Sentences with phrase «rather beautiful film»

It becomes a rather beautiful film about different generations of women from the same family and how they're not quite the strangers they think they are.

Both stars are already receiving great praise for their roles, and under the watchful eye of Anton Corbijn whose excellent Control captured later Joy Division singer Ian Curtis so profoundly, it's safe to assume we'll be getting a touching, insightful, and rather beautiful film.

It's also a charming, surprising, admittedly flawed but still rather beautiful film.

Not exact matches

While he would have been comfortable with the rest of the film, Ian Fleming would have been turning in his grave if he thought his creation might be turned into a sexual experimenter rather than an alpha male conqueror of beautiful women.

I was not one of A Beautiful Mind's historical accuracy Nazis, who used the film's marginalization of the real John Nash as a way to bash the film (for my money, it was the horrid screenplay and direction that made it such a painful film to watch, not its artistic rewriting of history), though the erasing of Turing in Enigma is rather distressing.

Spielberg and his screenwriter, Robert Rodat, have done a subtle and rather beautiful thing: They have made a philosophical film about war almost entirely in terms of action.

A beautiful but rather hollow film.

It's an emotionally involving rather than harrowing film, with scenes as beautiful as oil paintings.

For Denis» film - which may be her most intricately constructed and intensely beautiful to date - is one that transcends words and stories, a movie to be felt rather than rationalized.

Todd Haynes follows up his resplendent Carol, with an effective and unique family film, touching in a rather distant way, and hauntingly beautiful to look at and to listen to.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

While there are standout examples — like Darren Aronofsky's disorienting, eye - opening Requiem for a Dream, or the achingly beautiful narratives of animated animal - people addicts in BoJack Horseman — sagas like this one usually work better on the page than on the screen; the brief gloss of film can make drug use seem rather too appealing, while the idea of spending eight TV seasons with an addict seems rather unappealing.

The movie's unexpectedly goofy sense of humor helps to keep things light, and the actors do a good job with the material they've been given, but «Beautiful Creatures» doesn't feel like it was made by a studio that loved the books, but rather the idea of success that a film adaptation might bring — all business and no soul.

by Bryant Frazer Before Krzysztof Kieslowski became the standard - bearer for the latter - day European art film with ravishing portraits of unspeakably beautiful women living their lives under unutterably mysterious circumstances, he was a gruff but adventurous chronicler, in both documentary and narrative films, of lives lived in the rather more drab surroundings of communist Poland.

Unlike other films in the subgenre, this isn't a series of CliffsNotes or the greatest hits of a former first lady's life, but rather an entirely subjective, visceral, upsetting and sometimes beautiful experience.

Interesting, too, is the inescapable idea that the only genuinely convincing relationships in the film are homosexual, and that the picture could be read with profit as an escalating evolution of father relationships from low to positively Christian (mad steward Denethor and son Faramir, Frodo and Gollum, Gandalf and the hobbits, Aragorn and mankind)-- but part and parcel with the oft - fascinating subtext and beautiful images is a parade of useless cameos (please, enough Cate Blanchett), de rigueur expository flashbacks, and the squandering of opportunities to locate the genuine interest in unlikely epic heroes (women and, essentially, children), rather than just pay lip service to them.

Unsurprisingly, Little Nicky isn't a satirical indictment of the consumer culture of the twenty - first century but rather follows the familiar mould that usually involves the audience being introduced to an unlikeable half - wit, who surprises both us and inexplicably a beautiful woman by improving and getting slightly less detestable over the first half of the film, before losing our confidence with a stupid mistake and then winning it back again with a rousing finale.

Annihilation's cryptic coda is all but begging to be unpacked and picked apart, yet once again I'd rather just sit and be haunted by these pictures and sounds, letting the film wash over me like a terrible, beautiful dream.

The movie's unexpectedly goofy sense of humor helps to keep things light, but «Beautiful Creatures» doesn't feel like it was made by a studio that loved the books, but rather the idea of success that a film adaptation might bring — all business and no soul.

Three big talents worked on Three Comrades, and though they butted heads, and the film came out rather uneven, there are still enough wonderful, beautiful moments to make it worth seeing.

Since Silent Hill is stunningly beautiful with its Innsmouth - style of fog and moisture texture, will you render the film (if post-production isn't already completed) with a more «amateur / gritty» texture, or will the film break from tradition, and although be visually appealing, have a feel that centers more around character rather than franchise norms?

The moment of each transformation, moreover, becomes impossible to pinpoint, because the identities do not strictly mutate but overlap or interface — rather like the colored geometric shapes that traverse the screen in the film's beautiful opening credits.

They are definitely beautiful images, with cinematographer Emmanuel Lubezki doing superb Oscar - bound work, but Malick's determination to recreate every nuance of his childhood era becomes a hindrance in such a long, rather shapeless film.

He also performs a brief, and somewhat amazing, reading from «Hamlet» and a rather beautiful piece of his own composition on piano during the film's affecting conclusion.

From the beautiful and intimate score by Mychael Danna, to the inspired production design by David Gropman, to the pitch perfect performances by Suraj Sharma, Irrfan Patel and others, this movie is one of those rare films that brings its audience a mesmerizing experience rather than just a couple of hours of entertainment.

Overall, the film works better as a collection of beautiful images rather than as a cohesive narrative.

Its characterization of the madness that begins to slowly engulf city - bred Genevieve (Kate Lyn Sheil) in the countryside is rather sketchy, and its depiction of the sexual jealousy she begins to develop toward earnest country girl Robin (Takal herself) doesn't go far beyond Eyes Wide Shut lite; still, the film packs a wallop, with a pungently atmospheric score by Ernesto Carcamo and some unnervingly prolonged long takes (Nandan Rao was the cinematographer) that offers an unsettling counterpoint to the beautiful scenery and naturalistic performances.