Sentences with phrase «quality films seem»

This time of year, good quality films seem to be coming out every week, and while most audiences don't have the ability to see them all, I like to think there's something out there for everyone.

This time of year, good quality films seem to be coming out every week, and while most audiences don't have the ability to see them...

We can only hope that one day they release the full cut of the film to properly see if those missing scenes will turn this mediocrity into the quality film it seems to be.

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.

Throughout the film vacillating between the legalistic and the spontaneous, Marianne seems to place the finer human qualities outside the realm of formula.

That Avatar «s melodramatic attacks on corporate interests and its defense of simple, natural living come packaged as one of the most expensive, and probably the most technically advanced, corporate films in history would seem to indicate that only quality bigger than the movie's stupidity is its head - in - the - clouds hypocrisy.

The page does seem to be optimized to show a high - quality version of the film, which looked sharp on my iPad.

The attraction between the resolutely empirical scientist and his «spiritual,» hippy - dippy girlfriend gives the film an unpredictable quality: This is an art - house effort, so we know we're all sophisticated and dismissive when it comes to supernatural jibber jabber, and yet the girl seems to be leading the way to some weird new testament or revelation.

The films» rampaging innocence and invention seem worlds apart in quality from most of what passes these days as family entertainment.

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.

David Ayer's presence behind the camera has been a major talking point; for all the qualities of his previous films, he is essentially a workmanlike gun - for - hire, who occasionally seems lost in the more fantastical elements of the DC world.

The film has no qualities beyond its formal polish — and its careful avoidance (or rather, displacement) of the moral and political issues involved can seem too crafty, too convenient.

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.»

Andy Fickman, whose one quality credit is Reefer Madness: The Movie Musical [also starring Bell], seems to have no idea how to pace the film and his transitions from scene to scene are either too clever by half, or just awkward.

His films as of late have seemed somewhat stuck in the 1990s when it comes to the below - the - line stuff, but the effects in this trailer (exclusively released on Yahoo! Movies) are quality.

I have seen it written that the quality of a film is likely to be inversely proportional to the number of writers employed, and certainly it seems sometimes to be truth.

The universal quality you mentioned is interesting given the earlier films where the characters» idiosyncrasies are more pronounced — they still have universal themes below that — but this one seems less about heightened idiosyncratic characters and more about a universal fear.

The film itself sports a handsome 1.85:1 anamorphic video transfer that seems a little soft and grainy, but for what it's worth, I didn't mind that, as it preserved something of a filmic quality.

It seems to me that many are phasing their praise for the film to suggest its quality is somehow in spite of Spielberg and attributing most if not all the kudos to the screenplay and cast.

Miyazaki's greatest films have the organic quality of ancient fairy tales: The benevolent forest creatures in My Neighbor Totoro or the bathhouse - frequenting monsters of Spirited Away seem to spring full - blown from both Japanese folk culture and the deepest recesses of preverbal memory.

She would play some sort of helpless daughter to the film's Mark Wahlberg, which makes sense given that both females seem to have strangely wholesome beauty qualities instead of the sexed - up type Bay usually casts in his pictures (those will surely come later).

The smooth and, often times, visceral film style of director Antoine Fuqua and Denzel's leading man qualities (that he seems to display so effortlessly, I might add) have accumulated into two high quality collaborations.

If not for the quality actors, a good director in Kasdan (Silverado, Body Heat), and the fact that it's adapted from a Stephen King book, I would have sworn this could only come from the crazy, b - movie mind of John Carpenter, as this is a film that seems right up his alley.

While everything seems to be in place for a quality film, ultimately it's the lack of emotion and mundane goings on that keep The Winslow Boy from making it to the level of memorability.

However, the film's compelling qualities never seem to match its obscene effort towards the art

The trailers are about the same quality of the other trailers in the franchise, so if you're a fan of the previous three films, there doesn't seem to be any reason not to be excited for this installment.

With every passing month, it seems like A24 adds another quality film to their library.

