Sentences with phrase «thing about making films»

I mean, that's the great thing about making films: They have a life of their own, and as times change, the meaning evolves.»

Not exact matches

It's got to be a surreal thing for a band or an artist to see a film made about them, especially in this situation where the band did not have final cut, they did not have final say.

Things only get worse for Allardyce though as undercover reporters also filmed him making comments about the former England coaching staff and players.

The other significant thing this film is doing is to keep healthcare providers thinking about the importance of the microbiome so that if and when a c section is necessary for the baby's survival, then they will make every effort possible to allow skin to skin contact and breastfeeding as soon as possible after the birth so that the baby is exposed to the mothers skin flora if nothing else.

Talk about your favorite tv shows / films / music, your particular hobbies, or those things in life that make you laugh, smile, or cry.

Perhaps the only good thing about this film is that it makes Fifty Shades look better in comparison.

I could make a film about any person or organization and only interview the people that hate you or it with no inclusion of the good things a person or organization does and present it as a documentary and you know what people would believe you're entirely evil and you know why?

Spielberg and his screenwriter, Robert Rodat, have done a subtle and rather beautiful thing: They have made a philosophical film about war almost entirely in terms of action.

The film was once talked about as the beginning of a possible trilogy, and the finished product feels desperate to start a franchise instead of doing the thing that would actually make such a series compelling: telling an interesting story with skill.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

If nobody had been so adamant about making this film «about» Diane Arbus, it would be a perfect story about how an uncommon woman, living in the lap of luxury and perfection, discovers her own capability to see beyond the shape of things and boredom that privilege means.

The most liberating thing about James Foley's Fifty Shades Freed, the final part of a trilogy of films adapted from E.L. James's louche Fifty Shades novels, is that it doesn't even try to make sense of Christian Grey (Jamie Dornan) anymore.

Like its namesake, the film only achieves greatness for a few brief moments, and the best things about it (e.g. Janney's character) are seldom allowed to expand beyond the stereotypes that make them so easy to understand, but Gillespie's biopic sticks the landing because it never forgets one of its very first lines: Tonya Harding is America, and she always has been.

The cinematography and location shooting are excellent and things look great, the music is decent, and this is one of those films that was made at a time when you could still make them like this and not have to worry about too much tinkering and interference.

The only good thing about this film is that it is the last in a series that was once great, but that with every film the studio made, the ideas would start to feel strained, and that simply made the series a tad too silly.

The film is essentially a primitive rah - rah story about an underdog's triumph over a bully, and in the times that Americans are living through now the things in it that are merely simple seem simplified to the point of odiousness... In the Heat of the Night seems to be made up of a great deal of attitudinizing and very little instinct.

Such unfairness is only worth bitching about — only worth making a feature film about — when the same sort of thing happens to a man.

Several films have been made about the bizarre incident, but few of them possess the queasy power of this one, which does a plausible job of depicting just how, exactly, things escalated as they did.

The Gladiatorial bouts are breathtakingly brutal, made all the more immersive by the 3D which is less «throw things out the screen», and more about enriching the environment of the film.

At the same time, his daughter (Chloe Grace Moretz), a minor who just turned 17, is starting an affair with a sixty - something film director (John Malkovich) who is legendary for his skill and productivity but also notorious for making films about older men having affairs with much younger women and doing the same thing in real life.

The first thing is that it's not only about the Q&A s, but even in (mainstream newspapers) the level of understanding of the deeper layers of the film has been surprising to me because when you make a film you are operating on a philosophical level of what you're doing.

Director to film series about the making of a stage production — then take the real thing to Broadway

Tully is a walking film script, and the best thing that can be said about the film is that a group of very talented actors works very hard to make its contrivances pass as plausible.

Still, the complicated narratives don't distract from what this film does best: make you laugh about the things that make you furious.

Artistically, one of the hardest things [about «City of Ghosts»] was that unlike «Cartel Land» where there's a sort of visual feast everywhere you went and you'd just have to make all these choices between good options of where to go, who to follow, where to be, this film was very constrained.

AVC: One of the interesting things about horror as a genre is that it's possible to work on a micro-budget and still make an effective film.

There are a great many things that make Black Panther a Marvel film like no other, but one of the most striking things about it is how thoroughly familiar the world of Wakanda feels.

Beautifully filmed and acted, but lacking a central perspective, this gentle comedy - drama has some nice points to make about freeing ourselves from the things in the past that weigh us down (the hint is in...

