Sentences with phrase «such a good time filming»

We had such a good time filming these - they are real conversations that we've been having off camera, so they really are authentic to how we feel and how we actually speak about these things.

Not exact matches

On Wednesday, Hulu named Joel Stillerman as its chief content officer, a newly - created role that will oversee the streaming company's overall content strategy at a time when Hulu is looking to expand its original series and film offerings to better compete with rivals such as Netflix and Amazon.

While Black Panther rode a huge wave of critical acclaim and fan excitement to the biggest opening weekend ever for the month of February (and the fifth - largest of all - time), raking in more than $ 426 million worldwide, a small number of Internet trolls still did what they could to dampen the good vibes surrounding the trailblazing film, which features Marvel's first African - American director (Ryan Coogler) and a cast led by black actors such as Chadwick Boseman and Lupita Nyong» o. Starting last week, in the first few days of Black Panther «s highly - anticipated theatrical release, some Twitter accounts started trying to spread false accounts of attacks at screenings of the movie.

The movie, from Time Warner's (TWX) Warner Bros., won awards in categories such as costume and production design, as well as makeup and two sound categories on its way to scoring more total Oscars than any other film Sunday night.

WATCH: Some of the best romantic movies are set in London (think Notting Hill, Love Actually, and About Time), but popular feature films such as Skyfall or Sherlock Holmes offer action - packed alternatives.

But considering it is only like a 15 - minute film, and having so much to squeeze in, in such a small amount of time, he pulls it very well.

«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.

It's Spielberg's best and truest action film since Jaws, relentlessly paced, pitch - perfectly acted (the young Fanning is almost certain to get a Best Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has enbest and truest action film since Jaws, relentlessly paced, pitch - perfectly acted (the young Fanning is almost certain to get a Best Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has enBest Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has ended.

Caesar was then hired by Warner Bros and it was during this time that he produced such Warners films as Her Majesty Love (1931, with W. C. Fields) and Fireman Save My Child (1932, with Joe E. Brown) In 1934, Caesar won a «Best Original Story» Academy Award for his now - classic crime yarn Manhattan Melodrama, a film that spawned several remakes, both official and otherwise.

The opening sequences are among the best ever filmed treating the sheer terror and adrenaline rush of an out - and - out chase, and are nearly silent the whole time, such is the high action quotient.

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.

Continuing to dutifully pursue his craft throughout the early»90s, Walsh again returned to a higher profile with appearances in such films as A Time to Kill (1996), William Shakespeare's Romeo + Juliet (1996), and My Best Friend's Wedding (1997).

So well - paced, well - executed, and helming one of the most needed stories in such a long time, «Detachment» is the type of film that is right up my alley.

And, though the studio was shut out of the best picture nominations for the first time since 2010, it still picked up five nominations in other categories for films such as Before Midnight (one of critics» favorites last year) and Woody Allen's Blue Jasmine.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle way so multiple viewings is beneficial and a lot of fun.

The big lebowski is one of the best films of all time the characters have a likability that most films cant capture, the dialogue is one of the funniest and most natural I have ever seen and the film has a lot of things to uncover such as theories that are not directly told but in a subtle

It's really hard, isn't it, to defend, spend time on, invest any emotion on an institution that could continually, and repeatedly, up to and including this year, make such ridiculous choices when the better films are staring them right...

Although he supposedly retired to Tasmania in the early 2000s, it is very difficult to see a substantial decrease in his level of engagement or activity, though it did give him more time to write for such outlets as Senses of Cinema and communicate his passion for film history, as well as contemporary cinema, in a series of lectures or talks (I'm sure he'd prefer the latter term) held over a ten - year - period at the State Cinema in Hobart.

The World's End is such a good time purely as a film about men of forty reconnecting and reflecting on their youth that you don't want that movie to end and become simply a springboard for more graphic action.

As well - known and beloved as almost every film from 1941 (a year that gave us such films as Citizen Kane, The Maltese Falcon, and Sullivan's Travels), Dumbo feels a bit ahead of its time.

It's done with such a knack for timing that it even manages to be amusing for adults, as well, a rare thing in many recent animated films.

There are lots of problems I had with the film, beyond its blandness, such as the awful ethnic stereotypes and the completely loopy geography, but I would have forgiven much of that if I'd been having a better time.

Recently topping The New York Times» list of the century's best films, writer - director Paul Thomas Anderson's compulsively fascinating portrait of capitalism and religion at war for the soul of America strives for greatness at every turn — and Day - Lewis recognized that subtlety had no place in such a searing vision.

Chazelle, the quintessential film nerd, lays in a good supply of trainspottery factoids about his aesthetic choices amid the more practical information such as the amount of times they shot the iconic dance number with the LA sunset as a backdrop (three times over two nights in a half - hour window as the horizon shimmered pink).

Aladdin came at the right time for Disney, capitalizing on the worldwide popularity of Robin Williams and widespread enjoyment of hand - drawn animation months after Beauty and the Beast became the first such film to get a Best Picture nomination at the Oscars.

