The cast is promising, but this remake of the popular Japanese movie falls flat, with more «sound design» than delicious music, more
slick film editing than graceful ballroom gliding.
Not exact matches
The direction and
editing are
slick and workmanlike, letting the performers do the work without overplaying the limited setting in which most of the
film takes place.
As with all of Wright's
films, this is a
slick, wondrously
edited film.
Not only is this an energetically choreographed and
edited scene, it is an effective and endearing introduction to Aman's exuberant personality and how it affects others, plus a
slick expression of the
film's east - meets - west aesthetic.
Lee Smith's
film editing, for instance, navigates a series of dreamscapes with a
slick skill - level deserving of an Oscar.
Actually, the
film has a couple of top moments, assisted by great cinematography, perfect
editing and a great soundtrack — it's a
slicker flick for sure.
After a
slick, flashily
edited title sequence that incorporates footage of scenes shown later in
film (not unlike a TV show), the audience is immediately plunged into the heretofore closely - guarded plot: After a mission goes disastrously awry, Impossible Mission Force agent Ethan Hunt (Cruise), is «disavowed» from his duties by the powers that be and suspected of being a mole trying to sell a top - secret list that matches covert agents» aliases with their true identities (called the «NOC — Non-Official Coverts — List»).
The narrative feels too scattershot to be successful, although
slick editing gives the
film some transcendent moments.