Sentences with phrase «sentimental movie»

It «s at that point that this benignly sentimental movie becomes a meretricious one.

This is easily the most sentimental movie Del Toro has ever written and directed; besides an unconventional love story, The Shape Of Water is one of those gushing valentines to the cinema, complete with scenes set in a classic movie palace and lots of lovingly lavish throwback period detail.

shows the real - life Nash at the 1994 Nobel ceremony, sans sentimental movie monologue.

Director Garth Davis (Top of the Lake) grants the adoption / search drama Lion a stirring soul when a more problematic and cheaply sentimental movie was lurking around every corner.

If you ask nearly any woman what she wants in a relationship, the answers will range in anything from a strong pair of arms to keep you safe to someone who will cry with you at a sentimental movie.

In order to be less contrarian, let me recommend a sentimental movie that Peter earlier mentioned.

Heaven Can Wait did achieve great critical and commercial success, but it isn't likely to be perceived as anything great by those who don't like sentimental movies, or those expecting something more substantive.

Not exact matches

War Alien Sci - Fi (3570), Suspenseful Time - Travel Movies (2778), Sentimental Action and Adventure (4879), MTV TV Shows (4221), Irreverent Mysteries (2701), Feel - Good Education and Guidance Starring Muppets (4699).

This movie might be dissed as shamelessly sentimental psychobabble with a tenuous connection to reality.

Family movie nights aren't as frequent as they used to be now that everyone has a different schedule but I'm glad we made this a tradition when they were younger since now it's a sentimental favorite.

There's just something so fun + sentimental about binging one of your favorite movie trilogies all the way through!

The baseline for American movie humor sinks once again in this sentimentally cynical and cynically sentimental farce.

The film plunges deep into waters left uncharted since the mid -»80s, leading to a strange, deeply sentimental but oddly touching climax that manages to say more about its source «material» than any toy movie to date.

What surprises me the most about Real Steel is the way this film featuring robots evoked such sentimental feelings in me — similar to the way I reacted to WALL * E, that marvelous animated movie about a trash - collecting robot.

M. Night Shyamalan has directed movies that are surprising, hokey, suspenseful, sentimental, clever, touching or cheesy.

«The Man in the Moon» is an intimate, sentimental coming - of - age drama, a sweet little puppy love movie crushed by the enormity of its tragic twists.

They might even be the best part of the film, but only because the rest of the movie feels patched together from scraps, including some sentimental interludes that seem designed to give it «heart» but merely come off as insincere.

It's worth noting, however, that the movie does lose some steam as it takes an expectedly dramatic turn towards the end, as, despite what screenwriter Bert V. Royal clearly believes, the narrative simply isn't deep enough to withstand the increasingly pervasive emphasis on sentimental elements (and all the John Hughes references aren't really helping, either).

He represents the self - deception and viciousness underlying the south's much vaunted hospitality and chivalry that has for so long been the subject of sentimental celebration, not least by Hollywood movies.

Finally becomes a somber, sentimental and rather profound romantic fantasy that is more true to the spirit of the Golden Age of science - fiction writing than possibly any other movie of the»90s.

The movie isn't necessarily realistic - it's about the theater after all - but its unusually cynical center keeps it from becoming so much sentimental mush, while delivering the heartbreak that audiences so crave.

With a steady eye and a warm (but never overtly sentimental) heart, it explores a territory where few movies have ventured before.

In contrast, the movie attempts to pull at viewers heart strings with sentimental portrayals of rejection, low self - esteem, the power of friendship, and the necessity of looking beyond outward appearances in order to understand the person within.

Credit goes to Padilha for preventing this standard happy - ending - friendly hero arc from getting too overly sappy in execution, but try as he might to mask it, the movie is clearly striving for a sentimental ideal.

Sentimental and violent, the usual gangster movie combo, «Live by Night» may look first - rate (though Affleck's direction, whether it's action or simply two people, seething, is routine) but it feels second - hand.

A cynical, smart movie about the dangers of mass culture gives way to a sentimental embrace of the very thing it's criticizing.

