Sentences with phrase «story than the first film»

It's a bit of a disappointment in terms of overall interest level, but if you need more closure to the story than the first film provided, it does tie up some of the important loose ends, not the least of which is the fate of Ming and his adjustment to his life of being a cop on the side of good.

Not exact matches

The sins revealed in these first three scripture passages are blockbusters — betrayal, idolatry, adultery and violence — the raw material for larger - than - life stories and films.

And according to The Hollywood Reporter, he's been brewing the idea of an epic film of the story since he first broke into the movie business more than 15 year ago.

Mirroring Joe's story is a series of testimonial videos submitted by people who saw the first film; their personal, intimate and often funny stories show that wanting to change is often easier than actually doing so.

Freeman (director Jackson's first choice for the title role) is inspired casting as Bilbo Baggins, and makes for a more likeable protagonist than Wood's rather other - worldly Frodo (who, along with Holm as the older Bilbo, makes an appearance in the film's opening framing story).

Colin Farrell stars as Doug Quaid — the role originally played by Arnold Schwarzenegger — while Kate Beckinsale and Jessica Biel are also along for a sci - fi story about implanted memories that says earthbound, rather than venturing to Mars as in the first film.

In fact, the first half of «Mississippi Grind» almost plays out as an unofficial remake of the 1974 film, sharing more than a few character traits and story beats in common.

The second film's success was perhaps even more staggering than the first: The Godfather, Pt. 2 garnered six more Oscars, including a win for Coppola in the Best Director category; Robert DeNiro won his first Academy Award in the Best Supporting Actor field; and the movie itself became the first and only sequel ever to win Best Picture honors.Next, Coppola began adapting the Joseph Conrad novel Heart of Darkness, transferring its story to the heart of the Cambodian jungle at the height of the conflict in Vietnam.

The original's commitment to tension and tone worked far better than the slackly - edited split personality of this film - a comparison almost directly invited by slavish repetition of many of the first film's story beats.

At the center of the film, however, is a story that not only functions as true continuation of the events in the original, allowing the characters to grow and change in different ways than the first chapter, it's surprisingly emotionally engaging and resonant.

But it's unfair to judge on a book on its cover (or title) and after seeing Matthew Vaughn's film adaptation which releases this weekend, I can honestly say that Kick - Ass is much better than I first expected and Vaughn's big - screen version of the graphic novel features sharp writing, brilliant performances, and of course, indulgent action sequences and story - telling.

Perhaps it's nostalgia, if not for the simpler thrills of childhood viewings (this was my first time seeing the film) than for the off - the - wall, predictable, and good - natured stories that the Disney studio has long dabbled in.

I love the Hunger Games series — both the books and the films — but even I kinda gave Mockingjay, Part 1 some side - eye, because it really felt like the first part of a story, rather than a film in and of itself.

Released weekly in the month up to the first film's 4th of July weekend release, the story's short length means it's much more condensed than the movie.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything beforfirst time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything beforFirst Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

It's pretty safe to say that if you belong to the first set, you're far more likely to enjoy the film than the second, as this is definitely a film aiming more for Eddie's fan base, not particularly concerned with its story or plot elements when they get in the way of allowing Eddie to do his thing in front of the camera.

Tokyo Sonata, at first glance, plays less like the work of Kurosawa than like that of Taiwanese filmmaker Hou Hsiao - hsien, but as the story of downsized executive Ryuhei (Teruyuki Kagawa) unfolds, following roughly the same blueprint as Laurent Cantet's Time Out as Ryuhei conceals his unemployment from his wife and two sons, it comes clear that Kurosawa's brilliant, refined take on mass hysteria in his horror films has been translated intact.

Grander in scope than any previous film in the series, the story spends most of its first 45 minutes globetrotting to catch us with all the key characters, and introducing us to the new ones, including the young Jean, Scott and Kurt, played winningly by Sophie Turner, Tye Sheridan and Kodi Smit - McPhee, respectively.

In a nutshell, I'd say that director Amy Berg tells the story of three murdered kids (and the teens accused of ritually mutilating them) more cleanly than the Paradise Losts, but without the sense of character or place that made the first Berlinger / Sinofsky film in particular such a landmark documentary.

Even though the film is due in less than three months, we're just now getting our first look at Cate Blanchett and Robert Redford in the true story of the «Rathergate» period of CBS News when Dan Rather was unceremoniously on his way out after a 2004 report about George W. Bush's ability to avoid service during the Vietnam War...

Even The Price of Salt — her second novel, adapted last year, by film director Todd Haynes, as Carol — was more than merely a lesbian love story (certainly a bold enough literary statement for 1952, when it was first published), occupying, in its intense focus on desire and its consequences, similar territory to Highsmith's thrillers about killers.

It's also nice to see a film that's more than just a goodbye - to - first - love story.

That's kind of a scary thought, and maybe that is what drone Oscar Isaac's NATHAN to drink, that he couldn't balance empathy and shit - behaviour when crafting an intelligence... stray strands like this make Ex Machina an even better film than what comes out of a first brush with just «the story.»

