Sentences with phrase «real point of the film»

Well, they are right in that regard, which seems to be the real point of the film in the end, as these are people who live from day to day without much to look forward to except to go to work and drink all night, then do it all again the next day.

Not exact matches

I'm not sure the film even needs such a premise to be effective, (in fact, it may distract from the main point a bit... and I hate to think there are people who need it to be reversed in order to empathize), for what really moved me was its depiction of bullying, which is based on real reports from LGBT kids.

And when Keith Smart had finished scoring 12 of his team's last 15 points, including the winning 16 - foot jump shot from the left side with five seconds remaining under massive pressure, most of Indiana didn't even care that the film Hoosiers» Dennis Hopper hadn't won the Oscar for best supporting actor just so long as this real - life Hoosier named Smart had.

As the film industry learnt, once you give people a better service the amount of piracy drops, sure you will never get to the point of absolute zero but you can make a real difference.

Nominated for awards at both the Pan African Film Festival, Bronzelens Film Festivals, and others, it's no wonder TV One, the network dedicated to delivering real life and entertainment programming from the African American point of view, has decided to acquire and air this historical film on Saturday, January 9, 2016.

But it still filmed here, as did other productions — proving Nixon's point to the Buffalo News last month: «I don't think there's any real truth that that enormous expenditure of money is making a significant enough difference in production to justify it.»

For the most part, the film just motors along without any real high points, while Wilde's derogatory views on women seems even more dated and out - of - place, rather than being particularly funny.

Ironically, it comes with a few moments of documentary footage of the real - life hostages returning home — the most human and touching point in the film.

Of course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterOf course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterof New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopterof all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopters.

The final of the films is the real low point of the series but its hard to blame the film makers, the budget was at a all time low here and the studio wanted a more lite family film here.

Brian De Palma demonstrates the drawbacks of a film - school education by overexploiting every cornball trick of style in the book: slow motion, split screen long takes, and soft focus abound, all to no real point... He's an overachiever — which might not make for good movies, but at least he's seldom dull.

For my part, I missed the sense of real pathos the trio managed in Shaun of the Dead — even the new film's father / son dynamic seems played more for the gag Point Break connection than for any real emotion.

In the hands of many other writers, the titular, self - proclaimed Lady Bird — real name Christine McPherson played by renowned Irish actress Saoirse Ronan — would come across as whiny, entitled, and unlikable to the point where the entire film comes crumbling down.

While there's good chemistry from Knotts and Jones, there is a real excess of race scenes, the weak point of the first film, which here are not as original and are even less exciting.

The dissection of a real life legal case from every possible point of view may be the main subject from Barbet Schroeder's «Reversal of Fortune» but the heart of the film unquestionably resides in one of the most amazing acting performances in the history of cinema: Jeremy Iron's portrayal of Claus Von Bulow

The real question of currency is whether a film so openly critical of our military can be made in our current wartime environment of flag - waving and chest - pounding and, more to the point, whether the timing of this film's release suggests the belief that A Glimpse of Hell can now be taken as a patriotic film rather than a paranoid one.

The Spierig Brothers («Daybreakers») mesmerizing film Predestination postulates that it is real, but that is only the starting point of a film that challenges us at every...

So while Vernon, Florida has become something of a Medium Cool for a new generation of film brats (All the Real Girls director David Gordon Green cites the work as one of his all - timers), The Thin Blue Line has become the moment that many point to as the definitive modern reintroduction to the debate about the matter of degrees that separates fiction from non-fiction cinema.

The only real low point is when an aging Lee Meredith is asked to recreate her «sock it to»em» dance side - by - side with her young self, obliges, and then tosses in a little of the eurotrash porno accent she created for the film.

A tough - talking priest (Bryan F. O'Byrne) lambastes him at one point for a choice that Frankie has concerning a paralyzed friend, but because the film feints and dodges at moments of real crisis, the fact that a lot of Catholics were polarized by their clergy this last election over issues of stem - cell research is never broached.

Sorkin - y to the core, their dynamic is one of the film's real plus points: more so than Molly's vexed relationship with her dad (Kevin Costner), which clogs up the works quite badly, and adds a whole half - hour onto the running time it didn't particularly need.

I still have at this point only heard bits of the real Wiseau speaking, and that's during the end credits of the movie, when they show the side - by - side scenes of the original film and The Disaster Artist's version.

Niccol, who up to this point has earned a good reputation for exploring themes of reality vs. fantasy, takes a story wholly rooted in real - world politics based on actual people and events and makes his least believable film to date.

Although the inky black - and - white photography recalls Gordon Willis's work in Manhattan, the film is much more in line with the modest tragicomedies of the French New Wave, with Frances figured as a better educated but just as coarse American cousin to Truffaut's Antoine Doinel, apologizing at one point for not being much of a «real person» just yet.

