Sentences with phrase «regards to the film what»

So, in regards to the film what did you think of the casting of Lily (Collins), Jamie (Campbell Bower) and Robbie (Sheehan) in the film?

Not exact matches

I don't know if your ultimate storehouse of knowledge [the atheist film] re the Hebrew religion includes the answer to my next question, but can you tell us what opinion Moses and the prophets of the Old Testament had regarding Asherah, Baal, et al?

When Roberts was asked what stood out to her the most from the film regarding the lesson in civic engagement she responded «just basically let's do it — let's get involved — that's basically what they are all saying.»

It frustrates me sometimes when critics honor Goblet of Fire with such prestiege when in fact the true magic lies in what both Cuaron and Yates were able to achieve in regards to film artistic integrity.

At times this film can be fun to watch, but it tries so hard to deliver a message regarding the world being phony and pretentious and obsessed with physical beauty that it becomes what it is trying to parody.

In this regard, Aitken's film captures what it means to be on the road, where life is lived as a series of moments.

And while this film certainly isn't free from guilt in that regard, for the first time, we can imagine what it might have been like to know the man.

The movie does delve into its own philosophies — and, sure, sometimes pseudo-philosophies — regarding the ideas comedy and tragedy, but its main purpose is to be what every film strives to be: captivating.

Not much else has been released about Anna with regards to the film's plot or what characters the actors will play.

For one thing, the recent track record of these late summer dramas is decidedly mixed - while The Help indeed connected with Oscar, Lee Daniels» The Butler's summer box office went unrecognized by the Academy, and it is the latter film that Get On Up seems to resemble more, what with it being a biopic that attempts to tell the entire life story of its subject, which, as discussed in the previous installment in regards to Unbroken, is a questionable proposition with today's Academy.

The best parallel I can make to this is 1993's Contact with Josie Foster in that, that film also tried to showcase what it felt was a realistic scenario regarding aliens.

Given that I am a fan of Smith's and hold a few of his films in high regard, I was certainly happy to go along with seeing how this film turned out, but if I had no clue about what this film was, I am pretty certain I would have thought Tusk was a film made as some sort of dare.

While the trailer is undeniably creepy and good, it is remarkable how completely misleading it is in regards to what the film is actually about, suggesting (as many moviegoers at the time assumed) that Michael Myers would return to inflict more havoc in Haddonfield, albeit perhaps in a different mask, but of course that was not to be.

«The Revenge of Jennifer Hills: Remaking a Cult Icon» (16:22) gathers comments from cast and crew regarding the original film and what their involvement in this remake meant to them.

The internet calmly took this news in by immediately casting about for wild rumors regarding what this might mean for the second film — specifically, the idea that once it was made clear the Captain Marvel movie (coming out in between the two Avengers films) would feature the Skrulls (a race of green - skinned shape changers, for all you non-comic nerds), the fourth Avengers movie would turn its attention to a «secret invasion» storyline, starring said aliens.

Dunstan and Melton have both made it clear that they are listening to what the fans are asking for regarding the new film, so a strong surge of fan support behind Howarth may be just what it takes for him to get the job.

What's left in terms of a rooting interest purely lies in the film's ability to deliver on laughter and poignancy, but in this regard, The Oh in Ohio is a hit - and - miss affair.

I appreciated the effort of my friend to get me the information and of course, of his friend to extend his thoughts but what he ended up telling me was something that has become an all too familiar refrain these days with regard to film.

Certainly anyone who still regards print as the core (read: best - paying) part of their practice has reasons to fret, what with film studios having largely abandoned spending on print advertising and arts sections unlikely to ever regain the pages they've shed.

Next I wanted to see what all of the buzz was about in regard to a film called Made in Japan about a Japanese country singer named Tomi Fujiyama who dreams of returning to the Grand Ole Opry after performing there in 1964.

I didn't know what to expect walking into Faults, and what little preconceived notions I had regarding the film were immediately wiped away once the movie began.

I understand what filmmakers are saying in regards to the «middle» disappearing, where you have huge blockbuster superhero films and then movies that are extremely low - budget.

The creators of the film seek to do for the Coast Guard what Top Gun did for the Navy, and perhaps to impressionable young minds seeing this in their teenage years, it does manage to be successful in that regard.