Overall, it seems as if HELLBENDERS bites off a little bit more than it can chew with a poor quality EXPENDABLES-esque Horror - Comedy, that is intended capitalise on current, modern trends in the film industry.

But it's an objectionable turn of phrase, implying a certain intrinsically lowly or shameful status to genre film - making in itself: there are good horror movies and bad ones, smart horror movies and stupid ones, and the critical distinction seems clear enough without needing to delineate and elevate a separate subgenre on the basis of class and quality alone.

The Coen Brothers seem to make two kinds of films in terms of quality: great films, and good (and some not - as - good) films with great moments.

Thankfully, the film seems to rely as much on elaborate set design as it does on CGI, giving the dream world a welcome tactile quality.

Perhaps in the world of cartoons, such inanities would seem commonplace, but smack - dab in the middle of a family film, there is just an embarrassing quality to them that doesn't allow us to go with the natural flow of things.

The idea that The Room's strange and bitter qualities are very personal and rooted in some deep pain is obvious to anyone who's seen the film — except, it seems, to the star and director of this movie.

While I have some reservations about Howard as a director (that his gee - whiz, boy - next - door quality actually seems genuine is even more disturbing than if it were an obvious put - on), it seems clear that this is a much stronger film for his intervention.

It's a toss - up and as a whole the Harry Potter film series varies wildly in quality, but opinion seems to be pretty unanimous when it comes to David Yates» takes on the 5th and 6th books of Rowling's popular series: the man's getting it right.

Olsen, whose talent was made powerfully apparent with her breakout film, 2011's «Martha Marcy May Marlene,» does a fine job but, given her wide - eyed ethereal quality, she seems an unusual casting choice.

The picture offered a moderate improvement on the quality of the first film, and it generally seemed positive.

Obviously, the different film clips that are used are of varied qualities, but for the most part, everything seems to have been sourced from what looks to be original elements.

Also, the film has a definite made for TV quality that seems a little out of place in a movie theater.

Despite the fact that indie horror films like House of the Devil seem to be catching on in the VOD market, there's something depressing about genre fans in rural and suburban areas not being given the opportunity to see these quality horror films in their local theaters.

However, moviegoers certainly seem to be able to sniff out crummy movies in advance, as there is a surprisingly strong correlation between film quality and opening weekend grosses:

As shooting continues on the M. Night Shyamalan film Glass it seems that one member of the cast is already praising the quality of the script, as well as indicating that the film is going to be something «special».

Brendan Fraser, a guy with talent only to waste it with such shit movies like «Furry Vengeance» where he's now become one of these derp - de-derp guys like Adam Sandler, Vince Vaughn, and Nicolas Cage who just don't seem to care about the qualities of the films just as long as they're paid.

I sound like a broken record lately when it comes to Disney films, but then Disney films seem to have the same repeating qualities of a broken record.

Telling a story from a different cultural perspective than we're used to seeing could easily seem like a calculated cash grab if handled poorly, but it's a testament to the quality of the storytelling that this simply feels like a great movie and not a film that's only meant for one specific culture.

Barely Lethal is directed by Kyle Newman, of Fanboys fame, and it has a similar low - level movie - nerd quality, using references to extremely popular films in order to make ancient story beats seem fresh and knowing.

Expecting depth and great quality across all facets of any particular film these days is asking for more than what anybody seems to want to give.

Nevertheless, even while his latter films seem to have lost those strong qualities of filming daily life that distinguished his earlier films, he still continues to follow his passion for realism and his quest for new ways to tell a Brazilian story.

Such is the power of the fantastical images that they seem to possess an almost - ethereal quality, and by the time the film enters its final third, you find yourself daydreaming, completely lost in Anderson's whimsical universe.

In particular they seem to have failed utterly to grasp the importance of digitising back list as fast as they can — which has left the ebook offering to the public woefully short of the extent and quality of work that people love about books, and makes them preferable to film or music.