Sentences with phrase «rather of a film set»

Not exact matches

Applying the episodic format and visual template of classic and spaghetti Westerns to a revenge saga mostly set in the Deep South just prior to the Civil War, the film makes a point of pushing the savagery of slavery to the forefront but does so in a way that rather amazingly dovetails with the heightened historical, stylistic and comic sensibilities at play.

This belated second sequel to The Three Musketeers is a rather slapdash, uneven patchwork of weak writing and sloppily directed set pieces that fails to recreate the magic of the previous films.

Rather than collecting a bunch of funny people together on a set and just letting them riff, the film establishes coherent characters and drops them into a twisty mystery plot that's tightly crafted enough to generate some real narrative momentum while never getting too bogged down in its own plot that it forgets to be funny.

Boyle set out to make this particular film rather than a gritty social panorama along the lines of Brazilian favela drama City of God.

Gangster Squad's time setting allows a rather gritty film to be bombastic in its use of color and production design.

The film leaves room for doubt, and I don't know if it's because the production values are those of an experimental film rather than a documentary - which means we are at fault for depending on a certain set of conventions for truth - or if we simply don't have enough confidence in Emmy's p.o.v.

I felt like he knew what he was doing, some of the shots are rather well done (as corny as it was, the camera set - up of the final shot of the film is rather pleasurable).

One of the more popular characters from the Shrek franchise steps into the starring spotlight here, in an adventure whose locale is rather different from the familiar swamp - forest - castle fairy - tale settings of the parent films.

It allowed you to get a sense of Linklater's ideas as an artist through more laidback means, rather befitting of the nature of his films, as he goes about doing various activities with Benning, such as hiking or playing catch, offering anecdotes to the other artist, instead of delivering filmmaking mantras to camera in an interview set - up.

It's a gloriously written film, with jokes that are crafted rather than excavated from reams of on - set improvisation1; the success of the punchlines is scattershot and up for debate (connoisseurs of the Borscht belt should find much to admire, but a rehash of Lloyd's lovesick daydream flatlines, due in no small part to an overestimation of the comic chops and kitsch appeal of Honey Boo - Boo's mom), yet there is something bracing about its structural classicism after the last few years of watching the Church of Apatow whack off.

With the film being a reboot rather than a straight remake, it looks set to introduce a whole new generation to Max while satisfying the legion of original fans.

Set alongside most recent Hollywood pictures it looks like a masterpiece, but considered in relation to the best of Leigh — say, Meantime or Grown - ups or High Hopes — or the best of recent non-Hollywood films, it looks rather thin.

Borrowing from Takashi Miike's Audition (seminal J Horror film) source material, Nicolas Pesce had time to dress, finesse his highly anticipated sophomore film and boy did he deliver with what comes across as a Cronenberg's Crash like love story featured in hotel room spaces rather than car wreckage and works as an homage to a plethora of influential filmmakers including De Palma and the Giallo set.

One problem with Birth is that the bulk of the emotional turmoil happened before the film is set — we're here to watch the cleaning of the debris rather than seeing the blitzkrieg itself.

Rather than really developing these issues narratively, the film unfolds with a series of action / comedy set pieces.

This seemingly inauspicious beginning is actually rather significant because, even though it takes place very early in the film, it is nonetheless the pivotal scene that helps to set up the major themes of the film.

Set to music, usually in an escalating and dramatic fashion, this form of trailer is an inventive and rather sublime way of encapsulating a film that may have otherwise been tricky to sell with traditional methods.

Pynchon's book, and this film, are loving spoofs of the classic detective story, though set in 1970 rather than the 40s.

As an action flick, it isn't awful, but it is rather routine most of the time, and some of the special effects, make - up and design work look more at home in a semi-comic romp than in the dramatic setting that this film carries forth.

Quentin Tarantino cast him in the relatively minor part of Billy Crash, but after Kurt Russell, who was to have played the right - hand - man of villain Calvin Candie (Leonardo DiCaprio), walked off the set, Tarantino, blown away by Goggins» work on the film, incorporated Russell's character into Crash, rather than recasting.

Welcome to the Punch sets itself up as a rather conventional genre film, but where the writing may lack a depth of character or thematic weight it's more than made up for in terms of sensory - appealing thrills and a hyped up rhythm that keeps things moving along at an appropriately rapid pace.

Vividly creepy atmospherics and a strong cast set this film apart, although it's ultimately let down by a rather contrived final act that doesn't make much of the murky plot.

The BFG has performed rather disappointingly in the US, but UK distributor eOne can point to the huge popularity of author Roald Dahl and the film's British cast and setting.

The film's narrative, set in multiple eras and told through different styles, might suggest a work aimed an audience of sophisticated film historians rather than kids, but Haynes, Lachman notes, had faith in the younger audience and he screened it for audiences of children.

From the look of this second, considerably revamped trailer — which is set to the film's score rather than the first trailer's original music choice of the Beastie Boys» «Sabotage» — I think this one is going to make more fans a lot happier.

