Sentences with phrase «sort of film like»

Not exact matches

The promo made by the South Korean broadcaster features the likes of Son Heung - Min, Harry Kane, Javier Hernandez and Mauricio Pochettino hilariously superimposed in what looks like a short clip from an old Korean film of sorts.

When I was producing the film about Old Sturbridge Village — this was the point at which the film bug and the history bug sort of fused, like a nuclear reaction.

Steve: One of the things that I wrote in my notes as we were watching it was we don't even get sort of a hand - waving definition of either intelligent design or evolution until something like a half - an - hour into the film.

I don't necessarily have to seek out to end up looking exactly like Margot Tenenbaum... it just sort of happens organically whenever a picture shows up or I end up re-watching the film.

I am interested in all sorts of things, but really like going to the cinema or watching films at home, eating out, visiting places of i...

I like training martial art, football, films, cars, all sorts of music and I like to travel.

There's no denying that when George Clooney wants to be an «artist,» he's more than capable of making some lovely art films, and that's clearly the case here, but there's no valid reason why he should spend his money producing a painstakingly slow travelogue set in the Italian countryside like this and allow it to be disguised as some sort of «thriller.»

David Starsky is just the sort of uptight, anal retentive stick - in - the - mud that Stiller's has a lot of success with in films like Meet the Parents and Along Came Polly - while Wilson's Ken Hutchinson is reminiscent of virtually every character in the actor's repertoire (with few exceptions, including his rare dramatic performance in The Minus Man).

The film feels like an experiment that always straddles the line between provocative and pretentious, but at feature length, that sort of strategy becomes tedious.

It's overly simplistic, sentimental, and idealistic, but we do need films like this, and I will always defend Capra and his work for this reason, even if I don't want to watch this sort of thing all the time.

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

There's a tedium to the sort of repetition that merely rehashes and recycles the same wink - wink barbs that worked the first time around — but also a relatable, even pitiable humanity in the film's desperation to be liked.

As The Disaster Artist (both the book and the movie) details, he made all sorts of bizarre, incompetent decisions, like shooting his movie on 35 - millimeter and digital film simultaneously at prohibitive expense, building elaborate and pricey sets for locations he could have filmed on for free, and firing crew members without cause at the drop of a hat.

You have to be in a specific sort of mood, and in a peculiar frame of mind, to fully immerse yourself into a film like «The Fits» and walk away feeling like you've just seen something special.

It's like the dude voiced out my deepest, darkest, insomniacest sentiments and filmed it in a sort of hyper - nostalgic, Caligari surreal docudrama.

I was waiting to feel some sort of emotion... and I did, when the film ended and I said to myself, «I'm so dissapointed that this film, «Like Lazy» won best film at Sundance Film Festival!

You feel a sort of united front the couple present when they are engaging with painfully chatty outsiders like their neighbor going on and on about her children or the constantly upbeat realtor attempting to reassure D they'll find good buyers (Hogg's former film alums Mary Roscoe and Tom Hiddleston, respectively).

This time out the film is set in China, so the Middle Eastern inflections of the first score are gone, to be replaced by stuff about as Chinese as Klaus Badelt's The Promise, but like that score it's not hard to enjoy this sort of material as a kind of guilty pleasure.

There is an attempt at some sort of twist ending, a la M. Night Shyamalan, but even this adds so very little to the story as a whole, and comes off like a gimmick just to give the film a «big reveal» even if it doesn't really merit one.

I'd like to think that he would appreciate our film's intention to capture forever, in Koni's words, «the sort of everyday life that is accessible to everyone and understood in its cruel internal irony by almost no one.

While the PC version used low resolution pixel art, the XBLA release has very well drawn and animated assets that look like cartoonized versions of pulp adventure films, the sort that inspired Indiana Jones.

2016's surprise sort - of - sequel 10 Cloverfield Lane provided our first look at the anthology - like nature of this loose franchise umbrella, and while we wait to see a trailer for God Particle (now possibly titled Cloverfield Station) and learn when and how we're actually going to see that movie, we have confirmation that Cloverfield 4 not only exists, but that it's already completed filming.

We recently sat down with Larson and discussed what sort of person Justine is outside of the film, what it's like shooting in chronological order, and more.

Whereas the sequence in KINGSMAN 2 where * SPOILER ALERT * Cara Delevingne's sister has to get fingered * END SPOILER * seemed like it was knowingly pushing the audience's buttons, sort of like «oh, you didn't like the gag from the first film?

And while, on one hand, a Dukes of Hazzard film in the Peckinpah mold sounds totally ridiculous, it also sounds like the sort of ridiculous movie I'd watch without a second thought.

There isn't one cheesy line to be found in this movie, which seems to be like some sort of miracle for a film adapted from young adult literature.

But to me he was always this giant behemoth, and to do it as sort of a normal - size guy didn't seem to fit the character, and more importantly I think we got a lot of value out of him being larger than life and, you know, this fantastic physical presence in - and I mean fantastic like otherworldly - this otherwise very grounded film.

