Sentences with phrase «quality films like»

Ryan Gosling has had a few really prolific years with a string of great performances in quality films like CRAZY STUPID LOVE, DRIVE and...

The year ahead will bring another very large slate of films (at least 17) for Fox, though every potential quality film like new works from Alejandro González Iñárritu (The Revenant) and David O. Russell (Joy) seems to be balanced out by likely critical duds such as yet another Alvin and the Chipmunks film.

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.

The team realised that they could create films with unique optical properties by combining layers with different refractive qualities - creating a non-metallic, mirror - like film that can be more than 90 per cent reflective.

Thanks to the brilliance and quality of its X-rays, the ESRF functions like a «super-microscope» which «films» the position and motion of atoms in condensed and living matter, and reveals the structure of matter in all its beauty and complexity.

During this close - minded time period in American cinema, she was showcased for her «exotic» qualities in films like Pagan Love Song, Latin Lovers, and The Fabulous Señorita.

I would have liked to have seen more in the way of extras however, the quality of the film is such that, I'm not really feeling as though I've missed anything by not having a wealth of extras to explore.

Much like last year and the year before, this year's Movie Studio Report Card evaluates both the box office performance and overall film quality of the six major studios (and many indie distributors) in an attempt to determine the best and worst studios of 2011.

Don't get me wrong, I like to punk out on more than a few occasions, but it's interesting to look back at a time in which the talent was getting commercial promotion, because in this day and age, you have to go either underground or, well, bona fide prog - rock to find real quality music, though not necessarily quality film.

The biggest of the non-major distributors, TWC saw its box office receipts grow by nearly 36 % last year compared to 2014 (thanks to hits like Paddington and 2014 holdover The Imitation Game), even as the overall quality of its films declined.

A lot of pet dog movies are like this one, but this one is faithful to a true story and will always stand as a quality family film.

Paul Newman and Robert Redford shine together in this brilliant and hugely amusing caper film that offers us, among many notable qualities, a marvelous production design and an ingenious (and unpredictable) plot that plays like a refined sleight - of - hand trick.

The film's frequent longeurs, compulsive over-explicitness and unshakably morose hero seem like so many insistently «literary» qualities, ostentatiously laid over a cute, cartoonish vision that suggests not so much Anne Tyler as the affectionate quirkiness of «The Mary Tyler Moore Show.»

He grumbles and spews profanities (the film's only R - rating quality), but at no point do you ever feel like he has processed just how strange what has happened to him is.

Indeed, for all the striking technical qualities the animated medium brings to Anderson's work, the film feels like less of a departure than it might have done — not least because it retains the jangly, high - spirited ensemble feel of the director's live - action films.

Director Brad Bird, who is most famous for directing quality animated films like «The Iron Giant» and the Pixar flicks «The Incredibles» and «Ratatouille,» fully delivers with his first live - action outing.

After a depressing lapse in quality with films like «Cars 2» and «Monsters University,» Pixar finally returned to form with the ingeniously creative and flawlessly executed «Inside Out.»

That's pretty prolific for someone who offers up quality work each and every time out, rather than coasting on simplicity like a few other hard - working film music composers out there.

Oldman, encased in putty and mumbling like Dustin Hoffman in Dick Tracy, and his film both embody the qualities that Oscar has been trying, in vain, to transcend.

The otherworldly quality to the mind - boggling visuals aside, Legend looks like a recent film — sounds it, too, in Dolby Digital and DTS 5.1 configurations that immerse you in bucolic exteriors and fire - and - brimstone interiors of constant ambience.

Other than a touch of edge enhancement owed to the digital sharpening, the picture quality on high - definition Blu - ray is flawless, delivering a naturally film - like image with accurate color rendering and significant detail.

I can't deny the sheer enjoyment of the film and quality performances within and so those who like McDonagh, this genre, or any of the cast should check it out, even if I wish there was a bit more reasoning behind these particular psychopaths.

At points the film feels like a workshop, to try out techniques Ford was unable to use on his bigger studio pictures, which gives The Long Voyage Home its patchwork quality.

His movies are serviceable at best, terrible at worst, and I liked the rough - edged quality Gary Ross brought to the first film.

A lot of moviegoers still believe that low quality CGI toon projects should get a pass because they're just «kid movies» but films like Wreck - It - Ralph remind us that superior animated pictures are more than just cheep gags and one - note cliches — considering the film puts a new spin on tried - and - true stories about friendship and heroism.

There are many fine elements to the story, sufficient to think that they might develop into a quality film, and yet the story feels like three chapters that don't quite jibe thematically with one another.

