Sentences with phrase «there anything in film»

And is there anything in film that you have written for film that is in the pipeline?

Not exact matches

In these films, there's no need to see anything past the moment where the couple finally gets together, because getting together is the end of the story.

I'm not sure there is anything creepier than children in horror films, there is just something about taking that innocence and turning them into something dark and sinister that doesn't sit well with...

Another advantage of this light - based processing is it doesn't require anything to come in physical contact with the film being treated — for example, there is no need to attach electrical contacts or to bathe the material in a chemical solution.

There are, one assumes, whole swaths of the book that develop Jack as an emotional character while he's not doing much of anything, but that doesn't — can't — work in a film.

Of course, there is a very small percentage of people who may be disappointed there are no car chases or robots, but if you're looking for something fresh - unlike anything you've ever seen in the theater - then this film is for you.

If there are truths about Nick Cave to be found in this film, I don't know that they will reveal anything he doesn't want revealed.

Put together, REBEL IN THE RYE feels more like an HBO film that a real, big - screen feature - not that there's anything particularly wrong with that.

If Rampage's giant monsters stand for anything — and giant monsters usually do, even in films as silly as this one — it is the destructive self - interest of the monstrously rich, and there is an unexpectedly topical plot thread here about billionaire grifters in gilded office blocks getting their FBI - mandated just desserts.

There is always just something about his films that seem larger than life, grander in scope than anything else released nowadays — and perhaps that's his intent.

If there is anything I didn't like about the film, it's Cameron's lack of realism when dealing with the roles of children, especially Jonathan Lipnicki's (Stuart Little, The Little Vampire) character as the boy that Maguire forms a bond with, as he's too unrealistic in demeanor and too strange looking to buy as a real kid, and for that matter the same goes for Tyson Tidwell's (Suarez, The Ladykillers) demeanor (son of Rod) as well.

Even in the worst films, ENVY comes to mind, he is there, effortlessly finding something, anything, in a bad script and worse directing, to which a hapless audience can cling until the... Read More»

See Also: There's not a lot comparable to «The Lobster» in Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at alin Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at alIn Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at all.

A lot of focus on his personal life without actually telling you anything, in my opinion let the film down, especially as there was a lot more that could have been included as far as his relationship with Winnie was concerned.

There are very few films which do that today, the last film to truly deliver that promise is The A-Team, which beyond anything else provided entertainment in droves.

(There's a specific cinematic language these films speak; when you hear a certain kind of music cue, or see a shot framed in just such a way, or when a character expresses anything approaching contentment, you'll know it's coming, so gird your loins.)

At times, the film is so raw and real that one wants to pause and call Child Protective Services, however, there is even empathy for trashy, tattooed mom Halley (Bria Vinaite) who might smoke in front of impressionable daughter Moonee (Brooklyn Kimberly Prince), among other awful things, but will do anything to keep a roof over her head and food in her stomach.

Is there anything new to add to a cinematic world that's been redone in countless other films?

It's nice to see Kit Harrington get a starring role, and even see David Harewood in a feature film, but there's not a whole lot separating this film from anything else we have seen.

There's no reason to care about anything in the film; it comes at you without a hint of subtlety, as if you're just expected to buy in simply because they're selling.

If there's anything to nitpick in this film, it's the ending.

And yet, there's more Smith in this film than in anything else he's made.

There's a lot of heart in Cameron Crowe's latest film, Aloha, but a heart alone isn't enough to keep anything alive.

While this is hardly a confirmation as to whether Marvel will present anything Doctor Strange - related in Hall H or anywhere else, it seems Derrickson may be there himself to promote the November 4 film.

There's no doubt that Scorsese is a film buff and feels the need to remind us of the craftwork and illusionary beauty of some forgotten pioneers of cinema but he doesn't quite achieve anything worth noting in telling his own tale.

There are a few things to watch for that may or may not be an indicator that a film is headed for the Oscars — and none of them include anything that just happened or is about to happen in the next couple of days.

Was there anything you learned about working in the English language that you brought to the Americanized remake of your film Gloria?

But I can confidently report that it's another mammoth achievement for Anderson, who shot the film in 65 mm — not for the sake of spectacle (it doesn't have anything like the grand vistas of Marfa, Texas in There Will Be Blood), but for the intensely intimate relationship that develops between a knockabout WWII veteran (Joaquin Phoenix) and the charismatic religious visionary (Philip Seymour Hoffman) who offers him a way forward.

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.

If anything, this film in many ways is a homage to masters of the American Western like John Ford and Howard Hawks; in fact, there is a direct tribute to Ford's 1956 classic The Searchers, the film Hostiles most recalled for me.