The simplest way to keep a film from looking like a collossal failure is to be honest about what sort of film it is, and give it a budget that makes sense.

He brings sort of an everyman mentality when it comes to discussing his likes / dislikes of a film.

People like Wiseman, especially his earlier films, I take a dislike to because he applies a point of view: a good - guy, bad - guy sort o» thing.

While English comedies of this sort can go the way of cute and light Feel Good Brit Flick (an often way too saccharine genre), they can also produce generally winning films like «Billy Elliot» and «The Full Monty,» and production company Big Talk have an excellent track record, with «Shaun Of The Dead,» «Attack The Block» and «Sightseers» among their triumphof this sort can go the way of cute and light Feel Good Brit Flick (an often way too saccharine genre), they can also produce generally winning films like «Billy Elliot» and «The Full Monty,» and production company Big Talk have an excellent track record, with «Shaun Of The Dead,» «Attack The Block» and «Sightseers» among their triumphof cute and light Feel Good Brit Flick (an often way too saccharine genre), they can also produce generally winning films like «Billy Elliot» and «The Full Monty,» and production company Big Talk have an excellent track record, with «Shaun Of The Dead,» «Attack The Block» and «Sightseers» among their triumphOf The Dead,» «Attack The Block» and «Sightseers» among their triumphs.

Joining Croft in the last third of the film is Kosa (Djimon Hounsou), an African tribesman, who, like all movie tribesmen, can instantly and conveniently speak all local languages, saving Croft from all sorts of mischief.

The film is broken into ten chapters, each annotated like sections of a book, each bearing the sort of quasi-mystical or vaguely ominous title that you'd expect Herzog to affix: «The Glory of the Internet,» «The Dark Side» and so on.

In the end, it plays like the sort of thin comedy about creativity that Woody Allen (whose better films are also homaged here) regularly knocks out.

Like many of Rogen's other films, «Sausage Party» exists to poke fun at films in general with its meta - references and seeks to emphasize some sort of screwed up part of our psyches.

With such a farfetched plot already in place, this is the sort of film that could have easily degenerated into a muddled farce with a one - note stand - up comic as the lead, but with a good comedic and dramatic actor like Kline at the forefront, he is able to keep the tone of the comedy and drama appropriate to each scene.

I just don't understand how a film like this does so well when its essentially a lax remake of sorts, a very, very wholeheartedly average sequel, its very strange.

Naked is a very inconsistent film with dumb plot points and an incredibly predictable conclusion, which sort of takes away from the comedy that does work, but I'm not going to be too picky about a film like this.

For a formula film, it's watchable stuff for those who tend to like these sorts of films.

And in a twist on the sorts of freewheeling montages in which Billy Crystal once specialised, a droll film montage showed what various Oscar hopefuls might have looked like with black performers added to the mix.

«Hamlet 2,» «Pineapple Express» and «Sex and the City: The Movie» seem like the sort of films that would normally never land the moniker «Oscar nominee,» but this is a category where that does not necessarily matter.

Or, fuck - the last 25 years, since 1988 \'s The Blob was the same sort of example as we \'ve seen the last 10 years in \ «horror \» re-establish (and I suppose with films like The Haunting \» 99, never completely went away).

Pettyfer is pretty and easygoing but lacks the sort of charisma that comes with a more focused sense of interior purpose, and the film basically feels, at its core, like a mash - up of carefully cross-tabbed teen movie trends, which is probably what happens when you set out in pre-production with the chief intent of manufacturing the next big «Twilight» - type cinematic franchise.

I feel like we put a lot of sort of fun Easter eggs in there for fans of the first film where the sequel actually visits the first movie.

It's like an anniversary clips show for a long - in - the - tooth sitcom, filmed with the same sort of production values as a backyard porno and scripted (by an uncredited writer) with almost exactly the same kind of ear.

Indeed, Leigh's own capsule description of his film, published in the Cannes film festival catalog, sounds like the sort of thing Jack Valenti might have come up with for an after - dinner speech: «Secrets and Lies is about roots and identity, the ever - changing images we all have of ourselves and each other, and our compulsive need to reaffirm constantly who and what we are, and where we come from.

Cera delivers the one natural - seeming performance in the picture, the one that conveys legitimate exasperation for mothers who call him «puppy» and girlfriends who talk on hamburger phones and put abandoned living - room sets on his lawn as some sort of shrine (like the film itself) to fashionable quirk.

Fragoso: Mud, in contrast to a film like Take Shelter — which sort of revels in the psychological horrors of Michael Shannon's character — is a bit of a lighter film.

«Such a delight» cast & crew statements do little to bolster the actual quality of the docu, but because the film is sort of fun in a trash - cinema way, you feel like forgiving a lot of the crimes of self - regard herein.

With its larky tone and half - hearted style (Carol Reed's famous Dutch camera tilts are little more than window - dressing), it's the sort of film you'd expect a nation like ours, that doesn't take film seriously, to revere.