It's not for everyone, and best appreciated by those who already have a taste for such things (kind of like BDSM, actually), but the 100 - minute running time flies by, and the film remains entertaining even when it begins to spiral out of control.

I've repeatedly been wowed by how good Twilight Time is able to make old films look on Blu - ray with such a low profit ceiling.

It's such a wonderful score, and it's so good to be able to hear all of it for the first time away from the film - but on the other hand, the original album was exceptionally well - sequenced, balancing the action / adventure and romantic sections beautifully with each other.

Between this and the balanced approach Tsui gives to the woman's point of view in many of his romantic films (Working Class, The Lovers, Love in the Time of Twilight, Green Snake, etc) as well as the brilliant job he and Carina Lau do in re-envisioning the notorious Empress Wu in the Detective Dee films, I wonder if Tsui should be getting more credit for progressiveness in his depictions of women, especially relative to such macho directors as Woo, Sammo Hung, Jackie Chan, Ringo Lam, Wong Kar - wai and others of that generation.

It garnered the Best Actress Award for first - time actress Machiko Ono, who went on to star in acclaimed films such as Like Father, Like Son (Hirokazu Koreeda).

In fact, «Winter's War» is such a generic and joyless experience that your time would be better spent watching a supercut of all the films and TV shows that it imitates instead.

It'd be foolish not to praise a film that shows this much restraint in telling such a common story and places its entire weight on the shoulders of a well - drawn, empowered female protagonist who nonetheless feels congruous with the times.

This 82nd Oscars is the first time since the»40s that 10 films are nominated for Best Picture, a decision made to include the diverse range of options in the film industry such as indie film Precious.

But now, alongside film - makers such as Jordan Peele (Get Out) and the Safdie brothers (Good Time), Baker feels like a different director for a different tTime), Baker feels like a different director for a different timetime.

For such a minuscule budget, the film has some pretty impressive effects for the time, utilizing camera tricks as well as great make - up to terrorize the audiences with horrific scenes that come close to crossing several lines.

Good Kill, for most of its run time, is as morally pragmatic as a film like this — with such an obvious message — needs to be.

The way she handles time, and how she uses seemingly innocuous and naturalistic moments between characters to develop such a strong, sensitive and moving film is the sort of thing one would expect from a well - established master instead of an up and coming filmmaker.

Director Michael Showalter, best known for TV acting in the likes of «The Wet Hot American Summer,» has a remarkable sense of comic timing, and gets such outstanding work from his cast that one can see this film already being considered for year - end awards for Ensemble Performances.

Law, once upon a time, was the king of the chick flick (well, he was when I was a teenager and swooned a lot), but has more recently been seen in more action and adventure films such as the Sherlock Holmes trifecta and the upcoming King Arthur.

As such, there's no better time to go back and revisit it after several years in order to answer the question of whether this is a film that truly deserves this treatment, or if it's an early stumbling block best left forgotten.

Considering that its writers / directors Jason Friedberg and Aaron Seltzer are previously responsible for such films as The Starving Games, Disaster Movie, Meet the Spartans and Vampires Suck, you might easily think that their latest effort, Best Night Ever, is yet another parody, this time lampooning the raunchy, similarly themed Hangover series, Bridesmaids and Bachelorette.

She mixes beautiful comedic timing with utter rage - fuelled despair and delivers some of the best film dialogue I have heard in a very long time with such class that certain moments got a round of applause.

However, even though I've viewed the film upwards of ten times, my enjoyment of Se7en has yet to wane, largely because it's such a well - realized and expertly executed piece.

There other flubs in The Next Best Thing (such as a line where Robert mentions it's the 21st Century in a scene that, in the film's time frame, should be set around 1993; or the fact that Robert's sole love interest, a cardiologist, has no name and is rather comically listed in the closing credits as «Cardiologist»), but to go over them would be as pointless an exercise as the entire film is.

With Good Luck Chuck just around the bend, and making such a desperately naked play to position itself as the next Wedding Crashers, I figured it's time to re-post a slightly redacted version of that film's original review, originally published in Screen International upon its theatrical release in 2005.

Ayer, best known for writing TRAINING DAY and one of the greatest films of 2003, S.W.A.T., has had a pretty steady directing career so far, with films such as HARSH TIMES, STREET KINGS, and END OF WATCH taking up space on his CV.

I've seen The Shining countless times as I'm sure many of you have as well and the idea that Room 237 successfully opens up so many new doors in such a way that it makes any return visits to this classic almost like watching the film for the first time again makes this film a must see.

An extraordinarily entertaining film that shines a light on one of the greatest horror films of all time in such a way that will blow your mind and is a «one - of - a-kind experience that is also one of the year's very best films.»

Chris Alexander is the internationally - published editor - in - chief of such notable film magazines as Fangoria, Gorezone and Delirium as well as a long - time contributor to daily Toronto newspaper Metro.