Don't get me wrong: the idea of someone performing copycat murders based on an author's work of fiction has potential (even if it's been done before, most recently in the pilot for the TV drama «Castle»), but there's nothing in the trailer that suggests the film will be anything other than a generic whodunit.

It's not over abundant or anything, but there are a few chilling shots in the film that will have your skin crawling right off your bones.

But Lynch's career is an inversion if ever there was one, and this master of sex, violence and terror somehow made a G - rated film for Disney that was as highly regarded as anything else in his oeuvre.

And I got to admit, Snow White and the Huntsman was better than I expected but that's only because it was my fill - in movie (went to see two films and there was this 2,5 hour gap between them that I needed to fill) and I didn't expect anything.

Billed as a Hong Kong action flick in the tradition of RAIDERS OF THE LOST ARK, it's almost anything but, and if it weren't set in the 30s, there would be nothing to compare the two films at all.

There isn't anything too significant to these, although the dialogue - free version of the ending set to «Easy» does seem better than the one used in the film.

With highly anticipated 2007 films by Hou Hsiao - hsein, Wong Kar - wai, Jia Zhang - ke, Apichatpong Weerasethakul, Bela Tarr and other End Of Cinema favorites yet to be released in this country, as well as such well - regarded films as 4 Months, 3 Weeks, 2 Days, Silent Light and Persepolis by filmmakers I'm unfamiliar with, there's no reason to expect this list to be anything close to final.

An odd note on the back of the case, absent from the 2000 DVD, calls this a «digital transfer of the director's cut,» but as there are no visible changes in the film itself and no follow - up notes anywhere within the packaging, I have no idea what, if anything, makes this version different from the theatrical release.

There's no deeper meaning to anything going on in this film.

With a predictable script, shallow plotting, and characters that are pale imitations of ones you've seen in much funnier films, there just isn't anything here to recommend.

**** Zachary F November 29, 2012 this movie is sooo funny Jon C November 29, 2012 a fun, crude, and hilarious comedy two girl roomates formulate a plan to make their own sex hotline in order to make ends meet hijinks and raw laughs ensue between two very different people who embrace their sexuality via telephone the performances from both Graynor and Miller are pretty damn fun to watch the dialogue is insanely funny and gratuitous there's a very strange cameo in here too by Nia Vardalos Justin Long adds a nice touch being the supporting gay best friend mentoring these two girls it's just very awkwardly humorous listening to these people talk in this kind of film, there's interestingly no actual sex happening on screen, no boobs, no ass, no exposed body parts the plot mainly focuses on the bonding relationship bewteen the two leads which is a good break from the usual norm we're used to I can't help but feel though that the filmmakers didn't have anything left at the end, some of it felt unfinished and unresolved for all those problems, «For A Good Time, Call..»

With those films, and particularly that last title in mind, there's absolutely nothing to suggest that we're in for anything less than great with her latest offering.

It is there that he's approached by a 15 - year - old boy named Gary (Sheridan), who is looking for work, willing to pretty much do anything required of him to put money in his pocket and, hopefully, give him a bit of freedom to get away from his physically abusive alcoholic stepfather, Wade (Hawkins, who died shortly after filming).

There isn't anything wrong with either kind of consciousness, and in fact my favorite films of the festival were intimate, small - scale dramas that derived their power to move from their strong sense of personality and human experience.

It also suffers from the fact that there isn't any real stand - out moment in the film, and there isn't anything held within to match the mini-bus sing - a-long in Almost Famous, or John Cusack's Boom Box moment from Say Aanything held within to match the mini-bus sing - a-long in Almost Famous, or John Cusack's Boom Box moment from Say AnythingAnything.

And there was this moment in the film, which I think is, again, maybe a tough pill for the audience to swallow, but I love that by going on this journey and maybe understanding her more and hopefully having some empathy for her as a human being, not condoning anything she did, but just seeing why it happened.

For a film with a $ 200 million budget and with talent in all departments it's a real shame that it turned out to be the movie that it is, although with 5 separate Spider - Man films now done and dusted, one must wonder if there is anything that could make this blockbuster staple truly jaw dropping again.

Also, there are robot - suits in this film for little obvious reason outside of the fact that anything in proximity to the words Iron Man makes all of the money and any film that doesn't look like a videogame simply won't get green lit anymore.

If anything, there seems to be a laziness in the director's efforts on this one, as the film feels like a pastiche of Spielbergian tropes and visual compositions pulled from Lincoln, Catch Me If You Can, The Terminal and Munich, to name a few.

Boxing films, in particular, have been some of the most successfully tear - jerking films of the kind, from Rocky to The Fighter — there isn't quite anything like the thrill of one man with his back to the wall, against all competitive, cultural and social odds.