Sentences with phrase «real point of the movie»

Not exact matches

Instead of showing all of the special effects and revealing major plot points, the video was more of a teaser that focused on the process behind the making of the movie — emphasizing the real sets and practical effects, and de-emphasizing the CGI effects which were widely criticized as removing the humanity and realism of the prequels.

i do nt have words to explain how good the visual quality of the game is, i mean from the moment game starts everything seem real and as if ur are playin a movie... gameplay mechanics are tigher and interchange b / w first person and third person is smooth... also the drebin points improves longevity of the game... but all i can say about the game is from the moment its starts and ends... u on every occasion u praises KOJIMA for his fantastic work..

i do nt have words to explain how good the visual quality of the game is, i mean from the moment game starts everything seem real and as if ur are playin a movie... gameplay mechanics are tigher and interchange b / w first person and third person is smooth... also the drebin points improves longevity of the game... but all i can say about the game is from the moment its starts and ends... u on

The whole tale is basically a flashback told from a point at the end of the movie, so we know that Mike survives everything, hence there is no real tension or engagement.

The real - life Harding's reputation precedes her in the court of public opinion, which could be a sticking point for certain audience members, but for those willing, the movie is a treat.

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.

When the long end credit sequence features family snaps of the real men who died, soundtracked to Peter Gabriel's version of «Heroes», it's clear that at some point Berg switched from filmmaking to hagiography, and that he's much better at making movies than he is at making saints.

One way to look at this conscientiously mature, strategically magic - realist movie is as its creators» most ambitious joint effort to date, yet it's actually this same, superficial «daring» that points up their work's underlying lack of real imagination.

Given real struggles to convey, Quaid delivers some of his finest acting in the movie's closing scenes, his furrowed brow pointing to a pair of focused eyes that say a lot more than the script's rampant issue - based dialogue.

The narration feels downright scoldy at times, lecturing the audience on how the real message of McMahon's story is not the general's own failings but the unwinnability of the war in Afghanistan — a point that would be better taken if most of the movie weren't devoted to establishing the general as a deluded doofus.

The actual idea behind Tusk is also one of its strongest points and Smith takes great joy in laying out this gruesome and bizarre scenario that sounds like it couldn't possibly be a real movie.

It's one of my favorite scenes in the movie — so crazy, its funny, but it's also a real low point for the character.

One way of dealing with it would be to have the characters entering the real world, although Chris McKay — animation co-director of The LEGO Movie and director of The LEGO Batman Movie — has previously said it's going to be «this big musical and space action movie», so at this point it's anyone's guess as to what the plot might enMovie and director of The LEGO Batman Movie — has previously said it's going to be «this big musical and space action movie», so at this point it's anyone's guess as to what the plot might enMovie — has previously said it's going to be «this big musical and space action movie», so at this point it's anyone's guess as to what the plot might enmovie», so at this point it's anyone's guess as to what the plot might entail.

Mickey's immense popularity is also touched on, as he describes how often times, a Mickey short playing in front of a movie would be the real drawing point for audiences to go to the cinema.

More to the point, what Spielberg probably doesn't trust is the viewer's intelligence and humanity, meaning the real question is whether he thinks the kind of people who would go to a movie about Abraham Lincoln are morons.

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.

When they do get to the topic of the movie, he has to deal with the barely concealed racism of questions about how many white people are killed in this movie about a uprising against slave owners (His response, pointing out that the anger about the depiction of killing in a movie is misguided compared to real - world killing, is spot - on).

Although the ultimate point of the movie is to appreciate what little we're actually given (and also to value the real meaning of being human), it also leaves little room for hope.

Naishuller makes sure we see those moments, because that's the real point of Hardcore Henry, an ugly and empty - headed excuse for a gimmick disguised as a movie.

At this point, HBO's real - life - scandal - based TV movies — its Emmy - bait character studies of influence and notoriety, its Profiles In Hubris — are something like an annual tradition.

This is the point, of course — Luna's portrayal is apparently a spot - on impression of the real - life Lira — but it comes at the cost of derailing whatever momentum the movie may have been building up to that point.

This is less about something undeserving getting in over it, as I've only seen Ida in the category, and we all know at this point how I feel about it, but I really did love Force Majeure, and it's better than many (many) movies that were nominated in the «real» categories, so it's sad that it couldn't find a way into the only category where it had any sort of chance.

This movie's production is a rich, mostly - untapped mine and the first real excavator is going to have a hell of a story on his or her hands, one that will probably take the form of a contemporary Rashomon — although at this point, I'd settle for an interview with Richard Edlund about the special effects.

Manfredo's books intersperse the mundane details of daily life amid the main storyline, much like real life or an ongoing television series, as opposed to the relentless on - point pacing of a two - hour movie.

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- Cross-play support for VR & Non-VR platforms on PS4, Steam, and the Oculus Store - 50 + hours of single player campaign gameplay - Fully customizable skills and tech trees - Crafting system that allows the creation of unique weapons and items - A Companion system where you raise and customize your own pets to fight along your side - Co-op multiplayer raids that allow 3 fellow hunters to fight against EPIC bosses - Co-op campaigns to challenge the most impossible campaigns together with a friend - An auction house system to sell, buy, and trade your items in real - time - Multiple point of views - Interactive movies for each character

Anyway, what kind of deep story did you expect from a movie based on a game whose only real plot point is, «Your princess is in another castle»?