Sentences with phrase «simple film like»

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

But when Frank can't even read simple films like Avatar and Elysium, and then I just feel like facepalming.

Not exact matches

Some Stony Pointers wondered aloud if Lynch, a servant of the town board, would give an elected councilwoman a hard time about something as simple as forming a group aimed at attracting the film industry to the town, simply because he doesn't like her?

And most Coen films revolve around a simple story line like this, but once those opening credits start to roll, it's kind of like having sex during a blizzard.

I'm no longer happy with the single lifestyle, missing the simple things, hold hands down the street and cuddles on the sofa: — RRB - I excise regularly, love watching films, like the odd drink with great conversation.

Companionship, dancing, music, film, theater, literature, the arts in general, and simple things like spending hours vegging at home, or cooking a good meal, having a hot chocolate in...

The film's performers are all - around excellent (McShane provides an anchor of subtlety to some of the shrill histrionics, and Winstone exudes potent personal angst from simple offhanded comments like ordering calamari), but it's Kingsley's menacing and humorous performance, a brutal force of near poetic nature, that reveals new layers with each viewing of the film.

The macabre comedic undertones are reminiscent of a Coen brothers film like «Blood Simple.»

Django Unchained is an epic film with a simple and straightforward story that is as entertaining as they come; for all the hyper - explosive and bloody bullet hits, the film shines in its more quieter moments, where an actor like Christoph Waltz can excel in his charm or Samuel L. Jackson can ooze with ill - intent.

Although recent films like Captain Phillips and A Hijacking paid Somali pirates more than simple sympathetic lip service, they ultimately demarcated clear lines between right and wrong, making their primary focus the victims of the abductors.

Like most Indian films, Ram Lakhan is something of an endurance test for western audiences, unfolding its simple tale in an epic 186 minutes.

There's something to be admired about a film that can gracefully defy simple genre categorization but Submergence feels like a clumsy melange, a confused adaptation made by people who don't seem quite sure what they have on their hands.

But unlike the rigorous skepticism of films like Blood Simple, Fargo, and Burn After Reading, I Don't Feel at Home in This World Anymore uses its allegorical narrative to further a simplistic political message meant to give it an aura of timely social commentary.

It never flashes back, as you might expect in a film about memories, but instead lingers on the faces of actors as they process emotions or focuses on simple items that hold intense meaning, like keychains.

The film relies on pointing out film cliches like «the red herring» to hide the fact the films red herring (you will know it when you see it) is incredibly simple minded.

Everything that made the first film so much fun is still here and done in a way that doesn't feel like a simple rehash of the first movie.

And the fact that the film, much like Spotlight, the Arabian Nights Trilogy, and Anomalisa, is very much pitched at an adult level, instead of going aiming for the «teenager» set (and I'm not just talking Jurassic World / Marvel / StarWars, I do believe a lot of Oscar - Bait is pitched at that simple level of easy digestion, Carol is not.

And that's important, because despite being a fairly serious film about love, loss and family, «Kubo and the Two Strings» goes about telling its simple but layered story with such child - like optimism that it resonates even stronger as a result.

As much as I'd like to blame the trailers for misleading viewers, this is not an easy film to market, and as such, most ticket buyers walked into their screening ready for a simple, familiar formula: Seth Rogen + raunchy R - rated comedy.

We should cherish the films this man gives us because not many people make them like this anymore, simple and wonderful.

The simplest way to keep a film from looking like a collossal failure is to be honest about what sort of film it is, and give it a budget that makes sense.

I really liked this movie, the plot is a simple romantic comedy, but it has all the charm and rebelliousness of a 50s teen flick combined with the fun and sexiness of an 80s teen film.

Based on Sandberg's short film, the film is about a malevolent ghost that only appears when the lights go out, which seems like a simple concept but it's done so effectively it makes this horror completely original and very, very scary.

The film doesn't precisely boast a wealthy colour palette (like San Andreas, it's most commonly painted in flat sun shades of brown and gray), however its motion and set items are photographed in a blank style that makes them simple to observe.

Like its predecessor, this new film tells a very simple little story.

It most certainly is helping that the movie isn't a simple remake of a well - liked name that includes a feminine primary forged (a los angeles 2016's Ghostbusters), however a derivative and semi-continuation of the Ocean's film trilogy from the 2000s.

