Sentences with phrase «quality of the films at»

And judging from the content and quality of the films at Sundance, I returned to my daily life actually encouraged despite the wranglings of all the President's men.

Not exact matches

When I first started looking at the quality of car mats, the ones produced overseas were made of heavy rubber, who knows what metals were in them, what chemicals and toxins were in them... that white film you see on the inside of your windshield?

A research group led by Junichi Isoya, professor emeritus, University of Tsukuba and Tokuyuki Teraji, principal researcher, Optical and Electronic Materials Unit, NIMS, has successfully fabricated for the first time in the world single - photon sources of SiV (silicon vacancy) centers — one of the color centers in diamond during the growth of thin film diamond, which have high purity and crystalline quality — by introducing them at extremely low concentrations.

The researchers at first fabricated high - quality, atomically thin FeSe films, with thickness of between one monolayer (which corresponds to three - atoms thickness) and twenty monolayers (sixty - atoms thickness), by using the molecular - beam - epitaxy (MBE) method * 3.

Indeed I concentrated specifically on only a few of the film's qualities, or at least the ones that jumped out at me on this viewing.

Given the quality of the first two films (Before Sunrise 77, Before Sunset 90), expectations are high for this third chapter in the Jesse and Celine story, which premieres this weekend at Sundance.

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.

Assuming for the moment that Hughes was not as fault (or at least was not deliberately writing terrible material for the sake of a fast buck), then much of the blame for the film's low quality must lie with Columbus.

While most Elvis films except for his worse usually have at least one quality performer, Barbara Stanwyck in Roustabout, Gig Young in Kid Galahad, Angela Lansbury in Blue Hawaii etc., this one has one of the better casts with Lizabeth Scott, Wendell Corey and in the first film of her brief pre-convent career Dolores Hart.

Lee knows his failings all too well — his face says it all — but he keeps regret and depression at bay with frequent visits to his pal Jeremy (Nick Offerman), a former actor who now deals in high - quality weed and who shares Lee's love of reggae and Buster Keaton films.

It is at this point that Schaffner's Hollywood career truly peaked; with the exception of such films as Papillon (1973), most of the director's subsequent projects were of diminishing quality.

Milius has nothing to say: this 1982 film only hints at the romantic heroics of «The Wind and the Lion» and has none of the personal quality of «Big Wednesday.»

Overall I felt that this film was decent at best, and it never realizes its potential, but in the larger view of things, this is also the ninth film in the series, so it was only a matter of time for the quality to be downgraded due to lacking ideas in terms of storyline.

Karloff spent the remainder of the 1930s continuing to work at an incredible pace, but the quality of his films, the vast majority of them B - list productions, began to taper off dramatically.

This year's biggest downer — which is not to take away from the qualities of the film — «Amour» represents a change for director Michael Haneke, whose «Funny Games» is a remarkable thriller about the takeover of a household by two psychopathic youths and whose «The White Ribbon» looks at mysterious goings - on in a feudal village in Germany prior to World War I.

A bit more suspense would have gone a long way here, and while director David Gelb, whose prior experience had been in the crowd - pleasing documentary Jiro Dreams of Sushi, has turned in a slick - looking feature for one with such a small budget (reportedly, only $ 5 mil), it really can't compete with better films out there in terms of quality, while it's too straight - faced in execution to at least give us some choice b - movie thrills.

And so we're tweaking our «Best of the 21st Century» formula (check out our Horror Films, Animated and Music Documentary features) to look instead at the top - grossing films of the century to date, and seeing how, in this season of bottom lines and billions and box office bombs, the 25 reigning champions of the century stack up against each other in terms of quality.

That's not to knock these films on quality or suggest that anything with name actors is merely mindless escapism: Fox Searchlight's thriller The East efficiently mines suspense out of Brit Marling infiltrating Alexander Skarsgaard and Ellen Page's eco-terrorist group (at least until it goes south in its last third) and the Paul Rudd - Emile Hirsch two - hander Prince Avalanche makes the most of its pastoral settings and gently bro - centric chattiness, to name just two.

Presented in widescreen and fullscreen on the same side of a dual - layer DVD, the film's image lacks depth here — there's a muted, Seventies quality to Barry Stone's cinematography that no doubt looked smashing on the big screen and probably would've been marginally improved at home by dispensing with the fullscreen version (thus lessening the compromise of compression), which lops a significant amount of visual information from the right side of the frame (while restoring a negligible amount to the bottom — in one shot literally a pinkie toe).

Truth succeeds in creating a riveting atmosphere that makes the audience a part of the investigative process of journalism, effectively carrying us over a series of triumphs and downfalls inherent in the field, and this procedural look at reporting and its intrinsic risks is undoubtedly the strongest quality of the film.

At one point, Jason Dixon says wearily to his father, «It was supposed to be a joke...» Well, I don't believe that can be said of this compelling film with its baggage of pure, quality life lessons.

While the subject matter is the stuff that good films are made of, and the quality of the direction and acting are worthy of admiration, where The East fails is in the contrivances involved in the farfetched plotline and the unevenness in the thriller elements (such as a scene in which the cell dresses up to the nines to infiltrate a party for pharmaceutical bigwigs that would feel more at home in a Mission Impossible movie) that undermine what could have been a chilling and realistic story of corporations run amok.

