Sentences with phrase «talking about the film though»

Before talking about the film though, tell me how you got into the acting business.

Not exact matches

As a portrait of modern journalism, though, it leaves quite a lot to be desired; this is the kind of film that has characters trade grandiose talking points about the ethics of reporting, but can't be bothered to show its reporter hero — still recovering from the damage factual inaccuracies did to his career — using a recording device during interviews.

Talk about stupid, though that's not this film's fault.

Secretly, though, he's a heartbroken gay man in free fall, something David still can't talk about with his dad after coming out a decade ago — of all of the film's strands, the bond between fathers and sons is the most complex, deserving of more attention.

A slender budget, though, largely reduces Zachary Adlers film to a series of yawn - worthy gab - athons in which Ronnie (Simon Cotton) and Reggie (Kevin Leslie) merely talk about the mayhem they re about to unleash.

Before I can talk about what the film is, though, I have to talk about what it's not:

More than that, though, he and Cole have also manufactured the MCU's most explicitly political film, the pair's story talking about issues of race, protectionism, humanitarianism, police brutality, political fascism and immigration policy that comes alive as if it was pulled from today's most recent headlines.

It's lyrical, sweet and even though it doesn't feature Jane Fonda's much talked about wild, scene - stealing turn, it manages to evoke the sense of longing for the past that that lives up to the film's title.

The comparison is apt and obvious, though I doubt people will be talking about this film 8o years from now the way we still revere that 1939 Judy Garland classic.

Though I've seen all the films, there were times when I had no idea what they were talking about.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

And Peck's film reminds us that even though he is no longer with us, he's still talking to us about what's going on.

That scene is the one and only reason why the film didn't get it's PG - 13 rating, and even though I'd be regurgitating a lot of other bloggers» feelings about the MPAA by talking about how stupid that is I agree that the film should not be edited just for the sake of that one beautifully foul scene that honestly I don't know who would watch it and be worried for their children's innocence.

What I found most disturbing about this film though was the scene in which Jennifer Connelly confidently marches through a door only to fall down a well that has walls lined with gray talking hands that grab at her limbs and hair.

Even though Deadpool screenwriters Rhett Reese and Paul Wernick are really busy writing Deadpool 2 at the moment, we managed to get them into our Collider Video studio a few days ago to talk about the success of the first film and where the character might go next.

W Magazine Taraji P. Henson, always fun, talks about getting the acting bug, auditioning for Precious and falling in love with «Cookie» on Empire even though she didn't want to do TV again AV Club Taraji also has a new leading film role as civil rights activist Ann Atwater who in 1971 had meetings with the Klu Klux Klan leader on reducing violence.

That show is currently filming its second season, and though we don't know anything about Chappelle's episode, it'll presumably involve him riding motorcycles alongside Reedus while they talk about the cool bugs that got stuck in their teeth and and all the losers they saw driving cars — in other words, the stuff that all motorcycle people like to talk about.

Todd: I would suggest this movie struck a chord because fashion is less the point (though I think looking at the film through the lens of food and fashion yields plenty of rewards) than it is the vehicle to talk about something Hollywood loves: the difficulty of being in a relationship with a demanding person.

Gwyneth Paltrow's underwear will be the most talked about moment from the «Thanks for Sharing» trailer - though the film could turn out to be pretty decent.

-- 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.

Even though Kevin hasn't seen any of the films this week (with no thanks to the studios, who didn't screen them anywhere in his state), he's able to talk about them.

What I love most though is how these two want to work, the projects they talk about, and how those projects will not only change the conversation about diversity in film but also begin a new conversation about black film.

We aren't here just to talk about a new title, though, because with that name change comes the film's official synopsis, giving us our first glimpse at the direction Chronicle scribe Max Landis decided to take his retelling of Mary Shelley's iconic tale.

Even though the cast and crew were all working long hours day after day, they all seemed fresh and excited when talking about the film.

We went on to talk about his long term relationship with Danny Boyle, who directed SUNSHINE from Garland's script, and THE BEACH, from Garland's novel of the same name, though it was not Garland who wrote the screenplay for that film, and I asked him why that was.

It's Ozu's unique way of bringing realism to a film that allows for such speculations: despite his unusual editing style, tatami - level camera placement and generally fixed camera (though it moves more here than in any Ozu I can recall), everything in an Ozu film feels real: people talk like normal people about normal human issues.

Blu - ray Highlight: Though Joe Carnahan has a tendency to be a bit of a tool when it comes to talking about his movies, the director's commentary with editors Roger Barton and Jason Hellmann is nonetheless an engaging discussion about making the film that covers a range of topics like the cast, special effects and shooting in the Arctic.

They are talking about films too though.