Sentences with phrase «so moving that film»

Who could forget the stir surrounding the plight of a vacationing family, a piece so moving that film rights were optioned well before the game was released?

Not exact matches

As the film progresses and the ball starts moving away from its center position of the image because of poor camera work, the algorithm can essentially rotate each key frame so that the ball magically appears in the same spot in every frame.

So I just saw (for the second time) the very moving film ONE TRUE THING.

In an unusual move, he petitioned the court to release seven juveniles into his custody, so that he could film them during a 10 - day sail on his yacht.

So perhaps Ms. Peeters» film can tell us some things about us as well — it does not hesitate, after all, to move its camera from the harassing men onto the various soft - porn advertisements that also haunt the streets of Brussels, and ask the old - fashioned feminist question, one which Ms. Brown's magazine actively mocked and undermined, «How can we be respected when images like this are displayed and circulated?»

The movie is the brainchild of retail mogul Mart Green, who heard Steve Saint and Mincaye speak at a conference in 1999 and was so moved by the story that he decided to turn it into a film — two films, actually; the companion documentary, Beyond the Gates of Splendor, released last year.

NOTE FROM KIM: My family just moved to Florida so I'm not posting on my blog or filming videos as much right now.

This film is reusable, so you'll never need to worry if you move or need more protection in a different room in your house.

As a professional explorer, Davis travels the ethnosphere so he can discover and describe it in a stream of moving and popular exhibits, books, and films.

Already a success in the home — Microsoft says it has sold eight million Kinect sensors so far — controllerless computer interfaces could soon move beyond play to help out in the work place, for example, enabling manipulation of digital files using only gestures à la the film Minority Report.

I'm going to try to start filming a quick, 60 - second demo of these Fit Friday workouts so y ’ all have a visual of the moves -LRB-:

It's so wonderful to see this movement for female empowerment and equality move forward and spreading to all industries, from film to fashion.

Being on set, it was amazing seeing so many moving parts coming together to create a film.

Many of the films that propelled these actors to the top were of the action genre, so aspiring thespians, take note — if you want to be in a movie that pulls in top dollar, you might want to brush up on your Lara Croft moves and choreographed hand - to - hand combat.

Yet the film moves so quickly and fluidly and with such unnerving violence that it doesn't give you much time or space to think through the serious, urgent issues it raises.

«The Shape of Things» marks the last good film LaBute has made (for whatever reason he moves on to goofy Hollywood thrillers like «The Wicker Man» and «Lakeview Terrace» and the embarrassing «Death at a Funeral» remake - one would think those films were from a totally different human all together; my bet is he became a drug addict because no one looses such talent so quickly) but this wonderful, tricky and rewarding series of films is well worth your serious time and attention.

Perhaps in the early 1930s when the film is set, things were not so radically different for women than they were in the early, pre-suffragette 1890s when Oscar Wilde wrote his play — but, without wishing to suggest that the battle of the sexes is now definitely over, things have certainly moved on, and the film's preoccupations with womanly virtue and womanly repute is of more historical interest than contemporary relevance, leaving the distinct impression that this «updating» of Wilde has been done only by half measures.

Much in this film deliberately doesn't move, including the plot until the last 15 minutes or so, when things pick up, but not enough to actually become compelling.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

Director Sylvain White, whose last film was the equally unnecessary I'll Always Know What You Did Last Summer, manages to take the joy out of a dance movie by jerking the camera around and speeding up the dance moves so much.

This was indeed one of the top ten films of 1985 and to understand on its golden 30th anniversary why this movie moved audiences so deeply and why the greatness of this masterpiece was not by perfection or logic but by heart.

Most of the family films churned out today are so junky it's almost a shock to find one in which the animals never spout sassy one - liners, or show off their hilarious hip - hop moves.

This film could have been so much more, but Cleveland, as it is portrayed here, is the same as any other American city, there are no comments or reflections about how Danny DeVito succeeds where the dashing Paul Rudd fails, and... well, Jack just moves into the garage, rather spontaneously and without much attention paid to the failure of the film's principal marriage.

The film moves back to the Capitol for more of the extravagant decadence and purple - pink luxury that was so puzzling in the first movie.

Getting a sizable jump on the Easter bunny (the release was moved up Stateside from its original March 23 berth, presumably so as not to butt heads with the animated Sherlock Gnomes), the family - friendly film should nevertheless generate some respectable lettuce for Sony.

It was a bold move that didn't work out so well for the Indiana Jones franchise, but here it was one of the most interesting things about this film.

The film is so full of ideas and so dense that its narrative splinters, moving tangentially, and ultimately is weighed down by its rant and rhetoric.