The sound quality of the film was as good as an old record; classic, full, sketchy at times, but also pleasing to the ear, affording that you enjoy a bit of jazz.

The fact that he is still chugging away, knocking out a film a year at 74 years old, is indeed impressive, and one frequently marvels at not only the consistent quality of his work, but the relative indifference when he hits pay dirt — i.e., if some young up - and - comer had knocked out a Vicky Cristina Barcelona or Match Point, he or she'd have been hailed as the Second Coming, but when it's Woody, we just chalk it up as an expectation, rate it on a comparative scale to his previous masterworks, and move on.

It's unfortunate that we've gotten so few Lonergan films over the course of such a long time, especially when you can't turn around without another superhero extravaganza smacking you in the face, but if it takes this long for him to consistently deliver at this level of quality, then it is damn sure worth the wait.

Denzels performance was spot on but I feel the films lack of likeable characters or at least characters with redeemable qualities may have been what initially left me cold towards it..

It's also somewhat of a box office risk given the current CGI action - based film craze at the moment, however, the superior quality of the film speaks for itself as well as the box office.

Jessica Chastain, who is having an impressive year incidentally (The Tree of Life, The Debt), has a very possessed quality that allows her to remain in the moment but hint at all the years of contentment and trust with her husband that came before the events depicted in the film.

The acting isn't always the best, nor the behavior of the characters at times, but the two leads are entertaining enough to forgive the hokey qualities of rest of the film.

Personally, I'm not a fan of this genre and can't fathom why anybody would be interested in making this, although I am fully aware that family films can make serious money at the box office — despite their (often) poor quality.

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.

It is finally no cinematic brilliance but only the unnerving quality of its subject matter that enables the film to touch its viewers» sensitivities without being at all sensitive itself.

Whether you were compiling it alphabetically or just in terms of overall quality, if you were making a list of superhero films, Zoom deserves to be at the bottom of the list,

For the most part, the film looks true to its seamy quality, and at any rate, the unrated version looks vastly superior to the material that fills in the included director's cut, all of which was clearly gathered from inferior sources.

A major hit at the time of its release in Hong Kong, and a bit of a fan favorite for fans of Stephen Chow, Fight Back to School is, nevertheless, one of his films that haven't really weathered the test of time in terms of overall quality.

Adapted by Scott Neustadter («The Disaster Artist») and Michael H. Weber («The Spectacular Now») from a novel by the late Kent Haruf, Our Souls at Night was shown at the Venice Film Festival then went directly to Netflix, a move that in today's multi-layered media environment is not reflective of the film's quality, but only its box office potential.

Enrico is clearly a personal filmmaker — he returns obsessively to themes of time and memory, images of families and homes shattered in the most terrible, irreparable ways — but all his films after Au coeur de la vie... and Zita fail of deftness and suggestibility as visual experiences, being all but indistinguishable from the hackwork of other commercial French filmmakers typified at their best by the «Tradition of Quality» boys.

Money doesn't always equal quality (and in the case of most summer blockbusters, it usually never does), but with «The Avengers,» director Joss Whedon delivered a film bursting at the seams with excellence — from its amazing cast (particularly Robert Downey Jr. and Mark Ruffalo in standout roles), to its smart script, to the impressive balancing of the movie's many tones.

To its great credit, «Motley's Law,» a new documentary film making its North American premiere at the 51st Chicago International Film Festival, exudes much of those four essential qualities of a good documentary.

Superb in every sense of the word, acting, script, costume design, attention to detail.An old fashioned drama real quality film making at it's best.

If this film really were of 4 star quality, it would have been released at least a couple months before the awards so it were nominated.

Scoffing at gross - out comedies just because they aren't in accord with what has traditionally been construed as quality cinema doesn't mean that this type of film should forever be banished from award ceremonies.

Perhaps with someone else at the helm Jersey Boys could have had the pop and crowd - pleasing pizzazz that the stage show is said to but the film turns out to have more in common with your dull, run - of - the - mill biopic than it does an energetic stage show, and without the quality performances that can at least make the former bearable on occasion.

When I look at my list, the overall quality of the films themselves was perhaps no poorer than in the monumental selections of the past two years, but there was a certain bewilderment, a malaise that put me at a distance.

As we edge closer to summer season, you'd think that the quality of films would increase, but one look at the April movie slate suggests the complete opposite.

The original narration at the beginning of Tobe Hooper's film points to the film being a factual account «of the tragedy that befell a group of five youths...» Twenty - five years later, The Blair Witch Project went further by claiming that the low - quality video to be actual found footage.

«You don't expect never - ending returns when it comes to sequels, but it definitely speaks to the quality of the talent at the Marvel Studios team and the way they're thinking about each film out of the gate.»

Even Sharp's later films, like The Osterman Weekend and Rob Roy, exhibit many of the same qualities, though they're not often thought of in the larger context of one writer's career — at least part of that owing to the relative obscurity of Sharp's exceptional»70s output.

Now, while the quality of his films will still remain to be seen (he's only had two), it does look as if at the very least, we've got a director who simply likes to take his time in between projects.

Only time will tell if this film transcends the tired tropes on display here, but at the very least it promises to be something of a quality repetition of the clichés its embracing.