Sentences with phrase «really moving films»

Con it can be slow some times If you like coming age films, click flicks or really moving films, you should give this a try.

It's really moving film music, the kind of stuff that I imagine would have accompanied Jerry Bruckheimer films if the producer had never met Hans Zimmer.

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.

«The film is broken down and all that, and the in - person thing is more about to see, well, is this guy really this fast, or is this guy really gonna move this way, or is he really shaped this way?

But whilst the question of how to coordinate behavioural change is important, I did come out of the film feeling that we are not really going to get anywhere quickly enough if those who are moved by the issue do not themselves take sizeable steps, as individuals.

It really works the momentum of this film moves quick and only mildly slow when it needs to explain science to the people who don't understand much about it.

Fans may not like the CGI zombies, but unlike the video game creatures in I am Legend (2007), these are more filmed actor - CGI tweaked hybrids; their believability is really dependent on how much viewers will accept the virus as a fast - moving bug which immediately transforms a host into a rabid sprinter with super-strength (not unlike 28 Days Later).

The film is too busy moving along to the next tedious plot element to give Superman any time to shine, or really any time to do much of anything.

Essentially the problem is that the film clumsily moves between very broad (and mostly unfunny) comedy and really earnest emotional pleas for change without any consistency.

Being De Palma, the film is shot well, with trademark camera moves, angles, and expressive lighting, but that's really the only highlight.

What we end up with is a film of great potential which never really gets into gear, and whose ideas are skimmed over for the sake of moving forward.

The actors are really just playing themselves as far as their line delivery goes and the plot really doesn't go anywhere new, especially since the opening scene of the film rewinds through the entire film, showing every action beat, which was a really bizarre move.

From the series of pranks and stunts that are done to ruin Shack professionally throguh the scenes of A No. 1 trying to educate Cigaret all the way to the big final confrontation aboard the moving train, this film is fileld with energy, tension, and the world being presented really comes alive in all of its unsavory detail.

Rumor has it that Rob Reiner used to make really funny, often moving films.

Could be because I had super low expectations but as a sci - fi action film and a retread it moves really well, doesn't slow down, and keeps the action escalating.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

They weren't catching the wave of excitement Selma's mere presence brought to audiences — not because history was about to be made with the first black female director in the Oscar race, but because Selma was such a very good film, such a moving film, such a sensual, breathtaking, wholly original work that no one really knew what to do with it.

I think that this move really benefited the film since you are watching it on a 4:3 scale and then it is blown up to 2.40:1 and turned into glorious HD color.

Norwegian filmmaker Anne Sewitsky's moving, funny, and devastating «Homesick» — one of the best films at this year's Sundance Film Festival — opens in a psychiatrist's office, where Charlotte (the terrific Ine Marie Wilmann) describes her mother as saying she wants to be there, but never really wanting to be there.

It's the only really moving thing in the whole film.

by Walter Chaw If Carl Franklin were going to reunite with Denzel Washington, I wish he would've just made a follow - up to their exceptional adaptation of Walter Mosley's Devil in a Blue Dress — and while we're taking a stroll through fantasyland, I really wish that Franklin would make another film the equal of his astonishing One False Move.

It really is a beautiful, tender, moving film, which is exactly what I'm quoted saying in the trailer (from this review).

The enormous cast really aids the slow moving film with life.

Again, we've had an embarrassment of riches with film in 2012, so it'll really have to wow in order to move to the front of the pack.

Several theories about the film's origins of myth are thrown out: it follows Joseph Campbell's hero cycle (not really) and it follows Dante's Inferno (sort of, in that they start out at a party and move up to the bowels of Hell — alas, the argument that they are almost separated into those who deserve to die and those who do not doesn't support the data) before professor of religion (at Pepperdine University, a fact unmentioned in this featurette) Christopher Heard throws out that it's an adaptation of the Christ myth.

But just as this set introduces us to what could be a riveting story, even the film's seemingly mundane details that might have given character and depth, such as Joe's quip about so - called T.K.'s (telekinetics) being «assholes who think they're blowin» your mind floating quarters,» are really only expository moments designed to move the plot forward.

«The ending was really moving to me in a way that really helped me see this whole thing from a different perspective,» he said of the film, whose distributor, A24, recently put up a Disaster Artist billboard above Highland near where The Room one once loomed.

