Sentences with phrase «scifi-less first third of the film»

In the first third of the film, Jacob's bank crashes spectacularly, triggering the suicide of its founder - and Jacob's mentor - Lou Zabel (Frank Langella).

After the first third of the film, the rest drags, some of the punch lines flop and dramatic moments that attempt to diversify the film's humor aren't emotional.

As the movie clocks in at almost three hours, it surprisingly takes most of the first third of the film for the group to even leave the hobbit house.

The first third of the film shows them in action, with each character attempting to do anything that's possible to earn some money.

And pacing problems aside, the scifi-less first third of the film was necessary setup for a Cornetto Trilogy staple: That scene that comes along and punches you right in your tear ducts.

The first third of the film establishes the world inside this place and sees him getting acquainted with a few other eccentrics, including the Wilders, a family whose station in life seems to be being stuck on the bottom floor.

Ordinarily I would have thought that idea to be relatively distracting from the plot but in this case it really works and actually enhances the experience, when you consider how the first third of the film is written and performed.

Most of this comes in the first third of the film, the live - action part which is certainly the most coherent and as a result perhaps the most enjoyable.

The first third of the film juxtaposes a musical celebration inside the Fox Theater with the mounting chaos on the streets.

The first third of the film makes a point of fixating upon that idea, of how trust is so hard to come by when you're a professional spy.

Mean Dog Blues is rather predictable, as you can guess the remainder of the plot and climax forming long before the first third of the film has passed.

Made in 1992 and shown at the Sundance Film Festival in 1993, this black & white 16 mm short plays out similarly to the first third of the film it inspires, with the bookstore heist described but not seen.

Paul Harris Boardman and Scott Derrickson's script seems to do quite a bit well — for the first third of the film, the horrific nature of the crimes has the film sympathizing with the police officers (Robert Baker in particular), only to later reveal incompetence and corruption on these characters» parts.

If only the first third of the film were handled better, this would be an action masterpiece, but it's still quite impressive.

The first third of the film moves almost too quickly, a blur of gatherings of left - wing intelligentsia and free spirits.

Coriolanus feels much longer than it actually is, due to the fact it's limited action takes place solely in the first third of the film.

Herein lies the first fatal mistake of the film: Affleck structures the first third of the film that takes place in Boston as a kind of prologue, briefly introducing Joe lying in a hospital bed before moving back seemingly only a few months back in time.

The first third of the film is the most interesting as we watch singletons check into a hotel in which they must find love or risk being transformed into an animal of their choosing but if you asked me with mild curiosity why this is, I couldn't tell you because after two hours of this drivel, I neither knew nor cared.

Not exact matches

The first four months of 2018 saw the third highest - grossing movie of all time and the highest opening weekend ticket sales ever achieved by a film.

The first two chapters, documentary Beyond the Gates of Splendor and feature film End of the Spear, were effective accounts of the story, but this third film adds little to the saga.

That's a pretty good description of the first third of «Deathly Hallows: Part 2,» and it may be no coincidence that it's the film's strongest section.

The first film was full of heart and humor that both children and adults could love; but by the time the third film rolled down the yellow brick road, something had been lost.

The first few years of his career following the departure from the show were somewhat lackluster, but Smits eventually landed the role of Senator Bail Organa in the second and third Star Wars prequels, a move that would permanently cement him in film history in the minds of at least one very large fanbase.In addition to his work with the Star Wars franchise, Smits also made an inevitable return to the small - screen mid-decade with a prominent role on NBC's The West Wing during the show's 2004 - 2005 season.

In the end the third film is a weak attempt to recapture the heart and comedy of the first two films.

Unlike the first film, which borrowed elements from the first game, but remained independent, this effort closely follows the storyline of the third game.

Given the quality of the first two films (Before Sunrise 77, Before Sunset 90), expectations are high for this third chapter in the Jesse and Celine story, which premieres this weekend at Sundance.

The Hunger Games: Mockingjay - Part 1 opens on November 21st, so expect a few more glimpses at the third film in The Hunger Games series (and first of a two - part finale) over the coming weeks.

Married three times, Bloom's first husband was actor Rod Steiger, with whom she co-starred in 3 Into 2 Won't Go (1969) and The Illustrated Man (1969); her second was producer Hillard Elkins, who packaged Bloom's 1973 film version of The Doll's House; and her third was novelist Philip Roth.