Rather like an extremely damped - down There Will Be Blood, Reichardt's film — based on historical events — depicts one group's journey through the Oregon Trail in 1845 as a trek through a hauntingly empty and alien landscape, with cinematographer Christopher Blauvelt exquisitely taking in the natural beauties of the settings while framing the increasingly desperate wanderers in wide shots to emphasize, in part, their ultimate smallness within the wild west.

The story sounds like the simplest of things, but Benson sets himself loftier goals and achieves them like he's been directing feature length films for ages rather than tackling his very first one.

And by filming in a real, fully fleshed - out setting rather than on the overt stage space of Malle's Vanya, Demme strikes a tantalizing balance between naturalism and Solness's inner world.

This isn't to put down the film's first half, which sets up a genuinely distinctive near - future world (where Johnson's retro trappings make narrative sense, rather than feeling tacked - on), introduces two tremendous sides of the same coin in the performances from Bruce Willis and Joseph Gordon - Levitt, plenty of intriguing philosophical dilemmas, and a grisly hall - of - fame demise for Paul Dano «s character.

The differences between that film and this reinvention are obvious from the very start; rather than the original's scene - setting opening where Yul Brinner and Steve McQueen stand up for the rights of a deceased and unknown native American, instead we have a pantomime villain doling out ugly violence and not only that, the only native American onscreen murders a fleeing innocent woman in cold blood.

In this light, Marczak's film turns out to have a completely coincidental yet nevertheless fitting companion piece in theaters right now: Terrence Malick's Song to Song, which chronicles a similar phase in young - adulthood through a love triangle of its own, albeit set in the gritty indie - music scene of Austin, Texas, rather than in the big - city glamour of Warsaw, Poland.

This figure was the result of such senseless cost overruns as Wiseau's choice to buy rather than rent his cameras and lighting equipment and to shoot every scene both on 35 mm film and digital video, not to mention his propensity for showing up hours late to his own set every day.

Well, Boyle set out to make this particular film rather than a gritty social panorama along the lines of Brazilian favela drama City of God.

In some ways, including the presence of Chevy Chase, this is better, as it's focused a bit more on anecdotes about the film rather than the on - set drama.

Prometheus Starring Noomi Rapace, Michael Fassbender and Charlize Theron Directed by Ridley Scott (Alien) Rated R for sci - fi violence including some intense images, and brief language When Ridley Scott set out to make Prometheus, he was very adamant that this was not a prequel to his 1979 film Alien but rather more of a connected film.

Yes, the plot is cursory at best, and essentially exists only so the film can namecheck carefully placed apps in a series of sponsored, rather pointless extended set pieces.

If you're old enough to remember the Goodies, then this film is basically a more extreme version of Kitten Kong, set in Chicago rather than London.

Part of the success of the performances in the film owes greatly to Hooper's decision to record the actors singing on set, rather than have them lip - sync to pre-recorded tracks, the usual method for filming musicals.

Few know that the film is actually a loose adaptation of a book by Roderick Thorp from the late 1970s, although the joys of the film lie mostly in the well - developed set - up and characterizations, not to mention great action sequences, rather than the rather straightforward terrorist plot at the heart of the film.

Earlier this year, Joel Edgerton addressed the bad reviews of his Netflix original movie Bright, arguing that David Ayer's L.A. - set racial allegory — in which he played a soulful Orc trying to retrieve a magic wand — needed to be «reviewed by public opinion rather than through the highbrow prism of film criticism.»

Rather than simply being a retread of the film's story, the Play Set features its own story that takes place in the wildly imaginative world of Riley's mind.

Inevitably, Prometheus had to look beyond the rather cosy set - up of the first film, which was effectively a turbocharged update of the haunted - house theme in which the haunting was being done by something nobody had previously been able to imagine.

If I were pressed to describe the thematic intention of this seemingly random, vulgar comedy, it would be to make the opposite of the «inspirational teacher movie» like Stand and Deliver, Lean On Me, and Dangerous Minds, by setting the film, not in the inner city, but in the suburbs, and making the teacher a morally challenged person rather than one of great character.

Despite returning to its roots, this fifth entry doesn't feel like a copy of the other films but rather a whole new adventure that sets up what will hopefully become a new set of stories.

A Wrinkle in Time sets its sights on being more of a coming - of - age film folded into a sci - fi / fantasy adventure rather than a film hellbent on exploring more of the world and darkness beyond its own singular mission.

Paul Schrader's (or rather, not - Schrader's) new film Dying of the Light, set to open this December, is currently embroiled in one of the oddest bits of director / producer spats we've seen in a while.

Arriving in December, del Toro revealed a couple months ago that the film will be rated R, but will not be a straight up horror film, but rather a «bit of a fairy tale» and a «fable set in early -LSB-...]

sets its sights on being more of a coming - of - age film folded into a sci - fi / fantasy adventure rather than a film hellbent on exploring more of the world and darkness beyond its own singular mission.

The Polar Express is a worthwhile view, although this is one of those films that probably stands up better when watching it on a big screen with quality surround sound rather than a small monaural television set.

Much of the story of Ain't Them Bodies Saints is inferred from Bradford Young's well composed cinematography rather than the script, as much of the dialogue's intelligibility is rendered moot by Affleck's mumbling drawl, not uncommon in films set in Texas.