With regards to my personal style as a director, I suspect I will have to wait for a second or third film to really know what that is.

• I'm curious to hear what your favorite film scores of the year because in this regard, I'm not sure I have any!

Kaluuya was asked in regards to the impact of Get Out, an indie horror film tackling racial issues: «What does telling this story mean to you?»

It's hard to believe that this is the same Hedges who helped adapt Nick Hornby's About a Boy into such a satisfying, authentic, life - affirming film and wrote the highly - regarded What's Eating Gilbert Grape and its source novel.

David Lynch's Mulholland Drive contends that the answer to the eternal struggle between what is real and what is fantasy comes in the form of a Keatsian confusion — it's the difference between Adam's dream and Eve rendered flesh, blurred in the mind of the creator and his audience.A film is a dream of the director made tangible, a conceit familiar from the fourth wall - breaking in Ingmar Bergman's Persona (banishing any mystery there might have been regarding the visual references to that film in Lynch's piece), and a movie's characters therefore become projections of its maker's sublimated longing (clarifying too the auteur's use of wardrobe and colour schemes from Hitchcock's meditation on objectification, Vertigo, as well as those of his first collaboration with inamorata Tippi Hedren, The Birds).

Those lucky enough to not have sat through the first two cartoonish films from a decade ago don't have the knowledge of what came before, therefore the expectations they may have regarding this film are unbiased.

About Elly is a superior film in both regards and I can't wait to see more of Farhadi's stuff if this is par for the course which is what I've heard it is

What You Need To Know: Michel Gondry «s films are generally regarded as surrealist and wacky, but this discounts the realism and community concerns found in documentaries and docu - dramas like «The Thorn In The Heart,» «The We And The I,» and even the second half of «Be Kind Rewind.»

This waterlogged film never really makes its case that it's the best possible vehicle with which to honor what is often regarded as the Coast Guard's greatest achievement.

However, conspiracy theorists will probably be rattled that this film doesn't entertain many of the well - known theories (save for Lee Harvey Oswald's mother claiming her son was framed) on what happened to these various players, and will especially be driven a bit nutty by some of the possible inaccuracies that have been pointed out regarding the chain of events.

But I'm glad this film pointed out what a prejudiced little arsewipe I had become with regards to any film incorporating the concept «teen slasher» into its armoury.

Even if Spotlight were still the presumed unstoppable behemoth for best picture it was two months ago, it seems obvious that the film's TV - procedural rhythms wouldn't stand a chance here given what a sensation - driven contest this category — which used to be regarded as the secret bellwether for best picture — has become.

In short, though you can see many of what will come to be regarded as the best films of the year here, there's little rhyme or reason to the programming.

For what it's worth as regards The Incredible Hulk, I'll restate the fact that I've never been one to hop on the anti - sequel / anti-remake bandwagon (I'd rather see more double - bills of films like Capote and Infamous than «original» films lacking in soul or depth), and despite his many offenses (most of them relative in my book), nor will I take part in the seemingly mandatory pastime of kicking M. Night Shyamalan when he's down.

A period piece set in 17th Century colonial America, early word on the film raved about the eerie sense of dread that permeated the work, the beautiful attention to detail regarding the period setting and Eggers» refusal to pull any punches with what promises to be one of the more disturbing films of 2016.

But ultimately it mires the film in so many shades of gray in this regard that it's difficult to become quite as invested in the personal stakes for Kate as we should, and hard to even know exactly what the stakes are.

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 going through Sundance Institute's different application stages I had to do a lot of meditating regarding what my film is about.

What is most striking about the film, and probably why it works to great success, is the feeling of authenticity in regard to the times and music of its era.

While the final girl has provided rich fodder for film theorists, especially regarding her complex reprocessing of gender mores, what often lingers unrecognised is how the final girl improvises new technologies in the interests of survival: the only place in Western culture where there still persist very ancient ideas about technology as a weapon of the weak, and the means of prevailing when defeat appears inevitable — a tendency pushed to its speculative extreme in The Last Girl Scout.

Earlier this year, the ABA Journal asked 12 prominent lawyers who teach film or are connected to the business to choose what they regard as the best movies ever made about lawyers and the law.