Sentences with phrase «real issue with the film»

My only real issues with the film came towards the middle half and the very end.

In fact, we have to say that our main (only) real issue with the film was that we wanted more: Jodorowsky's presence is like a gently hallucinogenic and instantly addicting drug, and 90 minutes of it just isn't enough.

Not exact matches

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

The film deals with very real (and socially relevant) issues of gun violence in the United States, but more often than not skirts around its questionable morals in order to transport Willis back to the 1980s with catchy one - liners as he takes down the next faceless villain.

As a piece of fiction it does raise issues with real world repercussions, and the film certainly made me think.

Of course but more than this these films deal with real life issues such as superficiality, depression, paranoia, schizophrenia.

Writer / director Matt Ruskin, who worked closely to earn the trust of the real Colin Warner, imbues this film with a gifted touch and emotional authenticity to shed light on a painful personal story — and on a horrifying systemic issue.

My only real issue with the BD treatment of the second and third films is that, similar to Warner's recent Blu - ray version of Forbidden Planet, shots containing multiple VFX elements have been severely noise - reduced to counteract the degenerative effects of optical compositing.

There are a few nitpick - y issues I do have with the screenplay by Craig Borten (who interviewed the real Woodroof in 1992) and Melisa Wallack (Meet Bill), though none are substantive enough to break the film in any way.

As in the previous films, Nolan and his co-writer, his brother Jonathan, draw on real - world issues to spice up the fantasy, and with dubious results: with its rampaging Occupy Gotham anarchists, philanthropic billionaires and decent cops who ignore due process, this is so staunchly right - wing it'll thrill all those Fox News anchors outraged by «The Muppets».

After film reviewer Jan Wahl took issue with Tarantino's assertion that kids older than 12 would enjoy the violent «Kill Bill,» the director told Wahl that she needed to separate movies from the real world.

With my extreme love for this film, directed by Jonathan Dayton and Valerie Faris, the only real issue I could find with it was that the middle seemed slightly drawn With my extreme love for this film, directed by Jonathan Dayton and Valerie Faris, the only real issue I could find with it was that the middle seemed slightly drawn with it was that the middle seemed slightly drawn out.

When I spoke with Haggis and Phillippe on April 29, 2005, the serious issues brought up in the film were certainly prominent, but that didn't stop either of them from bringing some real levity to the mix.

It's a ghost story that's tender rather than frightening and a family film that levels with its audience, refusing to pander and getting to the heart of very real childhood issues.

Science fiction is at its best when it takes a crazy concept and applies it to real world issues, and that's exactly what writer director Yoshio Kato does with 3FT Ball and Souls, a teeny tiny Japanese film filled with big ideas and even bigger heart.

Gary Oldman makes the iconic role of George Smiley his own, but he's about the only thing in this bleak film that I have no real issue with.

My issues with «Beloved» are Winfrey who is simply not up to the material as the rest of them are — with a real actress in her role of Sethe, Angela Bassett perhaps, you have a masterpiece, a film that makes demands of its audiences are dares them to take a journey where ghosts and real and the dead come back — I loved what Demme did, and the actors around Winfrey are quite extraordinary... she is the films» chief and fatal weakness.

Well, the wait is over now, with Hidalgo, a slightly ridiculous film starring Viggo Mortensen about a horse race across Arabia in the late nineteenth century, apparently based on a true story (and Touchstone Pictures has also just issued a press release confirming that Father Christmas is real after all).

Issues surrounding the real - life 1970 plane crash that killed most of the Marshall University football team are explored in only the most cliched manner in this disappointing film, which is filled with even more overwrought dialogue and simplistic messages than the typical sports film.

The real Jada Pinkett was the first but probably won't be the last person portrayed in the film to take issue with its dramatic license.

During the film's climax, which sees Wiley taking on the vaunted Harvard debate team (in real life, this never happened — they did battle wits with USC however), the content of the arguments, while discussing weighty issues, barely passes for interesting public discourse.

There is a lot of self - pity being thrown around in the film, and for anyone dealing with similar issues or circumstance; I think this beautiful script could be a real cathartic process.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.