Sentences with phrase «times the film loses»

Several times the film loses it's grasp on it's tone and stumbles as a result.

Each time the film lost out in its category — which was all five times — a low hum of disappointment filled the bar.

Not exact matches

When rolls are being changed, say, once every 20 minutes, as may be the case with pre-applied zipper film, that time adds up — over an hour and a half of production time lost in a single 8 - hour shift on a single line,» says Chris Graff, vice-president of sales and marketing at the Massachusetts - based Butler Automatic Inc. «That's an hour and a half's worth of packages not being made, shipped and sold from that line during each shift.»

This time around, it would help «Law Abiding Citizen», if Clyde displayed some sign of humanity, since the fallout from his vengeance is so distortedly pronounced, the film's message about a broken judicial system gets lost in the arterial spray.

Still, at a time when animated feature films are in danger of losing their magic because of an oversaturation of ho - hum vehicles, Flushed Away contains enough charm, fun, and adventurous spirit to make us hope this genre is far from withering away.

I've lost count of the times that I have had to decompress after a film, discussing what a film really means, man over a martini — I mean, coffee.

The first film was full of heart and humor that both children and adults could love; but by the time the third film rolled down the yellow brick road, something had been lost.

So much time was spent setting up and including other characters that you lose the connection you once had with Wolverine in previous X-Men films.

But in between, without losing momentum, fourth - time series director David Yates and writer Steve Kloves (who scripted seven of the eight films) insert key pieces of the pasts of Prof. Albus Dumbledore (Michael Gambon) and the ever - fascinating, poetically tragic Prof. Severus Snape (the ever - fascinating Alan Rickman).

It's unlikely anyone who hasn't seen Wiseau's film will feel lost as the players are all well established over the course of the movie (not to mention that intro), and the surprise of how the film's story unfolds is certainly enjoyable the first time you hear it (no matter the medium).

Countless films have shown crowded newsrooms in the past, but Spielberg makes sure that this one is extra busy and loud — that the clicking and clacking and shouting on the soundtrack, the reporters and editors working away or striding about, conjure not just a particular time and place, but a whole world that's been lost.

As the film progresses Travis begins his obsession and manages to lose control at the same time, leading to everything coming to a crescendo to end the film.

With this honor to his name, Biggs segued into film a short time later, debuting in the 1997 Camp Stories.In 1999, the unequivocal hit that was American Pie came along, and Biggs, portraying Jim, one of the more perpetually humiliated members of a group of four friends trying to lose their virginity by high - school graduation, made an undeniably distinct impression on critics and audiences alike.

Spielberg leaves too much on the table between the two characters, especially in a film that earns the right to breathe for a few seconds, but Streep shines in these scenes all the same — this is Spielberg's first female - driven film since «The Color Purple» in 1985, and the actress is eager to make up for lost time.

«The film is very much about family, specifically the importance of remembering family and passing along stories to future generations so that people aren't forgotten and lost to time,» director Lee Unkrich told Vanity Fair at the Morelia International Film Festival in Mexico on Friday evening, where the picture opened the event with its world premiere.

Malick's first film set in contemporary times is one of his more minor ones, but it is not without its pleasures as Variety believes, «It's perhaps Malick's simplest, most relatable evocation yet of paradise lost.»

Beautifully shot, like Rohrwacher's other features, on Super-16, this film, with its richly textured images, does indeed feel at times like a retrieved and rather miraculous relic from a lost era of cinema, which is not to say that it isn't of its own moment.

Neeson looks tired and confused, while poor Lili Taylor, the queen of the Independent film circuit, is relegated to looking lost most of the time.

But like many other films («Star Wars») the limitations of the time proved to be the films winning key, this element like other modern films has been lost completely here.

When Anne (Riva) experiences a moment of lost time one day at the breakfast table across from her husband of over 40 years, Georges (Trintignant), it's fleeting, but it signals the end of the active - senior's life — proudly attending concerts starring world - famous former piano students, doing the shopping, being generally engaged and mobile in their affluent retirement — we've briefly glimpsed at the beginning of the film.

The nihilistic tone, cynicism towards governmental authority, and nostalgia for a lost age of honor are perfect products of the early»70s atmosphere in which it was made — according to Julie Kirgo in her essay on the film for its recent Twilight Time Blu - ray release, Winner was actually staying at the Watergate Hotel during the June 1972 burglary of the Democratic campaign offices!

It was a flop at the time, too dark and weird and unhinged for mainstream cinema, and like many Gilliam films it's entrancing on a moment - to - moment level, losing itself in the swirls and eddies of the narrative.

It's intense and fascinating, even if the second half strains logic and loses a bit of steam by the time the film ends.

With Shirkers, Sandi Tan (also a first - time filmmaker) revisits the long - lost footage from her unfinished narrative feature shot in Tan's native Singapore in 1992, also called Shirkers, and in the process reckons with both why the film was never finished and how several relationships were forever changed in its wake.