Even though it tells a simple tale, has only two main characters and features several scenes that are mostly silent, it is more moving, more memorable, and just so much BETTER in every way possible than 95 % of the films I see each year.

Ford's moving debut A Single Man received similar criticisms from its few detractors, so it sounds like we should expect a similar response to his latest film, although it looks and sounds like a completely different movie.

Woody Allen is so reliant on American jazz in his films, when he moves away from it, it always feels like a big change.

Once Radcliffe signs on things outta get moving pretty quickly for the film so expect much more out of this very soon.

Eisenbergwas recently cast as Lex Luthor in Batman vs. Superman, which begins filming this summer, so there's a good chance that he will move straight on to the Now You See Me sequel immediately afterwards.

The Duffer brothers» «Stranger Things» on Netflix and the Jeff Nichols» film «Midnight Special» both call back to a specific attitude and time in pop culture (and in fact, it's the same time for both of them), but they manage to do so masterfully enough that it feels both like going back to something familiar while moving forward into unexplored territory.

Indeed, Nispel's film is so slow - moving that it blows its one lead — it was actually completed before the battle - heavy spectacle of 300 and Apocalypto, but still manages to look and sound like a leaden knockoff.

So, since the film does nothing but observe Finbar's daily interactions with other characters, and since he changes very little by the end, the movie ends up moving nowhere fast.

Like Jolie, the writers also do a good job of compartmentalizing each piece of the story so that it feels like a fresh chapter with renewed interest, while also keeping the focus on the emotional / spiritual arc of Louis as a consistent throughline, so that the movie's climax (which is much more metaphoric and spiritual than literal) has significant impact and satisfies in an iconic and moving way that is hard for any film to pull off.

In between the admittedly excellent musical moments, no character in the film speaks except to deliver the exposition that moves the already thin plot forward, and the pace moves forward so quickly for everyone except August.

The reason why Lionsgate are moving quickly is because they're running out of time with shooting on the film planned to begin in August so they can have access to Jennifer Lawrence before she reports to Fox for the «X-Men: First Class» sequel in January 2013.

DVD Extras A great range of features for a film so old — including an audio commentary, deleted scenes, three documentaries (The Great Idea, The Self Preservation Society and Get A Bloomin Move On) and a theatrical trailer.

But what makes Haneke's film so intensely moving is the sense she provides of the character's remarkable mind and strength of character, making us grieve for what's gradually lost.

Taking it in context as to when this film arrived, it's no wonder the Coen Brothers took Hollywood by storm, even if they did so on their own terms and largely outside of the studio system, a move that has allowed them to keep final cut on their films ever since Blood Simple.

In an age where all pop culture moves at lightning speed and few works stick around long enough to make an impact before they're replaced with the next thing, the fact that a film such as this one can be so instantly and deservedly iconic is worthy of celebration.

But 20th Century Fox seem to think they might have something, as they moved the film from an inauspicious January release date to the height of Oscar season, on a similar date to the one that proved so successful with «Life Of Pi» last year.

More importantly than anything, it cuts close to the bone, with much of the film feeling like Gilliam confronting his own mortality: «for all the film's flaws, it feels like a very personal and moving piece of work as Qohen moves towards some kind of acceptance that his time on Earth will be brief in the grand scale of things... it's not so much a film about a search for a meaning, as an embrace of meaningless, and it's fascinating in that respect.»

Perhaps that's why large portions of this film feel like scenes Toback just wanted to use up somehow — particularly the Grodin sequence, in which his character rails against his fading faculties by turns sweetly and violently, and which might have been moving if it didn't feel so detached from everything around it.

Having tackled the gangster genre in his last film Black Mass, Cooper's moved right to his culture's most potently mythic territory, pinpointing its peak moment: the climax of the so - called Indian Wars and the fading of the misguidedly romanticised American Frontier.

It's also worth noting how infrequently people their age are allowed to play roles as leads in a romance; so considering the demographic for this film, it certainly would have been a smart move as well.

Verdict: The second directorial feature from «Eastern Promises» writer Steven Knight after so - so Jason Statham vehicle «Hummingbird,» «Locke» was both more stripped down and more ambitious: a film set entirely within a moving car, shot in real time, with only one actor on screen (the rest of the cast are heard over the phone, but never seen).

Eight VFX, which worked on the film with helmer Craig Gillespie, needed to find a way to get the best possible scans of Margot Robbie so that her face could be rebuilt in 3D and matched to the body of a skating double who would do the most complicated and dangerous skating moves in the Tonya Harding drama.

Lynch's film deeply moves me, and I'm sure many others, and it surely doesn't have to be a conventional narrative to do so.