Speaking of failures, while the uncompromising nature in portraying brutality serves the oppressive mood well, they do tease the specter of exploitation when the film, as if aware of its two - plus hours of life, really takes it time before moving on to the next scene (or, gulp, to the next part of the punishment).

Supporting Actor (I really try, but don't always succeed, to focus on the SMALLER parts that blow me away): Christina Bale — The Fighter — amazingly appealing and interesting as a real scum bag — he makes him fascinating, understandable, and sympathetic AND he does so with flair and power Andrew Garfield — Never Let Me Go — I know, I'm supposed to prefer him in Social Network, but I didn't — in fact, he sort of didn't do it for me in that film but in Never Let Me Go he was moving and had a lost, hopeless but yearning aura about him that I found very haunting Mark Ruffalo — Kids Are All Right — very joyous, very charming, very sexy, and totally believable — he made me want to sleep with him and then have a nice long heart to heart with him too!

In a rather perplexing but nevertheless moving way, the film feels detached (in an almost religious sense, one might say) from the specific events within the film, never really delving deep into the particular emotions and minds of the characters.

I found quite a few moments in this film really moving, but my favorite was when Everdeen first visits District 8, and talks to the injured in the hospital.

Joining the Screen Actor's Guild after appearing in the 1986 film, F / X, Bassett moved to Los Angeles in the late 1980s and her career really stated to take off.

With great performances by Paul Dano as the young Wilson and John Cusack as the aged version, the film flawlessly moves back and forth between decades without losing its audience and it really makes you feel like you are there watching the creation of the legendary music come out of his brain.

These are the few films that really moved me to attend the cinema, in a year of a scarcity of really great films available.

Butler: «I «ve done a lot of action films, but we really had an amazing stunt team on this one, former Navy SEALS and martial arts experts, so I was constantly practicing my moves and loading guns.

But McPherson isn't really interested in making a horror film; he's merely using the genre's tropes as part of an adult romance about accepting tragedy and moving on.

The film opens with interview footage from real survivors of the Dust Bowl, passing them off as survivors of the film's depiction of Earth as a dusty, food - starved nightmare — a ballsy move to be sure, but I really dug it.

And since this was our first proper glimpse at a project that could have been really good or really really bad, it deserves props for moving «Creed» out of the category of «films we're sort of wary of» (a «Rocky» spin - off?

Jon's music sets the mood for the whole film and really makes the film move well.

While it is a tragic story at the end, which moved me to tears I'll admit, there is such a strong inspirational backbone to the film, that it really is motivating to watch.

This film has so many moving parts, spending little to no time perfecting any of them (or adequate - ing any of them, really), that it feels more like a series of skits left on the cutting room floor with no connective tissue to keep the momentum up or drive interest in any of its characters, the outtakes of a better and more accomplished film.

Even though it's being reported that Logan's script was in really bad shape, apparently they've fixed it up enough now to move forward with casting because there's a rumor out there that Sam Mendes has his eye on Léa Seydoux (Blue is the Warmest Color) to star opposite Daniel Craig in the film.

A really great and moving film.

For me it really was the heart of the film and was really moving.

This is touching and thought provoking film that really moved me.

It's in a pair of Christophe Honoré films that he really announced himself: in «Love Songs» (which showed off his musical chops, too) and «La Belle Personne,» he played two different but equally moving riffs of teenage heartache; it'll be interesting to see how he matures.

The film places an emphasis on blood over flesh when it comes to Jennifer (and Needy as well, in a childhood flashback of the girls featuring either a kissing - a-cut-to-make-it-better or forming - a-blood-bond-via-quick-blood-sucking you'll - have - to - decide move by Needy on Jennifer's cut palm which may or may not form a psychic connection between the girls, you'll have to decide on that, too), which in turn draws one away from demonic connections towards vampiric ones, which sets Cody against Whedon; a battle Cody can't really hope to win.

In terms of art that really inspired me and changed my thinking, however, that would have to be Andy Warhol's film Chelsea Girls (1966), which I saw shortly after I first moved to New York.

The timing of this film is really satisfying, because although it moves slowly and the imagery is subtle, it is constantly changing.

It is the cleverly used archive footage that really fascinates — though not nearly so effectively as similar material did in John Amkomfrah's moving film about the social thinker Stuart Hall, showing at the current Liverpool Biennial.