Sentences with phrase «so than any other film»

More so than the other films, this one really digs deep into the heroine, and the film is better off for it.

Kyle's Review: More so than any other film in the Nightmare series, just edging out New Nightmare, Nightmare on Elm Street 3: The Dream Warriors stands out as an impressive and worthy addition to the accumulated collection of True Horror Classics.

While the tone of the film changes in the second portion (from dreamy ideals to stark realities), many sequences and shots still carry that slightly surreal aesthetic, which heightens the intrigue and beauty of this gritty working - class limbo; even more so than his other films, Mud showcases Nichols as a sharp and artistic visual storyteller.

Not exact matches

The only thing I can hope for is that Perez will be our main striker this season just so I don't have to deal with an other season of Giroud and on his youtube highlight films he looks a much better finisher than Giroud.

The film itself is a bit scattered — in trying to cover so much ground, it sometimes feels as though the story itself is all over the place, and some of the points it makes (like the societal pressure on men to eat meat as a reflection of their manhood) are much stronger than others.

Clearly, I'm wearing more than just foundation in the «after» picture so I filmed a Get Ready With Me video to walk you through my general everyday makeup process and show you a few other products that have stolen my heart lately.

`'» Realizing that, outside of Freddy Krueger, they are the most popular and they haven't been featured in any sort of battle together, other than a few small fan films, so I thought, let's do it.

Poetic Justice is like that - so much worse than it should have been, and yet, for brief shining moments, so much better than any other 2 - star film in sight.

So yes, unless what I see tomorrow is quite a bit different than any other film I've ever seen in the format or a whole lot different than the trailer, hen you're right.

Turtorro can not save this film, but so help him, he tries, and he goes further than anyone or anything in bringing life to this bore, which still has enough other strengths at its back to be brought to the border of true decency.

Not perfect - the film is made on a tight budget and sometimes it shows - but this is so much better written than every other American comedy this year (apart from Burn After Reading) that it is embarrassing.

Two other films I have to mention as runner - ups: Zhang Yimou's Coming Home made me cry more than any other film at the festival, and the last shot is heartbreaking, but oh so beautiful.

On a more negative note, the film is designed and crafted in such a way that you take one side, with a certain perspective more prominently presented than the other, while the fact we're dealing with an ensemble feature does mean there's a lack of emotionality attached, as with so many characters to explore, we drift between them without ever feeling as though we've truly got to the bottom of their respective character developments.

The second place would be Woody Allen because it was so different than a lot of other films that he has ever done before.

Because the film sticks so closely to Megan's perspective, we see the Iraqis, whose lives the U.S. military upended through their invasion of the country, as little more than Others, giving off the feeling that they're merely supporting players in this one American woman's emotional journey.

She was so brilliant in that film; way more canny and intelligent than so many other older actresses would have played it.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Lady Bird, a coming - of - age story starring Saoirse Ronan that The A.V. Club's own A.A. Dowd said is «so funny, perceptive, and truthful that it makes most other films about adolescence look like little more than lessons in cliché.»

The problem with this film isn't that it doesn't hold the attention of its target audience so much as it doesn't really try to do much else other than to continue to present new characters in order to sell as toys and merchandise to them.

While other films have played with her image, Life Of The Party (directed by her husband Ben Falcone and written by the two of them together) is the first film that leans so fully on the sweet side of her, with results that are more conventional than her best work but funny and sweet nonetheless.

This is Tarantino, so the film is all about dialogue and character and not really breathtaking cinematography, so other than Tarantino's firm belief in preserving 70 mm, I'm not clear why he's pushing it for this particular film.

So no great surprise here that The Lincoln Lawyer turns out to be superior piece of crime storytelling with some characters clearly designed for recurring roles (in other novels and perhaps other films should this one do well) while others are designated for showy guest appearances as larger - than - life evildoers or tough - guy eccentrics.

We're going to be seeing films of all kinds and genres within this shared universe, and more so than any of the other MCU films, Black Panther feels like an invitation for everyone to take part — to tell stories from unique perspectives and world views, and to bring cultural, ideological, and social ideals to these comic book heroes.

A real movie lover's movie, The Aviator sees Martin Scorsese bring a touch of panache to this Howard Hughes biopic, which features probably Leonardo DiCaprio's best performance to date (though he does look rather too young for most of the film) and a host of other fine performances, none finer than Cate Blanchett, who is mesmerising as Katherine Hepburn (though never quite so mesmerising as Hepburn herself was).

