Sentences with phrase «section of the film feels»

This section of the film feels cautious and under - populated; it would be better if it had a more documentary flavor.

He's one of the greats, so for me, it's a privilege to have him on the movie and to give him sequences, and like Daniel says, you're making four movies and every section of the film feels so distinct from the other, feels so alive, it kind of regenerates in front of your eyes really, the film.

The second section of the film feels very much like a talky Richard Linklater picture (think «Waking Life,» or moments of «Slacker «-RRB- and essentially boils down to a big table of friends eating and conversing about life — intellectual, philosophical and social ideas revolving around technology, sex, romance, memory, perception and more.

The montage that makes up the first section of the film feels awkward also (and is in fact similar to The New World — it feels as if it had been cut down).

Not exact matches

I knew something wasn't right, and during one section of filming a full - length class, I rolled up for the closing breaths and felt the bleeding.

Most of all, it contains a powerful, deeply felt performance by Kruger that is both the best thing that she has ever done in a film and worthy of all the accolades that it has received — even during the ludicrous final section, she keeps things from totally spinning out of control.

Cliche piles on top of cliche to make a nearly two - hour film feel twice as long, simply because we see so many things coming that we feel as though we're watching each section twice.

The smooth jazz score which punctuates the film gives certain sections the feeling of a silent movie, while the long awkward silences in the second act are like a lighter, less absurdist variant on the work of Samuel Beckett or Harold Pinter.

The pacing is good, but the film also comes with many obvious markers of rough editing and recuts, which makes the middle section feel muddled and disjointed; it's hard to see certain scenes as sequential and purposed, rather than stitched together from parts of what was seemingly a deeper (and longer) character study.

Comic - book stylization makes itself felt in other ways in this section of the film.

Many nudge - nudge hints are dropped in the first section of the film, so when the film goes back to fill in the sordid details, it feels schematic and exasperating.

«Rampage» feels like a cross section of different films, it opens like a sequence out of «Gravity», briefly looks like Johnson's 2017 winter hit «Jumanji», lots of «Jurassic Park Lost World» and «King Kong» moments thrown in there with a splash of «San Andreas», since we see three planes crash during the two - hour film.

The comments section will be lit up with the inevitable questions about how I feel about the first «Blade Runner» so let's kick it off with saying, I am not a fan of the original film by Ridley Scott.

However, for better or worse, the film feels like an isolated section of Mia's life, rather than an especially significant chapter of it.

We never full connect to Wilson and his relationship with Dern's ex-wife Pippi or his burgeoning friendship with Isabella Amara as his estranged daughter Claire, which makes a large portion of the films middle - section feel rather so - so.

This section of the film takes on the feel of a sitcom, which makes for an excellent alteration to the pace and tone.

I get the feeling that Disney is planning films for as many of the sections of its theme park as it can.

The film's lighter tone becomes more somber as the strike progresses, slowing the narrative pace to a crawl and making the middle section of the story feel sluggish before developing events push things along to a dramatic finish.

Black, who plays a drug - flummoxed hospital orderly, dominates the entire central section of a film which feels more like a collection of over-heard anecdotes than anything else, an odd record of an era's misconnections and failures - personal and touchingly wounded.

While vast sections of the movie feel like cutscenes from Final Fantasy, they're formed with the experience of film makers.

The distance Hutton maintains from human subjects in the Korean shipyard creates the sense of an unpopulated world, a feeling reinforced in the film's middle section shot at sea.