Sentences with phrase «right set of films»

You hope that one day it all comes through in the right set of films.

Not exact matches

«What an audience expects of a contemporary Western is that it will either largely conform to the classic pattern of extolling the heroism of the cowboy, often a lawman cowboy, who has to defend the right in a wild setting, or, that the film will seek to undermine this pattern by means comedic or serious.

Lee Stanley, right, and his son, Shane, left, with Dwayne «The Rock» Johnson on the set of their 2006 film, «Gridiron Gang.»

Although he normally does 3 x 25 reps, he increases this to 5 sets of 75 reps right before filming a movie.

None of that is right in the foreground of the film's latest trailer, which doesn't mean that it isn't terrifying: The film's intimate title and POV comes The New Scariest Thing You Didn't Know About «The Silence Of The Lambs» The costume designer shares a new on - set story about Anthony Hopkinof that is right in the foreground of the film's latest trailer, which doesn't mean that it isn't terrifying: The film's intimate title and POV comes The New Scariest Thing You Didn't Know About «The Silence Of The Lambs» The costume designer shares a new on - set story about Anthony Hopkinof the film's latest trailer, which doesn't mean that it isn't terrifying: The film's intimate title and POV comes The New Scariest Thing You Didn't Know About «The Silence Of The Lambs» The costume designer shares a new on - set story about Anthony HopkinOf The Lambs» The costume designer shares a new on - set story about Anthony Hopkins.

As for this film: the ethical dilemmas that crop up are brushed over and done away with, and of course, all must be set right by the end, but in all The Change - Up is a fun, stupid movie - and I mean that as a compliment.

The premise is right up there with any Charlie Kaufman film (Being John Malkovich, Eternal Sunshine of the Spotless Mind, Scynecdoche New York), containing so much juicy potential for interpersonal revelations, but the entire set up is thrown away in the third act for a «thriller» movie that came out of nowhere and does nothing but add a period in the middle of the sentence.

It may not rise to the level of such a classic, but tonally it's reminiscent of Young Frankenstein, a work that at once parodied the Shelley story in broad comic terms while also being supremely in awe of the James Whale film, right down to using original set pieces and compositions to mirror without any form of irony the source material.

The film's mix of romance and reading matter is seductive in its own right, providing comfy book - lined settings and people who are what they read and write.

But when it emerged that «Monster House» creator Gil Kenan was set to take charge, The prospects of «Poltergeist» improved immeasurably: his films have precisely the right blend of spooky thrills, oddball invention and emotional heft to suit this story of a young girl abducted by vengeful ghosts.

Set in 1959, the period piece directly deals with the integration of suburbs in the era of the civil rights movement, although whether or not the film deals with it well is up for you to decide.

There is nothing conspicuously revolutionary about the «The Kids Are All Right», a sleek, smart, enormously entertaining film about a middle - aged lesbian couple (played by Annette Bening and Julianne Moore) whose teenage kids seek out the sperm donor who is their biological father (Mark Ruffalo); it has big - name actors, a sun - dappled Los Angeles setting, and the feel of a classic Hollywood comedy at its snappiest.

Per usual, there's a terrific set of extras in this package, including many items carried over from the previous Warner Bros. release of the film (when they held the rights to Morgan Creek's catalogue).

The 30 - year - old actor is set to helm the forthcoming film, based on the David Barclay Moore novel of the same name, after Endeavor Content acquired the big screen rights to the project - and he can't wait to get started behind the camera.

Similarly, the 2017 version presents the filming of a very special scene that appears right at the end of the main feature, showing the set up of the set.

She'll be back on the set for the Meryl Streep - starring second season of the HBO drama right after she finishes filming a role in Detective Pikachu.

The film is based on a true story, and the tone of the movie is set right away as we watch footage from a cell phone camera of the policy brutality against the real life Grant and his friends by the Bay Area Rapid Transit officers.

With a solid belief from film critics that she's bound for stardom and a growing filmography of award - winning indies and big - budget productions, Emmy's success will rest on her own talents when she sets out to prove everyone right.

That is to say, I am beholden to point out that films with all the right socially conscious credentials — such as «Mudbound,» set in the virulent Jim Crow South, or «Detroit,» about the police brutality - inspired riots in the summer of 1967 — can nevertheless be subpar as movies.

He also says he wants the new film to stand on its own, Aliens and The Dark Knight are fully satisfying films in their own right, but still continue a story and set up plenty of others to come.

isn't exactly a surprise from a young actor, but it's also not really the kind of sound bite that primes a viewer to expect critical rigor, and in placing it right at the head of their film, directors Louis Black and Karen Bernstein set an unfortunate precedent that's seldom surpassed.

Setting it evocatively in George W Bush's America of the early 2000s, hardly a rosy age for American politics or mass nostalgia, courts a kind of bittersweet nostalgia that's hitting many right in the tear ducts: soft but sober, it's a film about how bad things were before we knew how bad they were going to get.

This is more of an example than advice, but Frances McDormand did set the example of rehearsing, just running lines really quick with the other person you're going to do a scene with right before you film it just so that way you know how to play off the other person's reaction and it just makes everything easier.

«Three Christs» [CAA / Highland Film Group] Jon Avnet sets about the ambitious task of creating both a black comedy and a film that gets mental illness right.

Quentin Tarantino cast him in the relatively minor part of Billy Crash, but after Kurt Russell, who was to have played the right - hand - man of villain Calvin Candie (Leonardo DiCaprio), walked off the set, Tarantino, blown away by Goggins» work on the film, incorporated Russell's character into Crash, rather than recasting.