It's a shame, though, that the other elements of the film are not covered in more detail than Neil's own accounts: Navarrete's music and Sean Bobbitt's cinematography are so stunning that behind - the - scenes chats with them would be very illuminating.

The film does drag ever so occasionally — some of the deep and meaningfuls have less impact than others — but for the most part the cinéma vérité style filmmaking doesn't work against the enjoyment factor.

The only other film in the Paramount stable that seems fetching (for the moment) is one many are chalking up as a Globes contender more so than an Oscar favorite: Jason Reitman's «Up in the Air,» starring George Clooney and Vera Farmiga.

In «Dark Crimes» Tadek becomes a crusader over a dead businessman for no reason other than he is a detective in need of a crime to solve, so the film may have purpose.

While the opening scene, which serves only as back - story and general reasons as to why it takes so long for Raleigh (Charlie Hunnam) to return to the Jaeger game, is fluff for the film and even in the moment felt unnecessary as opposed to just being retro - actively less awesome than the other greater action sequences.

Other than than that, we have three films that have captured the major guilds so far:

The Buzz: The first two «Pirates» films made buckets of money — despite scathing reviews, in the case of the second installment — so there's no reason to expect «At World's End» to be anything other than a tentpole picture for Disney all summer long.

Fox gave Bryan Singer money to finish the longer version, so there's no noticeable difference in the new footage, and the film looks and sounds excellent, though some sequences look more digitally shot than others.

This is more of an example than advice, but Frances McDormand did set the example of rehearsing, just running lines really quick with the other person you're going to do a scene with right before you film it just so that way you know how to play off the other person's reaction and it just makes everything easier.

One of the things that has made the series so popular has been its focus on family and being a fully diverse cast, making it much different than many of the other bigger films coming out of Hollywood.

Is it shooting fish in a barrel to put «The Emoji Movie,» a film for children that had no aspirations at any point in its creation other than to milk money out of those children's parents, so high on this list?

The idea behind the new credit was to put one person, other than the director, in charge of the visual elements of the film, so as to unify the design and end all the usual turf battles that a production had about the visuals.

Disney films do villains better than any other company, so it feels right that Sanders first port of call is making sure that Ravena is a memorable, nasty piece of work.

Casting, too, proves patchy, although perhaps less so than the film's other aspects.

When it comes to Hollywood blockbusters, that's often the best one can hope for, and Scott Pilgrim might almost be described as a better sort of misogynistic film because if offers distractions from its misogyny rather than foregrounding it as so many others do.

Their films are hardly ever shown on television (except for TCM, which will have a L&H marathon once every 18 months or so, and then not show them at all), and their very best sound films have not been available on DVD, other than for those 2 inferior (and now discontinued) discs from 2003 and 2005.

And until then, the film is so remarkable at synching its picturesque style to Moonee's seemingly limitless freedom that the one time they do fall out of sync feels jarring, almost offensive: In long shot, Moonee and her friends charge past a series of stores and toward the promise of ice cream, and even after the children have exited the frame, the camera lingers on the sight of an obese person on a scooter riding in the other direction, the sound of the scooter going over a speed bump nothing more than a punchline, an easy potshot, at the expense of a person who isn't even a bystander to Moonee's life.

So for this film more than any of his others, it certainly is beneficial (though just as certainly not necessary) to walk in with some prior knowledge of Smith's «View Askew - niverse,» which officially closes with Strike Back.

Lady Bird is something truly special: a coming - of - age comedy so funny, perceptive, and truthful that it makes most other films about adolescence look like little more than lessons in cliché.

That doesn't mean that these films are any less entertaining than the other superhero films we've seen this year, but they are a different breed of superhero movie, so viewers should remember that before going in.

Making The Irishman is on a whole other scale than the small indie films Netflix has worked on so far.

Other than «High Fidelity» Nick Hornby stories haven't done so well in their translations over to the film.

Reviewing Transformers 3 is a bit of a quandary, on the one - hand it is undoubtedly a better cinematic outing than Transformers 2, so low expectations are met and slightly heightened, but on the other hand films shouldn't really be congratulated for being slightly better than the eye - gouging you had anticipated.

It sounds like an odd beast, and casting other than Johansson is being kept under wraps so far, but even so, this has to be one of the films we're most excited about.

The film remains entertaining, but far less so than many other»80s blockbusters.

It is a very cool story with a very hilarious Borat - Ozzy type character... this is just a great movie and since it's a comedy but achieves so much more... maybe it should win best film awards... I feel excited for the cast but also for the original the room cast... I hope somethings good comes to them other than just Greg and Tommy...