There's room for improvement (I like that the film tries to make Tonto the equal of the Ranger rather than a sidekick), but it's a simple premise that should never have been forced into a brainless, bloated blockbuster.

Roger praised Kore - eda's film often in context of Ozu, like when he talks about the similar beauty to its simple camera work: «the camera does not move, but regards.»

The Nugget is a mild - mannered Australian film that fits right in with the type of comedies they generally make, full of likeably daft little guys that discover they like the simple lives they lead, almost losing it all when something bigger comes along.

It's a coming - of - age story you have seen countless times, and while you have never seen it quite like this, the film shows Justine's transition with metaphors and symbolism that is both meaningful yet lacking impact since the actual story is rather simple.

Last but not least, Universal's U-CONTROL feature offers three unique pop - up video displays for each film: «Setups & Payoffs,» for those who never picked up on stuff like the Twin Pines Mall / Lone Pine Mall gag — though often this track resorts to simple factoids, as if bored; «Storyboard Picture - in - Picture Comparisons,» which is, I hope, self - explanatory; and a reconfiguring of the DVD's «Trivia Track.»

The character's step - by - step process of fixing his inadequacies would be rousing montage material in another, simpler romance (perhaps like the ones Gordon - Levitt parodies in the film, starring the likes of a humorously clock - punching Channing Tatum and Anne Hathaway).

Directed superbly by Cherie Nowlan, who years ago introduced us to Cate Blanchett in Thank God He Met Lizzie, this is a strong yet simple film that can boast some brilliant performances from veterans like Frankie J. Holden, Phillip Quast and Blethyn as well as newcomers Chittenden and Booth.

It's kind of astonishing that there hasn't been a film quite like Liam Gavin's A Dark Song yet — it's a premise so simple and familiar that the genre has done it countless times, just not quite like this.

It's rather interesting to note that Warner decided to market the film, much like Hitchcock would have probably done, by using a simple yet highly effective warning to all future audiences that the lights in the theaters would be toned down during the ending sequence, promising a fully immersive experience of pure horror.

Absolutely loved it, no horror film has ever actually scared me because I know the in and outs of how most of them are based but this film started like I would not have expected, it works based on the primal fears of people and it's so simple but Wan works with that and terrifies you.

From this simple tale, Iñárritu has constructed an epic fable of uncommon grace and resonance, a film that, like its hero, achieves a kind of transcendence.

No simple logline can account for the rubbery slapstick, like something out of a morbid Stephen Chow movie; the body horror played for insane laughs; or the existential despair that invades the film like a thief in the night.

It seems like a simple mission considering the number of films many of us watch for both work and pleasure, but I have no doubt that of the 10,000 + people who pledged to do it, many didn't reach the goal.

The title of Hong Sang - soo's sixth feature functions like the South Korean director's film itself: it's a simple observation — with metaphorical teeth.

The Breakfast Club is a neat little time - capsule of a film, transporting viewers back to a time in the»80s where the hair was as big as the shoulder pads, and people listened to bands like Simple Minds.

They were a bunch of simple things like «When your script supervisor says that you need another — you need another» or «Trust that your DP has the exact same vision for the film that you do.»

• Although Raising Arizona is, like Blood Simple, a crime film, the Coens wanted to make it as different from their debut as they could.

It looks like a Zhang Yimou film, except... what the heck does any of this have to do with Blood Simple??

Like many horror films, it's built on a simple premise, one made meatier due to its social and, in this case, historical implications.

While it's sure to be too intense for younger children, older kids and adults should easily take to this film; it's straightforward and fairly simple, but difficult not to like.

The more pop culture is saturated with films like Neil LaBute's Your Friends and Neighbors and television programs like Jerry Springer, Judge Judy, and The Simple Life, the more Americans...

Microbe & Gasoline is among his simplest films; after some of his recent excesses, it feels like his detox movie.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

Like other films from that effort — the two Iron Man movies and 2008's The Incredible Hulk — it does spend some time attending to that agenda, but it's a film with its own identity, the simple, thrilling story of a handsome god who falls to Earth and reminds everyone what heroes do.