My default position is that the two things don't have that much to do with each other: Learning more about a film can deepen an appreciation that was already there, but the initial call of yea or nay is one that every king, scholar, and prole is equally qualified to make.

It's about loving to love those things, which makes Steven Spielberg's film adaptation of the bestselling novel...

But let me tell you one thing, seeing this film in 4DX definitely made it a better experience for sure and if you are thinking about seeing a 4DX film, «Transformers» is a great example to test it out with.

Final Verdict: Marion Cotillard's amazing performance is the only thing worth complimenting about this film, the direction style too simple to make the limited plot count for much.

There are a lot of things to admire about the 12 - issue miniseries (from its multilayered narrative to its psychologically complex characters), but the Holy Bible of comic books it is not, and that only makes reviewing the film adaptation even more difficult.

That's quite fitting for a film about a man that constantly views and reviews things he's seen before to make sense of it all.

«At Berkeley» In theory, the 70th Venice Film Festival was something of a banner one for documentaries: two in competition, one of which, «Sacro GRA,» won the Golden Lion, several others in sidebars or out of competition, and a number of films - about - filmmaking in the Classics strand, including «A Fuller Life,» «Bertolucci On Bertolucci» and «Double Life: James Benning and Richard Linklater» (the latter two we didn't make it to, but heard good things about, and hope to catch up with in the near future).

But Psihoyos intelligently points this out admitting, «The worst thing you can do for the environment is to make a film about it.»

A good piece of music or a book or a film, it's just about finding that thing in you that makes you feel at home.

Little is known about the film beyond its basic premise — a cryptic summary also makes mention of ghosts, drug dealers, and «a disgraced werewolf» — and the fact that it co-stars Paul Scheer, Atlanta's Zazie Beetz, and Stranger Things» Joe Keery.

A film that appeals to the pessimist in us, Irréversible may make you think of Memento, but where Memento was about destiny, Irréversible is cynicially hopeful (if there is such a thing), illustrating the human impulse to look to the past for happy endings — Bogey's bogus reassurance that «we'll always have Paris.»

The thing about Jodorowsky's Dune — the film he tried to make, not the documentary about the film — is that I'm reasonably certain I would hate it.

About the best thing you can say about Someone Like You is that it sports a very impressive and likeable cast, all of which seem up to the task of making this a fun and energetic About the best thing you can say about Someone Like You is that it sports a very impressive and likeable cast, all of which seem up to the task of making this a fun and energetic about Someone Like You is that it sports a very impressive and likeable cast, all of which seem up to the task of making this a fun and energetic film.

Holofcener's last film «Please Give» ended up on many of our year - end lists in 2009, so while we're not expecting «big things» exactly — that's hard to say about small scale dramas about regular people — we are, as usual, excited and grateful that we live in a world where, despite all the tentpole tendencies, there's still a very viable space for Holofcener to make movies.

James Mangold for caring about all the right things in his work and blessing us with Logan and Copland, Refn for Drive alone, Stallone for giving us Rocky and THE «Just keep going» monologue that everyone in the arts needs when they have that inevitable bad day, Joe Carnahan for being able to blend heart stopping action with character drama and Phil Joanou for making my favorite film of all time with State of Grace (1990)(I'd love a Cinephilia and Beyond piece on it someday...)

One of the best things that came from having my script performed before a live audience with professional actors, was that it made me enthusiastic about the work again, and wanting more than ever before to see it manifested as a completed film.

The odd thing about Joseph Gordon - Levitt and Bruce Willis both being in Looper is not that they both play the same character but that they've both made much better films just like this.

This grounding in magic rather than pseudo-science mirrors the larger difference between the two films, that He Ain't Heavy is steeped in local tradition and culture (however made - up for the purpose of the film the plot is, the Mid-Autumn Festival is surely a thing) while Future values the present above all else, about instant gratification.

What makes the film so stunning is that they don't talk about it, and that viewers understand these complex things as they unfold in subtle details over the hiking trip the pair is taking in the company of a guide in the Caucasus Mountains.

This is a reminder that seeing films long before the awards makes them difficult to remember even if you're conscientuous about such things; I screened almost all of them in 2014... or earlier in Tom at the Farm's case)

However, Field's film is its own beast in the end — an intelligent and contemplative drama that merits discussion, even about the things that make little sense to include, and yet, the story is so self - conscious, there must be some reason that all f these lives are meant to intersect in their awkward ways.

That's another thing about Leigh, that he never appears himself to be making any kind of overt judgments on his characters, or even preparing any kind of melodramatic reveal of their hidden natures) the film brims with uncomfortable little touches.»