Sentences with phrase «small story of the film»

-- Matt P. [LIKED] I kinda liked the initial small story of the film localized to Mr. Six and his impact on his neighbourhood, but it lost me as it got bigger and fell into sentimentality.

Not exact matches

Back in 2012, a short film called Montauk from filmmaker Charlie Kessler garnered some attention at The Hamptons Film Festival for its intriguing sci - fi story about a government research lab conducting strange experiments outside of a small American town (which leads to a bunch of weird stuff happening, including a child going missing and a monster from another dimension being released).

As he continued to collect stories, with a small team filming the interviews, the horror of what happened during the Holocaust also grew.

One of the greatest and funniest horror films ever made, it has a great story and a powerful scenes with great visuals and exquisite acting, I am a big horror fan, this one is good, it is really good, although I was barging for something smaller and simpler, but it turned out to be way too different than expected!

His fourth film under his 20 - year ban is «an artful, surprising and thrillingly intelligent story about a few women trying to make a difference, forging bonds of solidarity in quiet defiance of the repressive, small - minded men in their rural village,» writes L.A. Times critic Justin Chang, who also finds «its insights casually profound.»

David spent much of the rest of the»80s appearing in small roles in such films as Radio Days (1987) and New York Stories (1989).

At its heart, Black Panther has a fairly standard comic book sort of story: baddie Ulysses Klaue (a rare live - action Andy Serkis: Star Wars: The Last Jedi, War for the Planet of the Apes), one of the few outsiders who knows the secrets of Wakanda, and who had stolen a small quantity of vibranium decades ago, is up to no good again, with a scary dude nicknamed Killmonger (Michael B. Jordan: Fantastic Four, and both of Coogler's previous films) at his side; they must be stopped by T'Challa, Nakia, and the absolute force of nature General Okoye (Danai Gurira), with an assist from CIA agent Everett K. Ross (Martin Freeman: The Hobbit: The Battle of the Five Armies, Sherlock).

Raimi's first film since 2009's Drag Me to Hell (and first big - budget production since his Spider - Man trilogy) is a $ 200 million, visually dazzling, 3D prequel to the story told in 1939's The Wizard of Oz, chronicling the rise of said wizard from his humble beginnings as a small - time Kansas magician.

The latest film from director Wes Anderson — and his first live - action film since 2007's The Darjeeling Limited 67 — tells the story of young Sam and Suzy (newcomers Jared Gilman and Kara Hayward), who run away together, sending a small New England island community into a panic.

Clint Eastwood wisely chose a strong, simple thriller for his first film as a director (1971), and the project is remarkable in its self - effacing dedication to getting the craft right — to laying out the story, building the rhythm, putting the camera in the right place, and establishing small characters with a degree of conviction.

And now you can get a look at the film that clocks in at over three hours long as the first US trailer has arrived showcasing the story of a small hotel owner, his wife (and her sister) who are at odds with each other as the winter weather becomes more fierce, forcing everyone into an inescapable, tense environment from which they can't leave as long as the snow keeps up.

The film is bolstered by her knack for dialogue and character, but also in not pressing too hard in order to get laughs that aren't there, letting smaller conversations play out naturally, and having supporting characters mirror the main story in a fashion which draws out interesting tidbits without stopping the overall momentum of the character's journey at large.

The film tells the story of Osman, an Afghan journalist exiled from his war - torn country to a small bohemian community in Northern California.

From Killing Them Softly there's the setting of the film during Obama's election, from The Place Beyond the Pines we have the almost classical / Greek - Tragedy story and from Winter's Bone the vast, cold and oppressive emptiness of small - town America and its surrounding countryside which are filled with drugs and the twisted but more realistic vision of «The American Dream».

Adam Shankman's new film / musical Rock of Ages tells the story of a small town girl Sherrie (Julianne Hough) and a city boy Drew (Diego Boneta), whose separate journeys to chase their dreams of stardom bring them together on the Sunset Strip.

There's a small scene toward the end of the film when the story stops to consider the effects of an Iranian citizen's involvement in this bit of espionage.

Erlingsson seamlessly weaves together a collection of short film - sized stories that take place in a small, horse - dependent village in Iceland.

