The only
things thing film has going for it is the effects, which actually work against the story sometimes.
The problem is that even if every
single thing a film portrays is realistic, it still doesn't mean that those things should all be in the same film together.
Sadly, the only
things this film really has in common with the original are similar creature effects and the return of the least memorable supporting character, now in the lead role.
To be honest, there actually is some merit to Kubrick's assertion that the book is unfilmable, as the story itself doesn't really lend well to the kinds
of things film audiences would find easy to digest.
The young Texan's movie star aura makes for a weirdly magnetic, polished version of the original's unpredictable insanity, and his unhinged performance might constitute the
closest thing this film has to actual merits worth recommending.
No matter the mixed criticism of Frank, one
thing the film makes obvious is more bands should be using theremins.
Back in 2011, prior to Malek or Singer joining the project, May told The Daily Record that preserving Mercury's legacy was the most
important thing any film about Queen must do.
The
first thing a film critic (this one, anyway) should say of V for Vendetta is that it's a terrific movie.
The only
thing the film succeeds at is the unfortunate feat of creating a work of prurience whereby twenty - three - year - old Cuthbert in a cheerleading uniform and less becomes an object of true distraction.
If there's one
thing the film world probably doesn't need it's another adaptation of the much - loved Charles Dickens» novel GREAT EXPECTATIONS.
One of the most
interesting things the film depicts is the fact that, despite having been drinking the night of her attack, Bonnie does everything right.
Those people might miss some of the
small things the film focuses on (like how Tommy Wiseau throws a football the same way a microwave might throw one) and they might be put off by how weird and eccentric a person is Wiseau (brilliantly portrayed by James Franco) in the same way that Sasha Baron Cohen characters do.
In some people's minds, maybe being very middle - of - the - road is one of the
worst things a film can be, but I don't necessarily think by playing it really safe Antoine Fuqua should be so heavily criticized.
«Jean Luc Gordard said one of the most important things and one of the most
difficult things film can do is show somebody reading,» says Otolith Group's Kodwo Eshun.
And yet, if there's one
thing the film doesn't manage to do it's tug heart strings or o0 --RSB- raise pulse levels enough to be excited at the prospect for any sequels the film sets itself up to have, which, given how much talent and budget this endeavor had in its favor, can only be viewed as a disappointment.
It'd be a bigger deal if anyone were actually going to go see Valiant, of course, and in the grand scheme
of things the film's not as dispiriting as the hate and violence of Shark Tale, but it does bear mentioning, if only in passing.
McBride completely throws himself into playing the
closest thing the film has to a central villain and he's hysterical.
Not screwing up a live action Wonder Woman is the most
important thing this film could have achieved in terms of the DC films going forward and I'm happy to report she's great (even if her screen time and dialogue are irritatingly limited).
In fact, it is the very
first thing the film itself tells you, which means that much of its importance, or at least its achievement, resides in the fact that it is a moving painting — not metaphorically, or aesthetically, but a literal painting that moves, something that has apparently never been done before in a feature - length film.
The
only thing this film does is prove to everyone that Tommy Chong should never be allowed to direct.
With a propensity for
all things film — think Kodak — it only makes sense that there would be some pretty splendid indie theaters in town.
The thing the film does best is wittily send up genre conventions in a way that's funny but without resorting to a ridiculous Scary Movie level.
The thing the film does best is wittily send up genre conventions in a way
Due to her love of
all things film, she picked up and moved from North Carolina to the West Coast.
And yet, amid all that overdue and well - deserved scorn, the lone aspect of Deadpool 2 that is treated with gravid, wet - eyed sincerity —
the thing the film wants us to care most deeply about, that acts as the plot's triggering action — is itself the biggest, oldest, dumbest and most useless superhero - genre cliche of them all.
Scott enjoys
all things film and TV related, especially the blockbuster kind.
It's not really effective in the slightest, but it's one
the things the film does best.
The film's best sequence, the final fight, is also the sequence in which Fleischer gets to have the most fun with his over-the-top, visually - astounding slow motion and stylistic flair, proving further that it is the best
thing the film has going for it.
I think one of
the things this film does well is keep Rob's goals focused on getting to his wedding and marrying the woman of his dreams.
After a longer than usual fourteen month wait between outings, it is again time to gather in masses, watch movies and be merry during the city's annual celebration of
all things film, the Brisbane International Film Festival 2010.
Looking over the stretch that included Midnight Cowboy, Little Big Man, All the President's Men, Marathon Man, Kramer vs. Kramer, and Tootsie, Hoffman is practically the only
thing these films have in common.
«
The things these films made me remember and think about was the difficulty — something women seem to be better at than men — of opposing without hatred.»
Although it may merit a sound nomination,
I thing this film will be forgotten when January comes around.
The first man is the clever and cruel Major Marquis Warren (Samuel L. Jackson), a bounty hunter we learn fought in the union army during the Civil War and the closest
thing the film has to a lead character.
Welcome to another edition of the Awards Circuit Power Hour, our weekly podcast diving deep into
all things film, television, and entertainment.