But is the often sentimental, occasionally dull «Straight Outta Compton'the best version of that movie?

This is something of a comfy thematic middle ground between the ironic, quippy yet sentimental Juno and the dark spiral of stunted growth in Young Adult (seriously, rent that movie again if you can, it's vastly underrated).

As a star vehicle for Carell, as a raucous R - rated gigglefest, even as a sentimental date movie, it hits every target at which it aims.

The hilariously dumb and ridiculously convenient reveal that could only be considered surprising by taking into account the fact that the audience would surely never think that this movie would pull something so random and silly out of its ass, and then they double down by immediately trying to milk it for maximum sentimental value (it doesn't work).

Screenwriter George Arthur Bloom originally wrote the script in the «70s, and its issues - driven, overly sentimental courtroom drama could easily have been a Movie of the Week from the era.

But is F. Gary Gray's often sentimental, occasionally dull Straight Outta Compton the best version of that movie?

So it's notable that the director pivots for his latest, diving with warmth and sympathy into a coming - of - age movie that all but redeems the frequently sentimental form.

This is a very clever feel - good movie that touches on serious topics without being overly sentimental.

An inspirational biopic framework could bring out the more maudlin tendencies of writer - director Gus Van Sant, whose last movie, The Sea Of Trees, was a sentimental low point.

Jessica Chastain is great, but the movie is uneven and often sentimental.

He's fantastically sympathetic in parts as well, getting sentimental watching old home movies while trapped in the freezing cold attic, to buying presents for his cousin's kids, it's just so nice and jolly without being overly sweet and sugary and rotting your metaphorical Christmas teeth.

There is virtually no precedent for this film, with past Christian movies looking to inspire, move, or awaken with sentimental family drama, Biblical stories, and apocalyptic tales of the Rapture.

Like Gerwig, getting to this sentimental place was a long and angsty road for her movie alter ego, the self - monikered Lady Bird, née Christine McPherson, played by Irish starlet Saoirse Ronan (Atonement, Brooklyn).

A Google image search for «sentimental Christmas movie» pulls up many images from Frank Capra's It's A Wonderful Life.

Since his band of merry men is made up of Matt Damon, Bill Murray, John Goodman, Jean Dujardin, Hugh Bonneville and Bob Balaban the rest of the movie is spent making sure each character has had a caper, a comic pratfall, a sentimental moment, and some drama.

Each character has realistic motivations for their actions, and while the ending is a tad sentimental, the movie never pulls heartstrings in a manipulative way.

After the more sentimental, realistic aesthetic of The Shawshank Redemption and The Green Mile, this B - movie - inspired schlockfest echoes Romero's Dawn of the Dead in its depiction of bickering townspeople holed up in a mall and awaiting death at the hands of some particularly nasty mist - dwelling creatures.

Robot & Frank is a sentimental buddy - movie between two unlikely people; well, technically just one as the other is a robot as the title suggests.

Or at least the version of it — all stiff upper lip and sentimental polish — so frequently imagined in books like Kate Atkinson's beautiful Life After Life, or in movies like Their Finest (opening April 7), a gleaming little picture directed in return - to - form fashion by Lone Scherfig.

A movie like Timothy Green will play best with adults who generally don't see movies and therefore won't find it as easy to spot the tacky tricks and cookie - cutter tropes of such sentimental storytelling.

Who could have imagined that Sylvester Stallone's 1976 Rocky — the most shamelessly sentimental boxing movie of them all — would inspire a black - liberation saga like the new movie Creed?

Despite the unabashedly sentimental end credits, this is purely a popcorn movie and one that opening the week between the hit Logan and blockbuster - to - be Beauty and the Beast gives it unusually heavy competition far removed from the traditionally busy summer and holiday seasons where expectations have long been higher and scrutiny more intense.

Surprisingly superficial for a sentimental message movie laden with schmaltz and mood muzak.

Mirren is expectedly fizzy, Sutherland admirably true to the ups and downs of his affliction, and the hard, sentimental horizon ahead is so clear the movie is blinded to any detours that might enliven or illuminate this most cliched of scenarios.