The use of certain tropes in the narrative are also glaring given the film's inertia — when Dovid starts to read a succession speech from a piece of paper, only to go off - script in a fit of frustration — one can't help but wish that Lelio had taken more time to craft his love story adaptation by thinking through the enormity of every small artistic decision.

Catching Fire presents mostly the same story as the first film, but speedier and with a slight twist as previous Hunger Games winners Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (the grim - jawed Josh Hutcherson) cause trouble for the capitol of Panem, the post-war-rebellion version of the United States, after their previous victory, which inspires small scale rebellions across the nation, mostly evident via graffiti.

The film reminded me, oddly enough, of Jaws, with the careful attention paid to the small interactions of the characters, the converging stories lines and the sense of menace just below the surface.

The Dardennes» films thrive on intimacy when it comes to exploring single characters, but the story they've devised here could have benefited from some branching out; deviating from relegating nearly all the developments to a too - small ensemble of supporting players.

The story in the film — and this is where I really believe the film gets even less credit than it deserves — follows the short, troubled life of a small Puerto Rican newspaper, The San Juan Star.

The film tells the story of a small town girl (Julianne Hough) who falls in love with a larger - than - life rocker (Tom Cruise) set against the backdrop...

DP Andrew Dunn (L.A. Story, Gosford Park) has such an idiosyncratic style that I guessed he was the film's cinematographer right away, but it's a style that's been a recipe for small - screen mush until now, with the advent of high - definition video.

It's a small detail, but one that provides the film with a strong sense of purpose on just about every level as it weaves a compelling story about justice gone horribly wrong.

The story of a garbageman named Simon Grim (James Urbaniak) who becomes a celebrated poet after meeting the garrulous, frustrated title character (Thomas Jay Ryan), Henry Fool remains Hartley's most commercially successful film (on a very small scale), but it didn't exactly appear to be the launch of a franchise.

But the film's compulsion to clip along at a restless pace, toward a third act that is infinitely less interesting than the rest of the story, prevents these small flourishes from being explored to their fullest.

The best stories are universal, and a film that can scare across demographics is a hell of a lot more effective than one that only freaks out a small percentage of the population.

Based on stories by Maile Meloy, the film is about how «the lives of three women intersect in small - town America, where each is imperfectly blazing a trail.»

The film stars Bill Nighy, Imelda Staunton, Dominic West, Paddy Considine, Andrew Scott, Joseph Gilgun, George MacKay and Ben Schnetzer and tells the story of a group of gay and lesbian activists who set off to help a small mining village.

by Walter Chaw A very small story set on a very large stage, Phillip Noyce's affecting Rabbit - Proof Fence is perhaps the most visually beautiful film of the director's career, proving between this and his other movie from this year, the Graham Greene adaptation The Quiet American, that not only is it possible to go home again (as in Noyce to Australia) but also that it's often wise.

Re-teaming with Nick Cave, who was also behind the script for Hillcoat's debut «Ghosts... of the Civil Dead,» the story takes on the mythic qualities of some of Cave's best work, helped in no small part by his score with fellow Bad Seed Warren Ellis — probably our favorite of the musician's film work.

On this week's Little Gold Men podcast, Katey Rich, Richard Lawson, Mike Hogan, and Joanna Robinson take a look at the films that are working to stay in the race, from the aforementioned Get Out to smaller efforts like The Lost City of Z or even the summer indie success story The Big Sick.

Certainly it isn't because it's a fitting ending to the journey of Bilbo, as he's not even involved in the majority of this film, instead taking a back seat to a host of characters that are either greatly beefed up from their small supporting roles in the original Tolkien work, or, as in the case of lovelorn wood elf Tauriel (Lilly, The Long Weekend) and handsome dwarf Kili (Turner, The Mortal Instruments), complete fabrications injected to put in a love story for, presumably, the young female set.

One could take the film as an easy condemnation of the false promise of the American Dream, and Spinelli and director Doug Liman definitely lean into that concept with the story's twist on the small - business - man - makes - good angle (The title is kind of a giveaway, too).

Yet the small and fast - growing London - and - Hastings - based company was launched months before women in film started coming forward with stories of harassment.

The film tells the story of Joe Coughlin (Affleck), a small time thief who works his way up the ranks of organized crime after moving from Boston to Florida.