Like many big - screen dramas about serious issues, the strengths of the film come primarily from the quality of the acting and the believability of the resolutions.

Even the films I like from this year I do nt have clear memories of (I saw Women in Love when I was way too young for it in the 1980s), don't truly love (big Altman fan but MASH, is more of a «like»), or I love them more for their historical value or genre personality than for actual quality (Boys in the Band, Aristocrats, Bloody Mama, On a Clear Day You Can See Forever).

While you expect (and receive) quality work from the actors like Pacino, Irons, and Fiennes, it is perhaps Lynn Collins, a relative newcomer in films, that impresses the most, as the lovely Portia.

There's been a lot of talk about comic book movie fatigue these days, but the people at Marvel Studios clearly aren't letting that affect their productivity, because just like fellow Disney - owned company Pixar, they've continued to deliver the same high - quality films as when they started.

«Such a delight» cast & crew statements do little to bolster the actual quality of the docu, but because the film is sort of fun in a trash - cinema way, you feel like forgiving a lot of the crimes of self - regard herein.

Formalist technics can be worked seamlessly into modern films, like the comic book qualities of Edgar Wright's Scott Pilgrim Vs. The World, or they can be sloppy, like every time a current Top 40 hit makes its way into the soundtrack of a period piece.

As aware of its own quality as it may be however, even if interpreted as the flawed work of the film's narrator, it does not excuse the fact that this feels like a lifeless and rushed feature.

In spite of the visual splendor Storaro provides, his images are, like Winslet's performance, inevitably hollow when taking into account the lack of quality every other facet of this film provides.

Sling Blade is a quality independent film from a very talented man, and is recommended for those who like character driven films and nicely written stories, even if the dialogue isn't delivered with precision.

Here, his score functions as something like the sieve of the page — watching a film with his soundtrack suggests an approximation of the literal detachment of reading a book; as Candyman unfurls, defenses fall away and the fable - like quality of the story gains a kind of archetypal weight.

Previous sequels in this franchise haven't remotely approached the quality of John McTiernan «s 1987 classic, but the main reason we're excited about this one is because it's co-written and directed by Shane Black, the guy behind movies like Kiss Kiss Bang Bang, The Nice Guys, and one of Marvel Studios» very best films, Iron Man 3.

The violence ratchets up as the film escalates but it retains its almost fairytale - like quality.

With Pixar's otherwise speckless track record, the «Cars» films have been like a roller coaster in quality outside of it helping kids get their parents to buy Lightning McQueen backpacks and beach towels.

And while the camera swings with lively verve and the lush, picturesque setting lends a dreamy quality to the film, the many colorful characters are still stuck in a story that feels like it's over 100 years old.

Compared to the more straightforward filming of her hometown («I wanted Sacramento to be beautiful in its simplicity,» says Gerwig), New York appears «mythical and fairy - tale - like» — the qualities of any whereabouts you've ever dreamed of going.

Though Darren Aronofsky's latest film doesn't excite me as much as some of the projects he's departed over the past few years, it's encouraging to see a director of his quality being given the money required to do a big movie like this the right way, especially after the disaster of «The Fountain.»

The atypical qualities of the film (which stand out all the more next to other 2002 Disney fare like Snow Dogs and The Country Bears) had the studio take a different approach for its distribution.

If you can't wait, then you must really like the film, in which case you should buy the satisfyingly low - priced (albeit low quality) widescreen DVD.

But it is of a piece with the rest of the movie, which plays less like a classic gangster film than like a 99 percent pure, Heisenberg - quality, blue - crystal distillation of all the tropes and themes and moods of the classic gangster film.

This special effects dominated sequel spent most of its budget on the visuals, with not much left for basic things like a quality script or even the ability to retain the mostly no - name actors from the first film, with only Robin Shou (Beverly Hills Ninja) and Talisa Soto (License to Kill) reprising their roles.

Knowing that Disney does not treat this film like one of its crown jewels, it's reasonable to worry that it won't live up to the studio's high picture quality standards.

Luckily, director Roger Michell (Changing Lanes, Enduring Love) does his job making us like the characters that we are willing to overlook the conventions of the plot, and the dialogue by Richard Curtis (Four Weddings and a Funeral, Bridget Jones's Diary) gives the film the necessary lift to make it a quality piece of work.

Accompanied by a lovely score by Sergei Yevtushenko, the film takes on a dream - like quality, which allows the viewer to bask in its beauty, despite the melodrama on show.

She is such a natural in a film like this, but her effectiveness is equally reliant on the quality of her belligerent, and it would be difficult to imagine a better foil for her than what John Goodman gives us in 10 Cloverfield Lane.