Sentences with phrase «such a moving film»

They weren't catching the wave of excitement Selma's mere presence brought to audiences — not because history was about to be made with the first black female director in the Oscar race, but because Selma was such a very good film, such a moving film, such a sensual, breathtaking, wholly original work that no one really knew what to do with it.

The images are marvelous, a lovely example of Ghibli hand - drawn animation and a reminder of the kind of personality that comes through this kind of art, but it is the compassion and depth of character that makes it such a moving film.

Not exact matches

New technology that combines old ones often makes such things possible, much like film blended record music with moving images to create an entirely new medium.

There are a number of films in this category, moving from degradation to redemption, that are my favorite genre of films, if there is such a thing.

I'm not sure the film even needs such a premise to be effective, (in fact, it may distract from the main point a bit... and I hate to think there are people who need it to be reversed in order to empathize), for what really moved me was its depiction of bullying, which is based on real reports from LGBT kids.

Yet the film moves so quickly and fluidly and with such unnerving violence that it doesn't give you much time or space to think through the serious, urgent issues it raises.

«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 hard to get bored when the film's moving at such a relentless pace.

And the first half of of the film goes to great lengths to stay away from such movie stereotypes as maverick cops kicking down doors, waving their firearms and shooting at anything that moves.

After an apprenticeship with the Republic western and serial units, Webb moved into the big leagues at Warner Bros., where he scripted such adventure films as South of St. Louis (1949), The Big Trees (1952) and The Iron Mistress (1953).

Jason's choice to direct such a different kind of film gives him great merit... and the result is a multi-layered, rich very moving film that takes one in a myriad of emotional directions.

Carla Gugino, such a memorable presence in such films as «Sin City,» goes full on in a domestic role as divorced Mom who may move to Africa (she has received a mysterious «grant»).

Firmly established as a Broadway leading man in the early 1960, Lockhart found that worthwhile opportunities for black performers were severely limited in Hollywood; as a result, he moved to England, where he appeared with regularity in BBC television productions and in such films as A Dandy in Aspic (1966) and Joanna (1968).

While at work on Fifteen Minute Hamlet, Louiso moved to L.A. to further pursue his screen career, and, after appearing in such films as Scent of a Woman (1992), Apollo 13 (1995), and Jerry Maguire (1996), he had his most high profile role to date in Stephen Frears» widely celebrated adaptation of Nick Hornby's High Fidelity (2000).

Best known for his animation work in films such as Ponyo, Howl's Moving Castle and Spirited Away, he stays fairly true to Mary Norton's 1952 children's novel The Borrowers upon which the movie is based.

After the impact of these two features (the latter screening at Cannes and championed by such critics as Pauline Kael), Schepisi moved on to directing films overseas, including such varied works as Barbarosa (1982), Plenty (1985), Roxanne (1987), The Russia House (1990), Six Degrees of Separation (1993), Last Orders (2001) and the HBO - financed Empire Falls (2005), which won a Golden Globe for Best Mini-Series or Motion Picture made for Television.

It doesn't even feel like any of George Clooney's past films, there's a great amount of depth to it, but it also moves swiftly and has such a vast scope in terms of characters and storytelling within this «tiny» town.

As if that's not aggravating enough, on top of being uneven, the style of the film is already pretty problematic by its own right, because beyond pacing and focal consistency, there are such questionable structuring moves as the awkward placement of a text prologue before each segment, or overly thematic imagery, or ostensibly somewhat disjointed characterization, whose experimental tastes distance one's investment almost as much as experimental direction which relies too heavily on artistry and atmosphere to dramatically thrive.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

Action movies moved to the urban jungle, embracing the cynicism and corruption with a tired weariness in films such as Serpico.

Such a powerful, moving and ultimately deeply inspiring film.

It's a brave move to make such a sick joke for the films main dramatic piece, but then again Haigh doesn't shy away from much in 45 Years.

In an age where all pop culture moves at lightning speed and few works stick around long enough to make an impact before they're replaced with the next thing, the fact that a film such as this one can be so instantly and deservedly iconic is worthy of celebration.

It is behind such films as «The Wind Rises,» «Howl's Moving Castle,» «Spirited Away,» and «Princess Mononoke.»

The film was well received at Sundance, and it shares the creepiness of such films as Basic Instinct, Body Heat and Night Moves.

The film seems to drag by in places which rendered it a much slower - moving hour and forty - five minutes than it should have been with such a star - studded cast; the flaw in its pacing is something that should be unforgivable given the playfulness of the style and tones on display.

Bale, in particular, moves with such grace within the tableau and the loose narrative of the film.

Their business, AEY, grows and grows, thanks to bold moves the guys make, such as personally delivering weapons to a U.S. base in Baghdad (which didn't actually happen, but was still one of the best parts of the film).

Here Lang moved outdoors to film such Westerns as Gunfight at the O.K. Corral and One - Eyed Jacks.