The film works much better than the first one, with the through line story (Tape 49) doing a better job of wrapping things together to cater to the larger plot line.

Most of the first «Iron Man» was devoid of a serious villain as it was origin story and the second film simply dropped the ball in that department (Mickey Rourke on the race track was more bizarre than terrifying).

«The Two Towers» will possibly be more popular than the first film, more of an audience - pleaser, but hasn't Jackson lost the original purpose of the story somewhere along the way?

Their stories have more in common than we're first led to believe, but for most of the film, they're married by parallel sensations of discovery and the fear of being far too young and disadvantaged to be navigating their grown - up quests alone.

The first half of the film runs nearly 30 minutes longer than necessary and never utilizes the amazing supporting characters that pop in and out of the story, including Giancarlo Giannini and cult veteran Mickey Rourke.

The story sounds like the simplest of things, but Benson sets himself loftier goals and achieves them like he's been directing feature length films for ages rather than tackling his very first one.

As well, the first half of the film is stronger than the second, as a cross-desert car race feels more like Smokey & The Bandit and less in line with the story that was so well plotted in the set - up

There isn't enough story here to sustain a full - length feature, and Shyamalan probably would have been better served making this the first short in an anthology film (indeed, it is rather reminiscent of a «Twilight Zone» episode, «Five Characters in Search of an Exit»), rather than stretch it out with weaker side stories and needless characters.

I know how ridiculous that sounds, but I was somewhat pleasantly surprised by the first film, which Sam Taylor - Johnson, Kelly Marcel, and Dakota Johnson (in a sly, genuinely funny performance) conspired to turn into a coming - of - sexual - age story in which a young woman took control over her body and her sexual desires in the face of men who would have be something other than what she is.

With all kinds of news surrounding Deadpool 2 over the past 2 weeks, it was no surprise that a trailer would come today — the a couple of days after FOX released a story saying that the sequel tested better than the first film.

For the first time, the story supports and adds to the action rather than distract from it; it's almost as though Anderson was holding back in the earlier films because he wanted to save the best for last.

Any movie like this made for the most part since the 1980s would talk the talk about showing the changes, but not show it, show it badly and / or be more sexually oppressed than not, but Russell has zero trouble from this first film he had control over himself dealing with all kinds of human sexuality, yet that freedom is incidental to character study, capturing the story and bringing it to life as he does so well here.

For his first film in more than ten years, writer / director Ben Younger («Prime,» «Boiler Room») tells the true story of one of the greatest comebacks of all time.

Frankly, I expected this track to be less interesting than the one created for the prior film; first flicks always have the most background to relate, and the rough time Coppola went through making it seemed to offer more opportunities for interesting stories.

In making the Pentagon Papers the focus rather than Graham (now there's a film that could have chimed with the times), an already complex and challenging screenplay has had to accommodate the fact that it was actually The New York Times that broke the story first.

It's true that the subject matter is darker in tone than the other releases, but the inventiveness and brilliance more than keeps the action moving and story perplexing (in a good way), thanks to a fantastic script from Bob Gale (Interstate 60, Trespass), who keeps the in - jokes and humor in perfect step with the first film.

Most would fault Beresford less than screenwriter Susan McMartin, giving us her first film since a story credit on the 1993 Pauly Shore vehicle Son in Law.

Directing with an even more restless energy than he showed in Kings and Queen, Desplechin sketches out a family tragedy, the untimely death of a first - born, that precedes the story by decades and then only overtly references it a few times, even as the shadow of that death hovers over the film: in the cancer that family matron Junon (Catherine Deneuve) has been diagnosed with, in the fragility of her teenage grandson Paul (Emile Berling), and in the odd sibling dynamics that have caused eldest daughter Elizabeth (Anne Consigny) to, in effect, legally separate herself from her brother Ivan (Mathieu Amalric, in a mesmerizingly manic - depressive performance).

If you didn't know anything about Jeff Nichols» Loving, the first few minutes of the film wouldn't look any different than the beginning of a 1960's love story between two people from small town Virginia.

Sadly, this is also the final film in the Alien series that I even claim to be part of the story, as subsequent entries do little more than destroy almost every facet that made the first two films so wonderful to behold.

Birdmen sets the engrossing story of the Wrights» war with Curtiss against the thrilling backdrop of the early years of manned flight, and is rich with period detail and larger - than - life personalities: Thomas Scott Baldwin, or «Cap» t Tom» as he styled himself, who invented the parachute and almost convinced the world that balloons were the future of aviation; John Moisant, the dapper daredevil who took to the skies after three failed attempts to overthrow the government of El Salvador, then quickly emerged as a celebrity flyer; and Harriet Quimby, the statuesque silent - film beauty who became the first woman to fly across the English Channel.

They're a close - knit team now — more so than they ever were in the first film — and that gives the story a new dynamic that makes it feel fresh.