a prissy, pretentious film by Mike Cahill, who impressed me with his last movie, Another Earth.

Its amazing to me how pretentious film people can be and who they nominate for such positions.

It wasn't just a not - so - clever saying that would look totally rad on a t - shirt, but an indication of just how we were kicking against the establishment of film criticism — and those two reviewers were the figureheads of giving thumbs up to boring, pretentious films and thumbs down to many of the films we enjoyed.

Not exact matches

So the crime scenes are rendered in sickening detail, and the whole film has a murky, madly pretentious tone.

«pretentious,» why aren't you mentioning some other film that you think even begins to address existential questions about life released in the last ten years?

Mom is currently enamored with pretentious - filmmaker David Dukes, and it is on the set of Dukes» latest picture that Lane meets another 13 - year - old, insatiable French film buff Thelonious Bernard.

Please, readers, don't listen to anyone who says this film is pretentious.

A much more restrained Xavier Dolan after his pretentious previous film, and he displays an assured direction and firm control of this suspenseful thriller, even though the narrative seems to move too fast as the characters start to act in ways that are not always convincing.

The film feels like an experiment that always straddles the line between provocative and pretentious, but at feature length, that sort of strategy becomes tedious.

Indeed, the film's reliance on audience familiarity with sources of so - called high culture has been dismissed in some quarters as a pretentious gimmick, as if it were somehow an eighth deadly sin to expect intelligence either in police detectives or attendees of lowly genre films.

At times this film can be fun to watch, but it tries so hard to deliver a message regarding the world being phony and pretentious and obsessed with physical beauty that it becomes what it is trying to parody.

Legion is as energetic as a film student — and just as pretentious.

The film's success in giving the voiceless a platform balances out Phillips's more precocious and pretentious flourishes.

It's not so much of a biopic, or even a proper film as it is pretentious, self - indulgent wankery.

At times, this film is more like a pretentious stage play.

Instead of asinine comments on how impossible it would be to have a woman in combat (nevermind that she arrived in the final battle independent of the other fighters and so could not have been prevented from joining by the other men), it might have crossed your mind to mention how pretentious it was for the heroin of the film (which is what she is) to be directly compared to such a major historical figure.

Ryan Phillippe is routinely excellent (he has the ultimate «BS face», also seen in «Breach») and the film doesn't get too pretentious because it's evident it's just a fun little movie.

The first hour of the movie is virtually unwatchable, with Braff oddly sprinkling in fantasy sci - fi sequences that are supposed to convey the character's inner - life, but never really add anything to the film other than make it feel alternately goofy and pretentious.

Hong Kong superstar Chow Yun - Fat is so charismatic in his second Hollywood outing, The Corruptor, that he almost makes us forget that the movie itself is one of the more pretentious, muddled and incompetent action films to come along in some time.

Valhalla Rising's problem is that it's easy to think of it as just a pretentious sword - and - sorcery film.

It's arguably impossible to create a film without them, or at least would make for a pretentious and boring «maze» not appropriate for an entertaining experience (which Inception was and film should be).

The film's centerpiece is a pretentious intellectual underplayed to the point of a whisper by none other than Peter Yarrow (of Peter, Paul, and Mary).

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Amour is everything you expect from Haneke, minus the pretentious self amazement and needless moments of shock that have plagued some of his previous films like the remake of his «Funny Games».

While the film occasionally borders on pretentious, it crafts a powerful portrait of socioeconomic despair without turning heavy - handed.

Herzog's languid, meditative anti-horror film was completely at odds with both the times and stateside sensibilities and his film, Nosferatu: Phantom Der Nacht (or Nosferatu: The Vampyre as it was known in the US and UK), although critically praised by many, got lost in the sanguinary shuffle, deemed by some as pretentious and thought by some critics to be a pointless attempt to revisit a picture that was already perfect as is.

For much of the movie, it is possibly the most pretentious, snooty film I have ever seen.

There's a feeling of exhaustion to the film, one that serves as a sharp counterpoint to Paul's tentative struggle towards maturity while tying itself to the ambitious — and sometimes pretentious — reflection of the films of the Seventies.

Without his witty touches, the film would be almost insufferably pretentious, but it has a blackly comical tone that keeps us off guard and helps cover some gaping plot holes.

If the film occasionally feels gaudy, pretentious, and scattered, that's as much a commentary on glam rock as anything else.

A game cast quite literally gives the film their all but it's hard to ignore the ugly treatment its leading lady receives, coupled with a story that — though open to multiple interpretations — never rises above a pretentious and scummy tale of male exploitation of women, both on and off - screen.

Being dull as dishwater is only the first crime of Ulli Lommel's The Boogeyman (1980), a pass by a Fassbinder protégé at American slasher flicks of the late»70s (Halloween especially, but also The Amityville Horror, Carrie, and The Omen) that produces predictably pretentious results without the pang of brilliance accompanying many of the films of Lommel's betters.

Though some felt that Stevens's tunes were a mismatch to the surrounding soundtrack's volley between Maurice Ravel and the Psychedelic Furs, the meek «Mystery of Love» is the best song in the lineup both in and out of context, charting the impatient but hesitant undercurrent of the film's romantic leads, at the same time as it approximates their shared, vaguely pretentious cultural interests.

At one point, I even considered making the middle of the film silent so it really felt like a Brakhage film, but I slapped myself and said «that's not bold, that's pretentious.»

Symbol - heavy but never pretentious or preachy, the film follows a traditional path — she is betrayed, she is underestimated, she repays her assailants for their toxic masculinity.

This is a convincing and emotionally honest film about a specific kind of adolescence: bratty, confused, middle - middle class, white, female, pretentious, and ultimately kindhearted.

As the film unfolds it becomes more abstract, more confusing and comes off as pretentious.

It's a grave mistake to think these films are pretentious.

The film labours under its pretentious airs and graces and takes itself far too seriously.

Which can be unbearably pretentious - depending on your preferences - but the film based on La Morte D'Arthur by Thomas Malory does actually remind one of passages from that novel.

I was unimpressed with the film, I found it boring and pretentious.

The film indulges in the intellectual rap session with both fascinated attention and wry humor: it is, after all, the pretentious proclamations and justifications of two privileged men batting around the meaning of life in a restaurant where most folks couldn't afford to buy dessert.

September 11 will never be forgotten; and Hollywood has tried to capitalize on the event through numerous films over the years — the best of which was Paul Greengrass» United 93 — but try as they have, none fully understand the cataclysmic event and either use it to display pretentious idealism (Oliver Stone's World Trade Center), or faux sentiment (Remember Me, Reign Over Me, and Dear John).

Youre one of the few podcasts about film that never turned pretentious!

But as the «and - then - there - were - none» motif kicks in and the ship takes on a mysterious new passenger, the film turns obtuse and pretentious.