Sentences with phrase «slow films about»

Not exact matches

There's something organic about shooting film that feels like a pleasant match to me with time spent in the quiet, slow, and calm of nature.

To sidestep the slow production, Cornell University's Jiwoong Park used Mo (CO) 6 or W (CO) 6 as precursors in a chemical vapor deposition process to form films of MoS2 and WS2, respectively, that were only three atoms thick but covered an area of about 65 cm2 (Nature 2015, DOI: 10.1038 / nature14417).

It really works the momentum of this film moves quick and only mildly slow when it needs to explain science to the people who don't understand much about it.

Sure, the film is generally entertaining, or at least not as dry as it could have been, but there are still those fair deal of slow spells that throw you off and give you time to think about how the film is, well, kind of aimless.

This is a slow moving film, about a mess of a man doing up things.

The most accurate thing about this movie is the title because it is real labor to watch this slow moving, boring film.

Since winter is a slow time of year for finding big money movies, now is about the best time to release an independent film.

It's certainly not a bad setup, and director Yuthlert Sippapak initially imbues the film with a sort of slow - paced sense of dread - something he completely abandons at about the 30 - minute mark.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

Though many films can profit from a slow pace, the tempo frequently halts the momentum of a tale that is more about its varied cinematography than about compelling battles.

With the addition that it's a fairly slow moving film, I can see many viewers complaining about this picture and stirring up controversy.

The thing that hits you first about this film is it looks sharp, the opening credits are damn nice and Murphy looks his coolest since «Beverly Hills», its a slow builder for sure but with Wincott as the baddie with his raspy devilish voice it keeps you glued to the screen.

The breathtaking, richly eloquent, and visually - poetic film - deliberately filmed at a slow pace - about space travel and the discovery of extra-terrestrial intelligence (many years before Star Wars (1977), Close Encounters of the Third Kind (1977), and E.T.: The Extra-Terrestrial (1982)-RRB-, was based on the published 1951 short story The Sentinel, written in 1948 by English science fiction author Arthur C. Clarke.

Honestly, I felt this to be a very slow - moving and pedestrian film about the Vatican during the 60s.

His film career continued steadily through the mid -»70s, then slowed down to about a film every two or three years.

A nominee for the Platform prize at the 2017 Festival, the debut film by Michael Pearce is a riveting, slow - burning thriller about the limits of love and the darkness inside us.

Everything about this film oozes class; the 60's setting is beautifully captured with it's attention to detail and strikingly rich photography by Eduard Grau; the slow motion scenes with overbearing sound effects; the subtle changes of colour saturation providing an excellent technique in developing the mood and feeling of Firth's character and a fitting soundtrack to accompany the lush imagery.

But in his new introduction, his observations about slow cinema from Tarkovsky to Kiarostami to Tarr are every bit as compelling as his earlier insights into film noir.»

It is a difficult film to like for its slow pacing and somnambulant performances, but it earns a minor recommendation for the courage to be about thornier issues.

Buscemi (Trees Lounge, Animal Factory) returns to the directors chair for another quirky, lackadaisical comedy - drama in Lonesome Jim, a slow - starting but ultimately rewarding film about the fact that, when all seems down and hopeless, sometimes you can find meaning and happiness in the things you usually take for granted.

One of the cool things about the movie (though not necessarily original) is that after he does something really cool, the film will instant replay it in slow motion and from various camera angles.

Her tour de force seduction of Doc, mostly performed while naked, uncorking a slow drip of role - playing, self - revilement, vulnerability, and desperate control that's indistinguishable from nihilistic abandon, expresses more about sex as a weapon and a survival strategy than a thousand footnoted treatises on the femme fatale in film noir.

This middle section of the film concludes with a kind of slow - motion dance, as the six brothers sing about loneliness on the farm while listlessly doing their chores (the axe chops and wood saws of which provide rhythmic punctuation to the song, «Lonesome Polecat»).

They give good commentary, chatting about this and that without leaving much in the way of dead air, and the fact that the conversation frequently ranges way beyond Chopping Mall to consider other films and pop - culture markers from the era (programmable robot toys, FANGORIA magazine, the long, slow demise of Radio Shack) is frankly a relief given the sheer quantity of content here.

Pacy??? This is a slow and rather boring film made by people within the media & political London bubble about people like them.

He's not shy about shooting anyone in their way, even a troublesome girlfriend, and he's so tough that the film has to throw everything at him (starting with one of the great urban car crash stunts of its time) in the third act just to slow him down.

In an interview on the Empire Film Podcast (where, caution, Whedon drops plenty of spoilers about the film), the director said he had to struggle to keep some of the slower, character - driven moments that gave the film its patented Whedon flair.

