Sentences with phrase «than any other film at»

Two other films I have to mention as runner - ups: Zhang Yimou's Coming Home made me cry more than any other film at the festival, and the last shot is heartbreaking, but oh so beautiful.

Not exact matches

2 is impressive having earned more than all the other films combined,» said Paul Degarabedian, senior media analyst at ComScore, who noted that Captain America: Civil War accounted for more than half of the summer take at this point last year.

As the Sony hack continues to prove, with cyber crime, more than money is at stake — besides the PR catastrophe, the threat to some jobs and leaks of unreleased films and other IP, employees and their families have had their medical data exposed and are receiving personal threats.

If Ross occasionally plays loose with the facts, he remains true to the core of the story, and many of the racetrack scenes evoke more sharply than ever before on film a sense of the surpassing grace and power of the running horse, the sound of rolling thunder of the hooves and a sense of the precarious, perilous nature of the jockeys» existence as they bound along hell - fired at 40 miles an hour, monkeys on a stick, wind - sheared and often screaming at each other in the din.

According to Kwaku Manu, it is mind - boggling that at a time when countries such as Nigeria, South Africa among others are promoting and championing their local languages through movies, Ghanaians want to be more English than the English, therefore, branding Kumawood films as «uncouthed».

«And ultimately we want to look at ways of controlling the placement of particles on the photosensitive film in patterns other than uniform arrays.»

Looking to the other work done at and to support the Green Bank Observatory, the accomplishments of the past year include: hosting more than 2,000 visitors to view the solar eclipse, painting 84,000 square feet of the GBT, hosting 900 visitors at our annual open house (and launching 150 rockets in two hours that same day), releasing our new visitor reservations system, and hosting more than 30 film and news organizations.

Some of the research covered in the documentary includes scientists who are identifying and characterizing planets orbiting other stars (the other planets in our solar system would likely be more trouble than they're worth to make comfortable, the film argues); an engineer building a rocket fueled by plasma, the same charged particles found in our sun; and a team building a fleet of robots that could construct habitats before humans even arrive at their destination.

Rather than take on the entire movie — which includes an inexplicable ending, piss - poor greenscreen, and at least a dozen other noxious elements — let's look at the two most infamous moments, which represent everything wrong about this film.

Though not the definitive Holocaust film, yet it's a better look at the Holocaust than most other films and is certainly one of Spielberg's more serious and better films.

Turtorro can not save this film, but so help him, he tries, and he goes further than anyone or anything in bringing life to this bore, which still has enough other strengths at its back to be brought to the border of true decency.

In other words, he's much better at effects - laden set - pieces than character drama, and this film is crying out for more of the latter.

Maybe at this point it's too much to hope for an animated film like The Angry Birds Movie to exist as anything other than marketing fodder, but hopefully it's not too much to ask for that #content to have a shred of substance to it.

There's no real sense of momentum at work here; Constantine feels more like a series of vignettes loosely strung together (some far more effective than others) than a linear, cohesive film.

Probably more than any other filmmaker, his name evokes instant expectations on the part of audiences: at least two or three great chills (and a few more good ones), some striking black comedy, and an eccentric characterization or two in every one of the director's movies.Originally trained at a technical school, Hitchcock gravitated to movies through art courses and advertising, and by the mid -»20s he was making his first films.

I want to believe this latest X-Files film was created for a reason other than financial reward, but I find it difficult to guess at what that reason might have been.

Anna Kendrick and Chace Crawford make up the last couple, rival foodtruck chefs, albeit they are the least like the other four, and at times, appear to be starring in their own movie — something that could possibly work much better than this film here.

Bay is at his best, paradoxically, when he's at his worst, if for no other reason than the fact that the most enjoyable and the most offensive parts of his films (which are often the same scenes and sequences) extend from the mind of a man with a very particular visual sense.

The action is a horrible muddle of skating, blood, fighting and stupid bike stunts all crammed within this tiny arena, at the same time you have other players skating down from higher levels or platforms for no apparent reason other than to look cool in the film.

By cleverly tying the film in with real world events, like the nuclear testing at Bikini Atoll in the 50s, the film feels a teensy bit more believable than any of the other Godzilla films, aside from maybe the original Gojira.

While Freddy's Revenge isn't really in keeping with the first film in the nature of Freddy, whose powers seem to now come with the house, it still has an interesting premise and at least takes a direction that makes it less of a rehash of the first film than other slasher film sequels have been.

Perhaps more than any of the Coens other films, Inside Llewyn Davis is scrupulously realistic — right up until its final sequence, in which there is an unexpected temporal shift back to the beginning of the film, with Llewyn again singing «Hang Me, Oh Hang Me» at the club before being beaten up in the alley behind it.

It's the kind of perfect film that leaves you speechless at the end, you don't even know what to say other than «wow.»

At the time, many of us knew nothing about the director other than the fact that he'd made a monster movie that was more than a monster movie but since then, he's become a recognizable name (at least among film fans) and the announcement of a new project brought much joy to my hearAt the time, many of us knew nothing about the director other than the fact that he'd made a monster movie that was more than a monster movie but since then, he's become a recognizable name (at least among film fans) and the announcement of a new project brought much joy to my hearat least among film fans) and the announcement of a new project brought much joy to my heart.

By this point the action is flashing by like a fire engine without any clear end in sight, other than more and more violence, and the film feels as if it could go on indefinitely, or at least until the whole of Queens lies dead on the restaurant floor.