I don't know what to say, other than, if Disney has been making a lot of steps in the right direction overall as a company, with features like Moana, and Star Wars, and (finally if late to the table) Marvel films, then asking for every movie, including period films set in Europe, might be over-correcting the ship.

Nothing is set in stone for the DCEU slate right now outside of the three films that have already nabbed release dates and are in various stages of production: Aquaman, Shazam!

Instead of actually fulfilling the oh - my - God - this - is - awesome momentum set up right from the opening sequence (a delightful 5 minute short film in its own right) by hunkering down and making the story, ultimately, work, he relies almost entirely on smoke and mirrors: throwing whiz - bang - eveything - but - the - kitchen - sink - razzle - dazzle to keep us distracted.

From the bleak settings and synth - heavy soundtrack to the hyper - stylized violence and hints of body horror, this film would feel right at home next to Carpenter's early output like «Assault on Precinct 13» and «Halloween.»

Ferdia Walsh - Peelo (right) and Mark McKenna, stars of John Carney's «Sing Street,» perform an impromptu set after the premiere of their film at the Eccles Theater.

Directed by Tomas Alfredson, the Swedish filmmaker who so effectively brought a tangible sense of horror and pathos to the terrific vampire thriller Let the Right One In, the film is set in the early 1970s in an England still wrestling its way through the Cold War.

The original was a very near miss and surely these are the best films to remake: you can avoid unfavourable comparisons with the original and you can set right the mistakes of the past.

Writer - director Greta Gerwig, right, with actress Saoirse Ronan on the set of the coming - of - age film «Lady Bird.»

The film, which is set in the South after the Civil War, raised the ire of civil rights groups such as the NAACP, which decried «the impression it gives of an idyllic master - slave relationship, which is a distortion of the facts.»

The script from Mitchell Kapner (The Whole Nine Yards) and David Lindsay - Abaire (Rise of the Guardians) now appears to lift elements directly from Alice in Wonderland's playbook, right down to making its protagonist the «chosen one» whose arrival has been prophesied to bring peace to the film's fantastical setting.

Not only does Jai Courtney (star of films like Divergent and Die Hard 5) have an iconic character to live up to, he also has to recapture Reese's iconic 1980s look (duster jacket, Nike shoes, etc.), and as we found out while visiting the Terminator Genisys set, the performance was nowhere near the challenge as getting the costuming just right.

The differences between that film and this reinvention are obvious from the very start; rather than the original's scene - setting opening where Yul Brinner and Steve McQueen stand up for the rights of a deceased and unknown native American, instead we have a pantomime villain doling out ugly violence and not only that, the only native American onscreen murders a fleeing innocent woman in cold blood.

True reciprocation, though, would have seen Lau remake one of Scorsese's films, and an Asian - American version of Mean Streets set in»80s Chinatown (which is right next to Little Italy!)

Pitch: Picking up right where the first Kill Bill film leaves off, The Bride sets out to finish off the rest of the Deadly Viper Assassination Squad en route to Bill, the man who killed her.

1969 was an extraordinary year for filmmakers and filmmaking, at least as important as the fabled thoughts and felling about 1939 (also a great year), but this film was subtly groundbreaking and with the rollback of rights, et al, seems as fresh as ever despite being set in the near past.

In this light, Marczak's film turns out to have a completely coincidental yet nevertheless fitting companion piece in theaters right now: Terrence Malick's Song to Song, which chronicles a similar phase in young - adulthood through a love triangle of its own, albeit set in the gritty indie - music scene of Austin, Texas, rather than in the big - city glamour of Warsaw, Poland.

«Gravity» may just be the most gorgeous film set in space, one which optimizes the use of 3D without that fringe benefit self - consciously putting objects and people right up to your nose.

However, I will say that it only takes the first five minutes of the film for «Infinity War» to knock viewers right in the jaw and set the tone.

For past festivals Shteyrenberg has even shown he has a knack for pushing this writer to see the right movies to introduce at the festival, Ida was one («Ida» comes to South Florida in 35 mm; My review appears in «Reverse Shot»), and then there was the Israeli film Gett: The Trial of Viviane Amsalem (Gett: The Trial of Viviane Amsalem shows how to make a powerful, resonant drama using one setting — a film review).

The film's comparison points are clear — a little bit of «Scum,» a little bit of «A Prophet «-- but it sets itself apart by making Jack O'Connell «s central character Eric (who is «starred up,» prison slang for being a high - risk violent offender) a hair - trigger, emotionally fucked psychopath, and by putting him in the same wing as his father Neville (Ben Mendelsohn), a long - time lifer who's the right - hand man to prison kingpin Spencer (Peter Ferdinando).

The film whizzes along at a tremendous pace fuelled with a fizzy - pop - drinking - child's energy ripping through its riotous shenanigans and comedy capers with the right balance of set - ups, gags,one - liners and slapstick to keep things rollicking along

The film is set in Jackson, Mississippi, during the peak of the 1960's civil rights era.

Several of the scenes come off as particularly awkward — one such moment unfortunately coming right towards the end — and the film is so concerned about Hitch's personal life that we don't get to see him working much of his magic on the film set.

For the balance of the film, production designer Boris Levin's sets present a richly poignant view of working class mid-century Manhattan, right down to the graffiti - style end credits.

Set in 1970s Switzerland, the film tells the story of Nora, a young housewife and mother who campaigns publicly and pugnaciously for women's right to vote.