Beginning September 11 2001 and going right through to the assassination, the film moves speedily through the decade, pausing to occasionally point at significant events, such as the London bombings of 2005.

But I am truly thankful that she has moved into a sphere in which she is the sole unencumbered voice, and that she has delivered a film of such searing authenticity that I felt like it was staring right into me.

Much as I hate to bring such a stunning film year to a close, there's a small pleasure in being able to move on to what 2017 has to offer.

And while it initially seems like John Debney's generic musical score is going to be the only source of mood establishment, something funny happens: setup established, the characters begin to move about like butterflies emerging from cocoons, displaying tenfold more emotional nuance than one might rightfully, albeit cynically, expect from such a film.

Co-written and directed by David Greenwalt, who would later do mostly television work for teen series such as «Buffy the Vampire Slayer» and «Angel», this is a smart and energetic film that, despite some of one of the more contrived premises you're ever likely to see, manages to succeed by keeping the story constantly moving and changing, and actually do it with some wit.

A sweet film that carries on the indie vein of films such as «Juno» and «50/50» by dealing with big themes in a light - hearted but moving way.

Yet by the film's conclusion, any articulation of this system and its moving parts remains at arm's length, because instead of identifying Bertie County as an example of a broken system and then using that recognition to spark an investigation into why institutional change ultimately proves elusive, Byrne gets bogged down in arguing for her subjects» validity as such.

While most of Robbie's money is made from acting in tent - pole films such as The Wolf of Wall Street and Suicide Squad, the actress has also made the move into the lucrative producing side.

Though U.S. audiences likely weren't able to appreciate the movie on the same level as native Chinese speakers because of the way that the film plays around with the language, it's still an amusing and wildly madcap spaghetti western that's anchored by a trio of fantastic performances by director / star Wen, Chow Yun - Fat and Ge You, who have such great comedic timing between them that the subtitles often move too quickly to read.

Her star is set to rise in 2013 with films such as THE DISAPPEARANCE OF ELEANOR RIGBY: HERS, in which she stars alongside Jessica Chastain, and NIGHT MOVES with Jesse Eisenburg and Dakota Fanning.

But just as this set introduces us to what could be a riveting story, even the film's seemingly mundane details that might have given character and depth, such as Joe's quip about so - called T.K.'s (telekinetics) being «assholes who think they're blowin» your mind floating quarters,» are really only expository moments designed to move the plot forward.

So when AI moves away from the placid confines of the suburban Swinton home and into the wild and woolly world of such locales as the neon - drenched, hedonistic urban center known as Rouge City or — in the film's most stunning sight — a Manhattan that is all but completely submerged in water, Osment's David remains a captivating companion on an increasingly strange and surreal journey.

We get an up - close look at her beginnings as an Austrian Jewish emigre whose scandalous nude scene in the 1933 film, Ecstasy, caused such an enormous international uproar that even the Pope was moved to denounce it.

The Lovely Bones is such a let down (after the less than sterling King Kong) that I wish he'd get a move on and make his next film.

Best Actress: Annette Bening — Kids Are All Right — stern, intelligent yet moving and likeable — it takes a real pro to accomplish that with such style and verve Nicole Kidman — Rabbit Hole — heartbreaking but resilient — a perfect balance between broken and fixed — it is so joyful to watch a character so succinctly communicated Lesley Manville — Another Year — heartbreaking with closeup after closeup of vulnerability and grasping hope — truly a fragile and pulsating performance Julianne Moore — Kids Are All Right — courageous and oh so human — sexy and vulnerable in an earthy way — her struggles with herself are the heart of the movie and she carries it magnificently and warmly Natalie Portman — Black Swan — the tour de force this year — the crazy, emotionally volatile core of a crazy, emotionally volatile film — some wonder if it might be «easer» to play such big emotions but the incredibly thin wire she has to traverse in such an extreme environment is daunting and she makes it work and gives us believability and solicits true sympathy in the middle of a fright fest — a truly accomplished achievement

Portman, who was born in Israel and who lived there until she was three, before her family moved to the US, has taken a brave decision to take on such potentially contentious material — and while the resulting film is perhaps a tad on the conventional - looking side, it has an unusual, and possibly unique, perspective on Israeli psychology, and Portman demonstrates she possesses a confident grasp of film - making fundamentals.

Sciamma's understanding of this is what helps make Girlhood such a powerful, moving and relatable film, even when its ideas are filtered through the specificity of Marieme's story.

Now the actor has moved on to taking on roles in great films such as «50/50» and «Inception,» and even directed his first film «Don Jon,» which he also stars in, opposite Scarlett Johansson.

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.

With films such as Warrior, Miracle, and Pride and Glory under his belt, director Gavin O'Connor has proven his knack for taut storytelling moved profoundly...

Still, it's good to see Jason Reitman tackling such tonal range in his still - young filmography — though I could have stood a little more of the loose, spiky texture that characterized his still - undervalued direction of «Juno,» a film less cannily written and cleverly assembled than «Up in the Air,» but one that moved me more directly on first viewing.