Sentences with phrase «sense out of our films»

Most audiences won't endure the irony because most of us want a little more sense out of our films.

Not exact matches

Both of the teams behind the films handled the moment with graciousness and good senses of humor, despite all of the awkwardness and confusion playing out on live TV.

The sense of being outside of time did not change when they departed two days early from school, when they spent three hours on the bus to Eugene staring out the window with their Walkman headphones on, when they wandered through the swirly paisley carpeted hotel hallways, or went in street clothes to have a walk around Autzen Stadium, where a sex scene in Animal House was filmed.

When his wife points out that the lights are dim, he denies that the light has changed, and the film shows how scary it is to not be able to trust your own sense of reality.

He's brought out my sense of creativity, my pleasure in art, film and music.

slim goodlooking, good sense of humor, love going out, staying in duvet and a film cant beat them, love to socialise with friends and family,..

iam out going love beech walking going to pubs like watching films and enjoy the outside i have a great sense of humour and loves a gd laugh

Moreover, Mallick also instills the sense of paranoia of the time, as the viewer sporadically hears the sound of whispers, primarily from Jack, who speaks out to the various themes of the film: spirituality, compassion, regret, fear, anger, sadness, and wonder — all elements of everyday life.

What once seemed sure to be a noble failure plagued by production woes, World War Z turns out to be one of the more captivating summer entertainments this year, a sprawling film that maintains an alluring sense of intimacy.

The film keeps Renner's Brandt out of the action for a long time, and when he does finally join Hunt in the field there's a real sense of distrust; is Brandt truly part of the Impossible Mission Force family or is he planning on betraying Ethan?

A Bob Rafelson film about a young antihero struggling to make sense out of his life and find a new direction for it

But the film softens the bouts of cruelty with an abiding sense of humane, if absurdist, comedy, smoothing out the tonal shifts that may have you gasping in horror one minute and laughing the next.

The film's sense of time lacks precision and urgency, and just having characters periodically point out that the clock is ticking doesn't cut it.

Writer / director Peter Landesman has turned out a film that nonetheless remains desperately conventional and never communicates that sense of inspiration.

Whatever the cause, the scene takes on the laughable air of someone pretending to be out of breath, and instead of instilling a sense of dread or menace, it leaves one suspect that the rest of the film will be able to pull anything off.

The film's world - building is more engaging than its plotting, which skews toward the generic as the embattled good guys set out on their last - ditch effort to save what remains of humanity; there's a sense, while watching Blame!

Often it's a pop standard that she's adopted for her own use, but one never has the sense that she's hijacking the intrinsic emotionality of the music to compensate for an absence in the filmmaking — rather, it's as though the rest of the film has been built out from the kernel of the song.

The film doesn't shy away from the horrors of slavery, yet the grim material is balanced with a deliciously dark sense of humour - just check out the scene with a band of white - sheeted vigilantes, acting as a precursor to the KKK, which is one of the funniest scenes Tarantino has ever written.

It's an extremely silly device that pulls you out of the film every time it cuts back to him, although Petit is so self - absorbed and flamboyant (constantly jostling to be the center of attention) that it makes perfect sense that even his fictional self would be this theatrical.

The film's brevity makes it easily digestible but there's an underlying sense of frustration - dissatisfaction that the characters aren't fleshed out better and the humor isn't more organic.

The dialogue is sharp and justly famous, though writer - director Joseph L. Mankiewicz has trouble putting it into the mouths of his actors: nothing sounds remotely natural, and the film is pervaded by the out - of - sync sense of staircase wit — this is a movie about what people wished they'd said.

It only makes sense that a film that has had so much time to flesh out its characters should develop some sort of key bond between the two rivals; one that goes beyond the stereotypical battle of good versus bad.

However, it's still too overly detailed with useless subplots (Dwarf / Elf love triangle), extra characters that were not in the book, and the sense that this last film was just unnecessarily stretched out just because the studio decided to make three films instead of just two.

I know that most people I speak to when they come out of the film — there is a sense of hope, there is a sense of community and how important that is.»

Instead, the film plays out like an action junkie's bad trip, and even clever subtitles can't make sense of that.

This is film criticism with a soul and a sense of urgency growing out of the conviction that faith and the imagination need one another — the better to open our eyes to the flickerings of God's grace.»

Rich's dry sense of humor and irrepressible nose for digging out great cult films was a boon to the site.

It's a film full of depressive characters, so Judy Greer really stands out as a sunny dog lover who senses something positive in Wilson that nobody else can see.

