Sentences with phrase «second film focusing»

Of course, the world hasn't changed as quickly as Berk and much of this second film focuses on individuals learning about and appreciating how Berk has changed.

Not exact matches

For the taste film — which focuses on perhaps the most intimate of the senses — it was imperative that we bring the viewer as close to Chang and his creative process as possible — only inches, or seconds away from digging in.»

His second documentary film Fat, Sick & Nearly Dead 2, which focuses on how to stay healthy in an unhealthy world, will be available for sale and rent on November 18, 2014.

It is a welcome surprise to see a lighthearted Western that places its importance more on the characters than on the famous real gunfight depicted - and the deep - focus shots are beautiful -, but still the film has trouble with maintaining the focus and pacing in the second act.

In the second place, if Wilkerson were to concentrate on his family's history, he'd narrow the focus of the film, when what he wants is to stretch it to the horizon.

He was a pretty interesting character, why there wasn't more of a focus on Eric in the second half of the film, I don't know.

Luckily, Holland's film focusses on a rather unusual true story from Poland during the atrocities of the Second World War rather than the well - told tales of the concentration camps (as obviously important and powerful as they are).

Past symposiums have focused on American elections on film (near the onset of the second Iraq War) and New Queer Cinema (around the time of Proposition 8, in an issue called «RS Prop 24»).

His parents are killed by gods he does not rage, he mopes around declaring that he is a man??? The worst acting in the film was done by the skinny priest who just wanted to die after three seconds of him being on the screen... what was his point in the film why focus so much time on him?

At the end of the day, the film aims at displaying the second chapter in the new Spider - Man canon by casting a web of multiple threats and thematic elements, but it ultimately fails to focus on any one thing.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

The film doesn't get involved in Clough's personal life but focuses on his career with both clubs, starting off with Clough viewed firstly as a small - time Second Division manager then an arrogant manager on top of Division One.

For example, Garrel casts his own father and son in his movies; in his lovely Summer Hours, Assayas traces the fortunes of a family at the point of dispersal; and Desplechin focuses relentlessly on family dynamics, from his first film, La vie des morts, up through The Sentinel, My Sex Life... or How I Got into an Argument (where the collegial circle becomes a second, substitute family), Esther Kahn, Kings and Queen, and now A Christmas Tale.

The new film keeps the focus on his formative years, not the political battles he'd choose during the second half of his life.

Previously out of of print, «The Decline of Western Civilization» documents Los Angeles punk culture over two decades with the first film highlighting acts like Black Flag and the Germs, while the second film showcases metal acts like London and Odin, and the last film focuses the latter - day L.A. punk scene.

Clocking in at just under 90 minutes, every second of the film is focused on hurtling towards a climactic fight between Roland and The Man in Black.

The second third of the film focuses on the tortuous, claustrophobic and stomach - turning events inside the hotel, with the final third centered on the trial and its outrage - provoking verdict.

Even The Price of Salt — her second novel, adapted last year, by film director Todd Haynes, as Carol — was more than merely a lesbian love story (certainly a bold enough literary statement for 1952, when it was first published), occupying, in its intense focus on desire and its consequences, similar territory to Highsmith's thrillers about killers.

Two separate commentary tracks, the first and best with director Ben Wheatley and co-writer Amy Jump and the second with actors Neil Maskell, MyAnna Buring, and Michael Smiley, bring some of the film's more obscure passages into better focus, while a slew of formal interviews with the filmmakers, actors, and producers help illuminate the extent of the work that went into developing the project (Wheatley, for his part, comes across as surprisingly earnest and well - intentioned, which isn't quite what one expects after watching his film).

The second U.S. trailer for «The Judge» focuses on the strained relationship between Robert Downey Jr. and his father (Robert Duvall) in the film.

Visit Carvahall and you'll find featurettes about the Inheritance Trilogy to which the novel Eragon belongs, The Storyteller's Scroll (focusing on turning the novel into a screenplay), Realizing Alagaësia (a look at storyboards, locations, scouting and character design), The Destined Roles (casting the actors), From Carvahall to Farthen Dur (behind - the - scenes footage during film production), Hatching The Dragon (the CGI process of creating the dragons), Just The Beginning (a peak at what's next in the series) and the Random House Digital Novel where you can enjoy the first two chapters of Eldest, the second novel from the Inheritance Trilogy by Christopher Paolini.

They answered a few questions around the film, while audience questions focused mainly on the book series and Ball revealed they are hoping to complete the entire series, even showing a conceptual poster for The Scorch Trials, the title of the second book.

I would say that this movie was edited for children who couldn't keep their attention span focused for more than five seconds, but based on some of the film's «humor» and language, I wouldn't recommend any kid seeing this movie.

It's a dialogue - focused film that concerns the type of multi-character-connection narratives that Anderson would go on to explore in his second and third features.

If you loved the first film, you may have a hard time enjoying the second film as much since the focus has shifted from Austin to Dr. Evil and his henchmen, as if Myers had exhausted all his material for Austin.

