Sentences with phrase «specific ending of the film»

The specific ending of the film, which wisely avoids the worst mistakes of the book and at least cuts things mercifully short after a series of catastrophes, is not successful or convincing; in fact, it's rather clichéd and banal, but the intuition that violent, terrible acts flow inexorably in part from Americans» unawareness and incomprehension of the simplest facts of their own lives is undeniably true.

Not exact matches

Though Nolan offered some vague thoughts on Alfred and Bruce Wayne's final encounter in Florence, he was slightly more specific on the mention of Robin's name at the end of the film.

This is a film that stays with you long after the end credits have rolled - not for any specific scene, but because of the sheer darkness of it all.

Though these London billboards fail to name one specific individual at fault (a la the film's Chief Willoughby), the open ended nature of the «How come?»

Demanding a specific kind of active spectatorship, Borgman is a complex film with heat, and somewhere in the middle of it there's a performance within a performance that ends with a declaration of intent that stands as one of the most existentially chilling things in cinema this year.

She's helped considerably by a fine cast (including the too seldom seen Marie Riviere and Andre Wilms), but in the end it's Bruni Tedeschi's sure grasp of the milieu — and in particular her acute understanding of the specific foibles of a rich, arty but out - of - touch class nostalgic for an earlier era — that makes the film a modest but surprisingly substantial delight.

Hanks plays a man forced into a terrifying situation and he does the role so much justice, especially in a specific scene near the end of the film, he makes you want to cry.

The knowledgeable Maltin and Alamo expert Frank Thompson lead the track with screen - specific film historian observations, acknowledging each major contributor and their other work and defending the depictions you might describe as dated, while lamenting the end of Hollywood's Golden Age.

By its end, however, the themes that make the film stand out in the first place don't seem to come with any specific message attached, which is disappointing, and it suffers from the same obvious potholes regarding parents and police that so many of its compatriots fall victim to as well.

The usual garden variety studio special features are on hand, including an alternate ending, eight deleted scenes, and four mini-segments devoted to various aspects of the film, including an overview of the Insidious universe, a glance at The Further, a featurette devoted to Shaye's Elise, and even a small homage to this newly designed demon specific to this fourth chapter.

It's the film's universal truths — among them the constant splintering and rebuilding of familial relations, the open road as an open - ended metaphor, and the need for continued purpose and relevancy as one grows older — that makes this six - time Oscar nominee (including a Best Picture nod) less a movie involving a specific state and more a film evoking a specific state of mind.

The latter includes tweets, blurbs, «paid editorial» in reputable newspapers, explicating and celebrating the film and its mythos, online features speculating on the film's loose ends and on where Marvel movies can possibly go next, and fan commentary parsing with Talmudic exactitude the sources of individual images or moments in the film, tracing them back to specific frames in specific issues of specific comics.

The film leads us in an endless loop of images, objects and tableaux vivants, with no specific beginning or end.

London - based artist Mark Lewis distills complex ruminations — on film as a medium; on the social and economic character of specific places; on the relationship between observer and observed — into deceptively simple films that marry Hollywood's high - end production values to Andy Warhol's dazed gaze.