«Big» is such a classic piece of film and it also was a real turning point for Tom Hanks as an actor.

It's the only time we ever get to see things from Myers» point of view as we then spend the rest of the film trying to evade the unrelenting nature of him.Carpenter has a knack for delivering genuine chills but his real skill is in making the ordinary, «safer» moments just as scary.

If the picture had any courage whatsoever, when Sam possesses her at one point to share one last kiss with his mortal beloved, we would have seen Whoopi planting a big wet one on Demi Moore — but illustrative of the film's basic uselessness are the lengths to which it goes to avoid any real honesty in its various representations.

The problem with the film isn't in its placement in the realm of science fiction films as much as its placement in the real world, where the plot necessitates a triple - jump for every leap in logic to get us from point A to Z. For instance, the film pushes forward the notion that scientists don't give any thought or research whatsoever to the ramifications of their inventions before unleashing them on the world at large.

Ryan Reynolds, Samuel L. Jackson, Elodie Yung, Gary Oldman — this no - frills actioner is a real who's who of genre film and it gets major points for putting Reynolds and Jackson together.

This is a well - written, beautifully directed film that fills a real world with people — not merely characters — who each have distinct points of view and approach life and / or death with very different perspectives.

While Cardinals features some very solid performance from the cast, particularly Sheila McCarthy, the story chooses to end at a point where there is no real sense of closure, which brought my opinion of the film down a notch.

The real trick of the film, though, is the way Legrand subtly shifts perspective from this outsider point - of - view of Antoine to a more subjective one, first by focusing attention on Julien's interactions with his father, then by letting us see him through Miriam's un-blinkered eyes.

Nevertheless, the film affixes yet another horrific history to its wicked, wooden adversary (the eye - roller of a tagline reads «You don't know the real story,» as if that's the viewer's fault at this point), positing that the doll originally belonged to the daughter of a kindly toymaker (Anthony LaPaglia) and his wife (Miranda Otto), who reside in a remote California farmhouse.

At one point in the film, Jackie wonders aloud, «I lost track somewhere of what was real and what was performance.»

for based on true crime films which drive home the point that our real world monsters are scarier than any work of fiction.

Hounds of Love invites comparison to The Snowtown Murders and Henry: Portrait of a Serial Killer for based on true crime films which drive home the point that our real world monsters are scarier than any work of fiction.

The scene where he films his «serious scene» is the high point of the film's comedic moments, and the comedic timing between he and Fiennes had me laughing real hard.

The brilliance in both films is certainly due to Savides u» nique mise - en - scene and naturalistic point of view, perhaps so real and genuine, it gave «Elephant» a chilling tone to its brutal aftermath and in «Gerry» captured the desperation and isolation of the forsaken.

There are a lot of technical observations — pointing out real penguins vs. CGI, different types of fake snow, discussing the digital video cameras used, recalling filming weather conditions and times — that most viewers won't care to hear about, at least not for 94 minutes.

I found her to be a 2 dimensional creation to be honest and as for the film overall Im fighting to find any sort of message or real point to any of it.

Richard Linklater's portrait of an American family over the course of 12 years — filmed so that we watch them all age in real time — could have scored points simply for being a cool idea.

Even though an unnecessary narrator reminds in what is now the 4,687 th film to use the line (unofficially) that, «Life is a tale told by an idiot filled with sound and fury and signifying nothing,» and reiterates this point later on that this film is just such a meaningless tale, that hardly seems an excuse for two - hour examination of relationships to offer us little with regards to real comment.

While the character and the film take a wrongheaded turn, Depp's performance remains consistently strong though he is also at the mercy of some unconvincing age makeup (a point driven further home by the image of the real - life Jung that closes the film).

In its 36 minutes duration, the film presents footage of one of the first nuclear tests conducted at Bikini Atoll in 1946; Conner shows the underwater explosion from fifteen different angles, in extreme slow motion — at some points one second of real time becomes three minutes of screen time.

His films and installations take as their starting point the irreducible, necessary conditions of cinema: projected light and real, three - dimensional space.

Here's what they will tell us: for abstract painting look elsewhere (narrative rules in this biennial); fashion — meets — art doesn't rate; LA, a city whose artistic vitality the curators see as ascendant, does; slipshod facture's out; the real world's not, just unwelcome in unmediated, text — based versions; performance figures in the planning; and film and video will «be selected from the point of view of two curators of contemporary art.»

Westphalia suggests that even when it comes to making sense of true events in real places, landscape on film becomes synonymous with the artist's point of view.

In those films, I wanted to make sure that capturing these real points of view also benefited science.