In 1946, deep in the «Patriotic Era» of war films, immediately after the second World War had concluded, while most war movies were playing up the heroic exploits of the war, this film was the first ever to focus on the damage done to veterans.

We've seen hundreds of films about the Second World War, usually focussing on those on the front line, or the millions of minorities who lost their lives under the Nazi regime, yet films focussing on the ordinary German civilians seem to be few and far between.

In this second part of a two - part article, I focus on the film (s) that I introduced at the end of the first part: Michael Haneke's FUNNY GAMES (1997 / 2007).

So, on this second film I'm often more focused on making sure that [Deadpool's time travelling foe / sidekick] Cable has a proper introduction to the audience in a way that best represents Cable from the comic books.»

The film's second act shifts its focus entirely to Cross, who manages to navigate the corrupt trappings of the Schenectady P.D. all the way up to a run for New York State Attorney General 15 years later.

The second half of the film focuses its attention on the whodunit story, but since most of the characters lack anything interesting about them for the viewer to connect with, the stakes never feel particularly high.

It is a return to the comedic and youthful focus of Baumbach's début feature film Kicking and Screaming (1995) while containing the observational qualities that distinguish his «second coming» as a filmmaker that began in 2005 with The Squid and the Whale.

The first of these essays is going to focus on Joseph Kahn's second feature, 2012's Detention, one of the most energetic, frenetic and downright insane films I've ever had the pleasure of watching.

Something about this film feels very clunky, as it moves into its second half it drops much of the sexual nature of its interesting but flawed opening and focuses instead on the actual nature of this heist, using a non-linear sequence that, whilst amusing enough, tends to sap almost all of the tension by virtue of its retrospective nature.

At the heart of all the chaos though is a rather touching story about trying to preserve the first baby born on Earth in an unspecified amount of years, which is where the film focuses for the second two acts.

What Clint Eastwood has done is turn the sports movie formula on its ear with this film, focusing on the human aspects of boxing and shifting focus directly to the ultimate price of such an endeavor with a twist at the end of the second act.

Whereas the first half of the film is about building the ark, the second half focuses on Noah's belief that they were meant to save the innocents, as in the animals, not themselves.

Previously he served as a second unit director on Peter Jackson's Hobbit trilogy, and in this premiere edition of my new video series Behind The Lens that focuses on conversations with directors, Serkis discusses his big helming break from Jackson on Hobbit, how he approached directing actors Andrew Garfield and Claire Foy in Breathe, and why that true story of polio victim Robin Cavendish resonated with him to the point of wanting him to make the film.

Last week also saw the film's second trailer released, focussing predominantly on the time - travelling mutant, Cable, which is the role Brolin is back training for.

They may not have been aware this was her second film; her 2014 debut The Eternal Return of Antonis Paraskevas also trenchantly focuses on males and is streaming on Amazon and Fandor.

Though the operatic dissonant relationship between Jean Valjean and Russell Crowe's Javert does prove to be compelling opera as it weaves throughout the rest of the story, the film's second act focus on the story of rich pretty boy Marius (Eddie Redmayne, whose singing voice is 45 percent Kermit the Frog) falling for Cosette (Amanda Seyfried) at first sight doesn't register nearly the same amount of urgency, feeling like a silly problem that doesn't fit into the story's near - apocalyptic presentation of revolutionary France.

But Focus was pleased with the debut of the film, for which McConaughey and Leto are drawing acting awards buzz, and saw a second - day surge as significant.

The first commentary features only Wright and Simon Pegg in a discussion that mainly focuses on the production aspects of the film, while the second commentary leaves a lot more room for joking around between the film's five main characters.

It's his second such stop - motion film, but it'd be incorrect to label his previous effort, Fantastic Mr. Fox, as a children's film, just as it would be to call his child - focused romance Moonrise...

The second disc takes a more production - themed approach to the bonus material with a three - part featurette on the development of the film («Developing the Script,» «Finding the Director» and «Focus on Sheffield»), a five - part featurette on the actual production of the film («Anatomy of a Score,» «Stocksbridge Brass Band Blues,» «Song & Dance,» «Editing» and «Translating English to English»), and a short discussion about the film's surprise critical and commercial success.

Within a second after the film starts, it has already established that sex will be a major focus of the story.

Also there, «Hollywood on the Hudson» (4:18) is an excerpt of a 1965 WNBC news segment on Seconds» filming in Scarsdale, New York with a focus on Rock Hudson.

She initially proffers a fastidious, Melvillian crime picture with special attention given to manual processes rather than human drama, but then elegantly pulls the focus back (with the help of a very subtle twist) in the second half to reveal that the caper at the film's centre was only included for context.

Thematically rich and pointedly written, the film is a black - comedy screed on the legacy of the Catholic Church, its various sex scandals and its waning influence, and though a melancholic solemnity guides the existential second half, «Calvary» never loses its predestined focus.

Niall Heery's second feature - length film focuses on a semi-rural Irish family and how they cope when Alice's (Kerry Condon) ex comes back into their life.