The film meanders from time to time as Simon finds his way around the City of Lights and his own skin, but Corbet's performance is a darkly rich one in every scene, not far from Matt Damon's sociopath - turned - psychopath turn in «The Talented Mr. Ripley» but distinctively unnerving in crafting an eventually hollow façade out of this nice, young, very lost man.

By the time Bullock figures out whether to play this funny or serious, the film has loses its momentum.

What starts out teasingly moody, however, about the ramifications of a horrible incident — shades of «The Sweet Hereafter,» still Egoyan's best film — becomes baroque and ludicrous as the Hitchcockian scenario loses its psychological bearings in a web of trashy plot twists and self - conscious jumps in time.

A new print has been made of nearly - lost film; now it is time for it to be rediscovered.

While the last time we saw a variation of Lost In Space was in 1998 with a film directed by Stephen Hopkins, this upcoming television reboot essentially revolves on the Robinson family on a highly trained mission to establish a new colony in space, but unexpectedly pulled off course forcing them to crash land on a lost plaLost In Space was in 1998 with a film directed by Stephen Hopkins, this upcoming television reboot essentially revolves on the Robinson family on a highly trained mission to establish a new colony in space, but unexpectedly pulled off course forcing them to crash land on a lost plalost planet.

Another film series rebooted by its studio just in time to avoid losing the rights to the property, Fantastic Four comes ten years after Twentieth Century Fox's first attempt at turning the Marvel comic - strip into a film series.

It helps that he spends most of his time listening to a cast (Josh Brolin, Reese Witherspoon, Benicio del Toro, Owen Wilson) with enough charisma to fill a dozen films, but never is he lost in the shuffle of sunny dispositions.

There were several times during this film I thought, you know if this was just a mini series and this whole character's storyline had been mapped out over an hour, this final moment would have me going like the end of an episode of Lost.

Herzog's languid, meditative anti-horror film was completely at odds with both the times and stateside sensibilities and his film, Nosferatu: Phantom Der Nacht (or Nosferatu: The Vampyre as it was known in the US and UK), although critically praised by many, got lost in the sanguinary shuffle, deemed by some as pretentious and thought by some critics to be a pointless attempt to revisit a picture that was already perfect as is.

Sure, the films were sometimes flawed, but they were welcome alternatives to the standard Hollywood cookie - cutter plots about losing a man in 10 days or trudging down the aisle 27 times in bridesmaid taffeta.

Laden with themes of accepting responsibility and accountability, the film takes all its time attempting to grow Shrek as a character and as a side effect loses most of the comedy the franchise is known for.

With DC finally gaining steam in the rollout of its Extended Universe, Justice League represents something of a shortcut, an attempt to make up for time lost to Marvel's long - unchallenged prominence in the spotlight with an ensemble film filled with figures heretofore unseen in the DCEU.

Sometimes a «generous» running time helps me really get lost in a film.

I found myself zoning - out several times, losing contact with any bit of momentum the film had built.

Being that this is Turing's story, it's easy for the other actors to get lost in the background but even if they do from time to time, each one is an important piece in putting together the ultimate picture that Tyldum's film draws together.

When: January 12th Why: Fifteen years have passed since the original «Zoolander» was released, and whereas other comedies from that time have lost their relevancy, the Ben Stiller - directed film has only gained in popularity.

But there's not enough under the surface, and by the time the film comes to a conclusion, what the point of the whole thing is seems lost.

Incarcerated at the time of the Handover, the character embodies lost values and culture, and the remainder of the film is a depressing trudge through reminders of all that has been lost.

It was almost as though the film was impatient to get to the next song and I felt some of the scenes with Valjean as a free man for the first time in nineteen years was lost.

This time, I felt the film started off a bit lackluster, got much better towards the middle, but lost some of its steam by the end.

I was introduced to the Paradise Lost trilogy for the first time in 2012, thanks to Melbourne's ACMI screening all three films, due to the recent release of the third and final segment.

The spirit of a vicious child serial killer resurfaces in the nightmares of teens in modern - day and is responsible for their subsequent and shocking deaths in this tense, spooky thriller from who else, but Wes Craven (I'm actually not that familiar at all with his style, but since this is a horror film for the ages I figured I'd best get ahead and jump on the bandwagon as quick as possible to make up for lost time).

Although considerd one of Lynch's lesser works, Lost Highway is wonderfully weird and, like all of his films, demands to be seen multiple times.

Shot in beautiful black and white, which only adds to the lost - in - time feel of a small town, the film is quiet and hilarious, not to mention deeply touching.

«With your support, we will use our brand new Kinetta film scanner to make long - lost indie treasures available in a 4k digital format for the first time,» the page adds.

Transfixing images accumulate as we get gently dragged deeper into Drift — and that's before the film's turning point, when the soundscape slowly slips from the diegetic into electronic abstraction and the sea wrests control of the helm and we really start to lose our sense of time and space.