The many narrative layers of this drama should fit reasonably snug in the context of the plot's progression, but if there is a sense of excess to the material, then it is stressed by a sense of episodicity, which sees the film spending too much time with each segment, yet not enough to flesh them out enough to make the eventual focal shifts smooth.

As far as the style and sense of humor goes, it does still feel unique among the rest of the pack of franchises out here, even if it can't achieve the level of success in either of those departments that the first film did, particularly in the case of the comedy as a lot of the jokes in this one fall very flat.

For a film about a woman who enjoys the the act of sex without actually being able to achieve orgasm, it's fittingly ironic how The Oh in Ohio manages to make us sense amusement without actually getting us to laugh out loud.

Pettyfer is pretty and easygoing but lacks the sort of charisma that comes with a more focused sense of interior purpose, and the film basically feels, at its core, like a mash - up of carefully cross-tabbed teen movie trends, which is probably what happens when you set out in pre-production with the chief intent of manufacturing the next big «Twilight» - type cinematic franchise.

So much of this film makes no sense whatsoever that even trying to figure out any character's motivation would prove a waste of time.

Dosunmu said other distributors courted the feature early on, but eventually went with Paladin for its theatrical release, noting: «People aren't used to seeing Michelle in this way, but Paladin was brilliant in letting the audience get a sense of the film instead of simply pushing it out in a way that doesn't make sense.»

The grittiness of the crime drama and action, along with the overriding sense of slick style, feels very much like the John Singleton movie, Four Brothers, which also features a menacing villain and retribution storyline lifted right out of 1970s blaxploitation films.

Yet, the film plays out with little sense of requisite suspense that made the first Psycho such a great film, and many of the scenes, including the murders, play out as if they were made for a psychological drama, rather than in a scary horror flick or tense, nail - biting thriller.

Ultimately, more out of a sense of obligation, I went to see the film, and was pleasantly surprised that it wasn't a total piece of shit.

It doesn't make sense to cast her for a simple voiceover, unless she had filmed scenes and were all cut out of the final edit.

After all, it would be all too easy to take the mickey out of Wiseau, the cartoonish, imposing figure with a strange, possibly eastern European accent and questionable dress sense, but there's a sense that both Franco and the film's writers went to great lengths to avoid mocking their subject.

All things considered, the movie comes out on balance well ahead of the book: the Matthau character is permitted a greater mobility within the film, to be in at the kill as it were, and that's good movie sense; the grimly competent British mercenary Ryder (Shaw) is allowed to be true to his character in an, uh, electrifyingly apt climax, and the ending is tied off much more satisfyingly.

In a real sense, it's a film about perceptual reality, and as the plague inevitably breaks out again in an American - run, Ellis Island-esque NATO outpost, Fresnadillo's escalation of the events from an observation room to a subway tunnel to an open air carnival (with a brief stop in - between for an American helicopter to one - up Robert Rodriguez amidst a horde of zombies) demonstrates a firm handle on how to intersperse God's - eye perspective with impossible - to - assimilate ground - level chaos.

So when the opportunity comes to join the latest expedition into the void — an all - but - certain suicide mission, which the film underlines in a way that's different from how other movies define that term — Lena goes, out of a sense of duty or maybe just hopelessness.

While Netflix was told that they could show some of their films out of competition, Sarandos «says that doesn't make sense» for the company.

Sure, often some countries with smaller film industries tend to over-fixate on certain undeserving home - brewed movies out of a misguided sense of patriotism, but Night Watch isn't one of those movies.

The Coens don't offer that comforting sense of cosmic justice or thematic completeness that most crime movies provide, even those films about chaotic situations where the violence spills out of the confines of the protagonists.

After the unexpected Jewish guests arrive by train, their slow but steady march to town imbues the film with a palpable sense of dread, and the residents act out in surprising ways.

Ready Player One additionally brings to mind my distaste for Forrest Gump, the Robert Zemeckis film that is not Back to the Future (the movie that Ready Player One fetishizes the most, up to and including a soundtrack cue and a deus ex machina that makes no sense in or out of context).

When watching the film, you get the sense that they only picked out the most brutal aspects of his life.

If you've skipped one of the earlier films things will make sense, but you'll not have the investment in what's playing out to truly engage.

Radcliffe seems incredible in this film that has a truly twisted sense of humor and an interesting mystery at the center as Radcliffe plays a man trying to figure out who killed his girlfriend (Juno Temple) as he causes chaos in a North Pacific town.