While the first two - thirds of the film contain enough political intrigue that the audience will ignore any slight historical missteps, the final third, when Philip's armada is approaching the English shore, takes us into true Harlequin romance territory, and we are force - fed a cinematic version of Sir Walter Raleigh guiding an unmanned ship into the Spanish Armada before it gets anywhere near the English Channel.

The entire first two thirds of the film have the calm idiosyncratic qualities of a mellowed - out Mamet.

Instead, all of that gets wrapped up before the end of the first act, thanks to a wacky cameo or two and we're off to the cosmic gag that takes up the second third of the film.

While the film's melodramatic conclusion threatens to undo the goodwill of its first two thirds, it's mostly an intelligent, engaging, and sometimes darkly funny drama about the process — and cost — of 21st century warfare.

If you sit around thinking what you are doing for the second film or the third when you haven't even finished or even seen the first cut of the first, then I feel you are really dooming yourself.

The announcement arrives this morning with the first details about the plot of the film, directed by D.J. Caruso: The third film in the franchise finds Cage coming out of a self - imposed exile, and on a collision course with «deadly alpha warrior» Xiang and his team in a race to recover a seemingly unstoppable weapon called Pandora's Box.

Or maybe it's because she's married to Lou that she can't stop thinking of Daniel... Following up «Away from Her,» Polley's second film is sharply dividing critics and audience in Toronto: Many find it simultaneously exhilarating and depressing; others find it ugly and hateful; a third faction seems to be kicking against the film not for how it says what it says, but, instead, for what it says in the first place.

Shrek director Andrew Adamson is back (though he will not direct the third part, The Voyage of the Dawn Treader, instead handing over to Michael Apted) and so is his favourite composer, Harry Gregson - Williams, whose score for the first film was quite pleasant in places but left little impression.

by Bill Chambers As with most «origin» Tarzan films, Tarzan himself is an off - screen promise for the first third of Tarzan the Ape Man, though his famous yodel (which the studio maintains was artificially created) portends his appearance about ten minutes before he actually materializes.

Kazoku no kuni (Our Homeland, Yang Yonghi, 2012) Yang's third film (also her third masterpiece) and first fiction film stayed with me since its world premiere at the International Forum of Young Cinema, February 2012.

The first half of the film, charting our heroine's domestic problems, are mostly just depressing, And the film's third act seems to have been stuck on just to give the story a dramatic conclusion.

The first half of the movie is not that great, filled with way too much bad acting, including that of the lead actors, but once things get going in the end of the second and into the third acts, the film turns into a pretty decent revenge flick.

The film, the British director's sixth, spends its first third gathering an ensemble of retro - outfitted characters under the glistening wet of a dark Massachusetts night.

Being the third wheel on someone else's first date is rarely as delightful as it is in «Southside With You,» Richard Tanne's charming film about two 20 - something lawyers spending some time together outside of the office in 1989 Chicago.

The film's title character, a «night nanny» played by a lightly pixie - dusted Mackenzie Davis, hired by Marlo's wealthy brother - in - law, Craig (Mark Duplass), to help her through the first few sleep - deprived months of motherhood following the birth of her (unplanned and only grudgingly welcomed) third child, is a figment of her client's imagination.

Lonesome Jim, his third feature film, is a portrait of a sad - sack loser and calls to mind his first film Trees Lounge, in which he also played the chief loser.

Contrasts become a hallmark of the film's form — the first two acts smolder and build, with simultaneous inward calm and sneaking dread, to a third act that explodes with shocking brutality.

As a fan of the first two Shrek films, even I can attest to the notion that DreamWorks is really pushing their luck with a third installment.

His third film, Mean Streets, is surely his first, as the director teams up with Harvey Keitel and Robert De Niro for a fiery crime drama about a small - time gambler who enlists the help of a friend, who's a rising star in the New York mafia, to help him get out of debt.

Only the third film that the acclaimed actor has made as a director (after 2002's Antwone Fisher and his last, 2007's The Great Debaters), Washington certainly had familiarity with August Wilson's beloved Pulitzer Prize - winning material when he decided to bring it to the big screen; the actor won a Tony Award of his own for starring in the 2010 revival of the production, to go along with the play's Tony for Best Revival (and the many that it won during its first run on stage in 1987).

That this seems to come from nowhere is the big surprise — the disappointingly generic first two thirds of the film suggest this outcome is less than likely.

The Karate Kid Part II picks up directly where the first film leaves off: a quick foreshadow of the third film's conflict («My opinion of future?