Sentences with phrase «talk about these films without»

Let me just start off this review by laying something down: It is impossible to talk about this film without mentioning John Carpenter's version.

It is difficult to talk about the film without discussing its stance on torture, specifically torture done by Americans to others, and oddly enough it doesn't particularly have one.

Starring: Keri Russell, Jake Brennan, Josh Hamilton Directed by: Scott Stewart Written By: Scott Stewart Rating: PG - 13 (US) Running Time: 1 hr 37 min Two Pence: It's hard to talk about this film without some spoilers — so be...

You also can't talk about this film without mentioning the Grizzly Bear score, which was my initial draw to the film.

LMD: Of course, we can not talk about this film without mentioning your action choreographer, Kwon Kwi - duk -LCB- ACTION BOYS -RCB-.

I can't even talk about these films without getting irate.

Not exact matches

One of the most talked about and anticipated films at the 2013 Sundance Film Festival was without a doubt Don Jon's Addiction.

After the excitement of David Arnold's three scores for Emmerich and then the brief diversion to the great John Williams on The Patriot, the change in musical approach since Kloser (later joined by Wander) took over is so extreme, it doesn't really make sense — it's hard to talk about any of the previous four Kloser / Wander scores for Emmerich without repeatedly using the word «bland» — I've just never been able to reconcile the outlandish extravagance of every other aspect of the films with the understated timidity of their scores, which seem to serve no purpose whatsoever.

It's hard to talk about what some of the best slashers are in the past ten years with any genre fan without someone mentioning the french film Inside.

I can't let Halloween pass without talking about a Hammer film.

Signs, like M. Night Shyamalan's previous two films The Sixth Sense and Unbreakable, is virtually impossible to talk about without spoiling something, with the film undoubtedly faring best among viewers with little foreknowledge of the plot (which follows Mel Gibson's former preacher as he investigates the emergence of a huge pattern in his crops).

It certainly proved effective, as the film wouldn't have been nearly as talked about without all of that hype leading up to it in the past two months.

I miss talking about it without having to think about film awards.

If you've already seen the film and want to talk about various plot details without ruining it for others, head over to our Transformers: Dark of the Moon spoilers discussion.

«The film dares to talk about class and redemption without compromising its sharp, comedic edge.

The couple is Jenn (Missy Peregrym) and Alex (Jeff Roop), and the film starts with them driving from the city to the countryside in a montage that establishes they are comfortable with each other — enough to have a little inside joke about a song he loves and she hates, moments of silence without feeling obligated to talk, and, in general, enough patience to last a lengthy road trip without getting into a serious fight over the little things.

I can't talk about this movie without mentioning all the returning characters that I still love from the first film.

It shows you a couple of minutes from several new films so you can decide if you want to see them or, even better, talk about them at parties without bothering to see them.

He wrote the film, which marks his directorial debut, based in Mapes» book, and while the specifics of what happened, how television news became less about fact, and more about perception, I was interested in talking about my admiration for the way he neatly folded so many facts into the film without it feeling like dull exposition, avoiding the obvious tropes of good guys and bad guys, Cate Blanchett's spontaneity, and the pleasures and perils of casting one icon (Robert Redford) as another icon (Dan Rather).

At the film's recent press day in Los Angeles, Waugh and stunt coordinator Lance Gilbert talked about their longtime friendship and professional relationship, what it was like growing up together on the sets of «Smokey and the Bandit,» «Vanishing Point,» «The Blues Brothers» and «Bullitt,» why Waugh considers Gilbert one of the best stunt coordinators in the world, the challenges they faced pulling off practical stunts and capturing amazing action sequences realistically in - camera without CGI enhancement, and the entertaining Easter eggs they included as a homage to the classic car - culture movies of another era.

Note: It's impossible to address these questions adequately without talking about the film's plot, so spoilers follow.

It mocks the likes of Logan and Avengers, but yearns to be talked about in the same sentence without putting in the hard graft which has earned those films more praise.

-- Kurt Halfyard [LOVED] It is hard for me to talk too much about The Killing of a Sacred Deer without heavily spoiling the plot, though I will say that the film has some vaguely supernatural plot developments, which results in the film progressing from drama to almost a horror film.

But there's a major disadvantage here as well, as Xiao Hong herself remains something of a cipher for much too long in her own film, being talked about by others but not being allowed to simply be experienced without any direct filter, so the audience can make up its own mind about her.

Moon's not the most impossible film to talk about without spoiling... but some of its goodness is wrapped up in its plot developments.

If you've already seen the film and want to talk about various plot details without ruining them for others, head over to The Twilight Saga: Breaking Dawn - Part 1 spoilers discussion.

No one is talking about this film, which makes some sense considering how strong of a year it has been, but it would be a shame for Mara's subtle and satisfying work to go without fanfare.

But how can you talk about a boxing film without mentioning the boxing scenes?

It was one of the things we didn't have time to talk about on March 2, 2016 when we sat down to discuss his brilliant new film that respects its audience, and its scenario, enough to present its issues without an easy answer to an impossible situation.

As for the first news reports heard in the film — accounts of an epidemic of «mass murder by unidentified assassins» — who could have watched Night of the Living Dead after August 1969 without imagining that the broadcaster was somehow talking about the Manson family?

The film can not be reviewed without first talking about the production.

As writers, we worked on the screenplay of the first film, but it was really about how to talk on camera without being boring.

Detroit, written and directed by white filmmakers, is suddenly decried as a story that never should have been told by the only people who wanted to tell it, and The Beguiled is not a film anyone can talk about without being made to feel guilty.