Overall, The Danish Girl is a more nuanced exploration of the life of a trans person than other trans - films I saw at TIFF this year (here's looking at you, About Ray).

At times, the film feels like its veering too close to fan service with call backs to other films in the saga that seem more catered to Easter Egg hunters than plot advancement.

That film was ultimately far more successful than John Carter, Andrew Stanton's at times laudably, and at other times ludicrously, straight - faced interpretation of Edgar Rice Burroughs» character.

Other than the possibility of teens and children balking at an apparently dry premise, the film presents only minimal content concerns from a parent's perspective.

Considering that Smith claims that he made this film for teen girls, not for one moment does Yoga Hosers feel like anything other than a mid-40s writer / director shaking his fist at a younger phone - desperate generation, making inside jokes for the adults in the audience and lambasting the critics that have wronged him in the past.

Anderson — who's become even more of an actors» director in his last few films than he was already — is at the peak of his powers here, ironically but appropriately directing «Vice» in such a way that phrases like «peak of his powers» (and other language connoting masculine swagger or preening mastery) seem contrary to the spirit of the thing.

That's a post-game analysis worth a whole other piece, but when it comes to the film at hand, this is all you need to know: when that mystery box is finally opened, you'll be more than satisfied.

This was seemingly the case with the Dardenne brothers at this year's Cannes, where their latest film, The Unknown Girl, received a considerably more lukewarm response than the likes of Two Days, One Night and The Kid with a Bike, with some suggestions that the Belgian duo had finally reached a stage of auto - pilot writing and directing and others implying that the new film was their first outright failure.

At a press conference held prior to the screening of his new film Men, Women & Children, director Jason Reitman dispelled the notion that the film was about anything other than human connection in the digital age.

An odious correspondance on none other than Macbeth and his unfortunate demise at the hands of a man «not of woman born» is one of several colorful diatribes the film unwisely regurgitates for us, but these kinds of stylized choices take a particular energy to pull off, and Criminal Activities doesn't have it.

What can one really say about these films in bite - size form, other than to continue to marvel at the simple brilliance of the idea, and to wonder how the intervening years, and the knowledge of the camera's returning presence, will affect the subjects this time.

If you want to break the film into thirds, the scenes with Jude Law at the diner which bookend the film are adequate, the middle portion involving the stalking husband are dreadful, and the film comes to life a bit during the second half during the Natalie Portman scenes, mostly because her character is far more interesting than any of the others up to that point.

If we have one major regret from the festival (other than being shut out of Miguel Gomes «new short film «Redemption,» which we were told is terrific), it's that we feel we initially underrated Xavier Dolan «s «Tom At The Farm.»

There probably isn't another film in the Oscar race (other than maybe The Road, which unfortunately isn't really in the race at all) that strips down the survival mechanisms within us.

I saw more DVNR than other reviewers seem to be seeing (at least, grain is all but absent, which doesn't jibe with the picture having been shot in Super35), but fear not: Changing Lanes doesn't look anywhere near as processed as the Mountain's concurrent BD issues of the Star Trek film series.

A stark, brutal, yet tender prison drama starring Jack O'Connell as a violent inmate sent to the same lock - up as his jailbird father (Ben Mendelsohn), the film's shot through with a raw energy and authenticity that's closer to «A Prophet» than to most other British films in the genre, with Mackenzie making the movie feel like he's bottled up a hurricane of tension, which at any second could kick through the screen at you and hit you with a sock full of snooker balls.

I'm sure moments that no one else was present at other than Phillips himself were the most embellished moments of this film, which I think is understandable.

The Buzz: The first two «Pirates» films made buckets of money — despite scathing reviews, in the case of the second installment — so there's no reason to expect «At World's End» to be anything other than a tentpole picture for Disney all summer long.

At a key moment, the characters recognize each other, not as protagonists in the midst of battle, but as human beings and the film becomes more about the complexities of the human condition than the eccentricities of its colorful characters.

Dial M for Murder premiered at the Westminster Theatre in London in 1952, only for it to be made into an expert crime mystery thriller by Alfred Hitchcock two years later, while Wait Until Dark, another complex and dark play in the vein of Hitchcock's interests directed by Arthur Penn (who would helm Bonnie and Clyde the very next year), saw the light of day in early 1966 on Broadway, where it instantly attracted the attention of both the audience and Warner Brothers, determined to turn it into a feature film starring none other than Hollywood's sweetheart Audrey Hepburn in a much darker, insidious story than her filmography had ever witnessed.

Not a particularly good audiobook either — some readers are more natural than others, and many of their readings seem to have been filmed in one take; Franco, for instance, noticeably flubs his lines at one point.

Is it shooting fish in a barrel to put «The Emoji Movie,» a film for children that had no aspirations at any point in its creation other than to milk money out of those children's parents, so high on this list?

One gathers the film was only slightly closer to him than many of the other films being made at a time when he was looking ahead towards the launch of Disney World and other non-film ventures.

But the big bad bosses of the film are also a disappointment, including the evil - but - conflicted black - magic witch in a good human's body, Enchantress, and the superfluous inclusion of her hulking demonic brother at her side, Incubus, whose abilities are thinly defined and whose motivations other than perhaps family loyalty are not at all dealt with.

Scenes tend to linger for longer than they should at times, while others are strung together in rapid succession; journeying through Spike Lee's late - 90s sports drama is a little like flipping through the pages of a photo album — you tend to gloss over several photos and pages and stay on others, and that's precisely how the film is paced.