Two other Turkish films from noted auteurs were in the retrospective section: Semih Kaplanoglu's Süt (Milk, 2008), a rich story of a young man's quest to become a poet, done with sharp social observation by the director, but degenerating into hazy symbolism by the end, a device that also marred the director's next film, Mal (Honey, 2010); and Kasaba (Small Town, 1997) by Nuri Bilge Ceylan, the director's debut feature, already displaying his steady hand and broad compassion.

After serving as a camera operator for a couple of years, he got his first American credit for cinematography on John Sayles» lovely coming - of - age story «Baby, It's You» (1983), giving the film a look that belied the film's relatively small budget.

Though their 2014 film, about a woman (Marion Cotillard) trying to save herself from imminent redundancy, is cut from the same careworn cloth as previous features, it's another undeniably sublime and heartbreaking work about saintly self preservation, the struggles of working class life and the fact that it's often the smallest stories which deal with the biggest and most important ideas.

The result, U-Turn, is a derivative, trite noir that resembles better films and better stories, with Stone trying his best to distract you from that sameness by dangling lots of flashy things and big name actors in small cameos resulting in a melted banana split; very colorful with no substance whatsoever.

Taken purely on its own terms, the film is a chilly, weirdly reticent story of a small group of villagers whose lives are interdependent in ways they don't begin to understand.

At 90 minutes, this film immediately engages the audience in the narrative with only small bits of information on the actual backstory, and the story line remains highly focused and spare.

Despite being more aesthetically pleasing than Michael Bay's garishly executed Pearl Harbour, Nolan's big film in service of a small story has more in common with that much - maligned war pic than more serious minded award season contenders of past years like Steven Spielberg's Saving Private Ryan, Peter Weir's Gallipoli or Terence Malick's The Thin Red Line.

Running time: 129 minutes Studio: Fox Home Entertainment 3 - Disc DVD Extras: Widescreen theatrical feature film, unrated director's cut, Wolverine theatrical trailer, Valkyrie, S. Darko, The Wrestler, Seth MacFarlane's Cavalcade of Cartoon Comedy, commentary by director George Tillman, Jr., screenwriters Reggie Rock Bythewood and Cheo Hodari Coker, and editor Dirk Westervelt, commentary by with Biggie's mom Voletta Wallace, and his manager Wayne Barrow, Behind the Scenes: The Making of Notorious, I Got a Story to Tell: The Lyrics of Biggie Smalls, Notorious Thugs: Casting the Film, Biggie Boot Camp, Anatomy of a B.I.G. Performance, Party & [Expletive](never before seen footage), The B.I.G. Three - Sixty, Directing the Last Moments, It Happened Right Here, The Petersen Exit, The Shooting, The Impala, The Unfortunate Violent Act, The Window, 9 Deleted Scenes, 4 extended / alternate concerts, trailers from: Secret Life of Bees, Gospel Hill and Slumdog Millionaire, digital copy.

It artfully subverts any charges of shamroguery by telling a gripping story of small lives facing upheaval with all the spirit and craft of a classic American film from the era it captures so very well.

At a roundtable interview, DeWitt discussed her research for the role, how playing a real - life person informed her approach to the character, what it was like meeting the real Sue Webb, what she enjoyed most about working with Renner, what she learned about journalists and their determination to get to the truth of their story, her new film «Men, Women & Children» directed by Jason Reitman, and her upcoming projects: Joe Swanberg's «Digging for Fire,» Sam Raimi's remake of «Poltergeist» with Sam Rockwell, and a small part in the TV mini-series «Olive Kitteridge.»

Although the plot, once the filmmakers get around to revealing it, suggests that world - altering plans are afoot, the film still feels like a small - time crime caper, with a tongue - in - cheek attitude, and a lackadaisical delivery that explores about a half - dozen cool features of the theme park attraction (3D holograms, dream readers, etc.) that have no bearing to the story at large.

Washington, D.C. — In a historic year for African - Americans in films, in front of and behind the camera, the year's biggest winner at the 17th Annual Black Reel Awards was the small and intimate coming - of - age story of a young boy growing up in a tumultuous, yet nurturing community environment, searching for answers about his sexual identity in Barry Jenkins» cinematic masterwork, Moonlight.

Usually, it's his smaller, lightly experimental films which are his most satisfying — the time - lapse family saga of 2012's Everyday, his lopsided literary adaptation A Cock and Bull Story, or the blokey bants of The Trip and its sequels.