In the middle part of Anderson's career (circa «The Life Aquatic» and after), some critics began to complain about the familiar stylized elements of his films being a crutch and formula, diorama - like to the point of aestheticizing the emotions of the story (to be fair, some prescribed elements — the slow motion endings, that Futura font, the expected Kinks or Rolling Stone song — were starting to feel a little mechanical at a certain point).

Even after watching the brilliantly effective first trailer — which opens with a slow tracking shot down a long, dark corridor — we have absolutely no idea what the film is about.

The first two hours of the film consist mainly of Danish farmers and craftspeople arguing about Christian theology in veritable slow motion; the final six minutes, unless you're an alien replicant, will have you on your knees, eyes lifted in wonder to the screen.

After a slow start, this film - about a former boy genius (George Clooney) and a current girl genius (Britt Robertson) traveling to a city outside time and space - becomes a delightful and thoughtful exploration of the ways in which the future, the concept and promise of it, function in human life.

While the slower pacing in the beginning of the film, as well as the focus on the strength and empowerment of all three young women may not interest fans of «more traditional» westerns, the film is a fantastic look at the willpower and resolve of three strong capable women in the face of some of the worst conditions that war can bring about.

Duck Butter is not a film about a whirlwind lesbian romance — rather, it's a slow - moving train crash about a relationship that appears doomed from the start.

It slows down the film and forces the audience to care about someone we have no connection with.

Listen to the podcast: Jordan Peele speaks with «The Big Event» podcast host Peter Hartlaub about the slow - building success of «Get Out,» and shares his thoughts about some of the San Francisco films he loves — including «The Birds» and «Invasion of the Body Snatchers.»

Andrew Haigh's 45 Years is a film about marriage but concerned with knowing, and it is a devastating, slow - motion vivisection of a marriage shaken by knowledge.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

Moore talked about one scene in particular, between Okoye and W'Kabi, that he and Coogler fought to keep in the film until the very last second, when test screenings revealed that despite its brilliance on its own, the scene slowed the pacing of the movie down.

It can never quite figure out what kind of film it wants to be, however, mixing deep thoughts about artificial intelligence (A.I.) with crazy drunken synchronized dancing (which, I will admit, was extremely fun to watch), and although it has fine cinematographic elements that are reminiscent of the best of Stanley Kubrick (slow tracking shots, some on steadicam), if one ponders the subject matter for more than a minute or two, it all seems very dumb.

But I really quite liked the slow, oblique approach in this film about a wanna - be skateboarder kid who relishes hanging out with the bigger skateboarders at the titular skate park — but there's a death not far from there, and it takes the rest of the movie to slowly reveal what exactly happened that one night near Paranoid Park.

The strong supporting cast also tries, but even the great John Carradine (easily the best thing about the film) and Anthony Quinn (who seriously out - swaggers Power here) can't change the fact that the bloated script slows the scenes to a trot, and Mamoulian appears far more interested in directing the light of shadow across the faces of his actors than in the actual actors.

Other than the slow motion bullet at the end of the film, I can't find a single other thing I didn't like about American Sniper

Like his more recent run of films, «The Master» is a deliberately - paced, slow - burn character study that is more about the actors and performances than it is about plot and story.

While some younger audience members may complain about the slow pace of most of the film, I enjoyed the Haddonfield-esque establishing strolls through this new world, and that patience was ultimately more than rewarded with one hell of an ending.

Based on a slow, episodic novel by Ian McEwan, who ill - advisedly adapted his own screenplay, and directed as a debut film by stage director Dominic Cooke, who has a lot to learn about camera movement and how to frame a scene, the literary roots are inescapable.

Alissa: I agree with all of this, but for the sake of the film, l do want to say that the sequence following Woody Harrelson's character through his last day, before he writes a letter to his wife and shoots himself in the head to avoid his slow, cancerous decline, makes my insides twist a little every time I think about it.

A nonfiction film about the slow bleed of American manufacturing jobs over the past five to six decades, American Made Movie is engaging enough for armchair politicos, but generally more successful as a diagnostic statement of basic socioeconomic condition than a groundbreaking work in and of itself.

Based on a graphic - novel memoir by cartoonist Derf Backderf — who was actually a high school classmate of Dahmer's in Akron, Ohio, in the late»70s — the film follows «Jeff» through his last year of high school, chronicling his struggle with his sexuality, his ultimately futile attempts to make and keep friends, and the slow buildup of warning signs about the deeply disturbed man Dahmer would become.

The film lives and thrives on these whiplash moments; it seems as if Wong hadn't yet perfected the languor that I love so much about his films, and so there is no small thrill in the chases, or the extended scenes of almost sadomasochistic violence inflicted on and by Wah (often shot in extremely long slow motion shots), or of course the unspoken flirtations.

THE MAN WHO WAS N'T THERE (Grade: B): The new film from the Coen Brothers is a slow - paced, straight - faced, black - and - white film noir about a small - town barber of the»50s (Billy Bob Thornton) who becomes snared in a web of blackmail and murder.