Sentences with phrase «times the filmmakers seem»

At times the filmmakers seem to be taking potshots at Philomena for her placidity; other times Martin is made to seem crass and unfeeling — insufficiently spiritual.

Many first - time filmmakers seem to want to make a movies initally about something that is very much about them.

Not exact matches

At the same time, I'm drawn to the director's formal genius; rarely has a filmmaker worked with such horrible affairs and still made it seem so conventional.

To me, it all seemed that the filmmakers didn't care about the end result of the film, and this is a film that is not worth your time, and should be avoided if you're looking for something funny.

The viewer might have a hard time imagining an ending that will be both satisfying and truthful; it seems the filmmakers shared that dilemma.

That gap, though, seems as if it was enough time for the filmmakers of «The Strangers: Prey at Night» to get it right.

The directorial debut of Ruairi Robinson, the young Oscar - nominated Irish filmmaker who at one time was set to helm the «Akira» remake, it might seem to have a generic set - up, but if Robinson's shorts are anything to go by, we should expect to see something visually spectacular.

Filmmaker Robert Rodriguez again wears several hats (including writer, director, cinematographer and production designer), but they don't seem to fit quite as well this time.

At the time, we only had the Bible - quoting hit man Jules (Samuel L. Jackson) as evidence of a philosophical outlook — his ultimate disavowal of «the life» at Pulp Fiction's trick non-ending seemed a fairly apt demonstration of man's (and therefore a filmmaker's) capacity to reject violence and find inner nourishment.

There's little doubt that Real Time's admittedly intriguing premise initially seems as though it's going to be squandered by writer / director Randall Cole, as the filmmaker generally stresses hopelessly quirky situations and conversations that grow increasingly tiresome as the movie progresses.

What I'm not so fond of is the cop - out ultimately taken by the filmmakers, who can't seem to follow through on their promisingly metaphysical premise (let alone the theme of obsessive love), electing instead to eliminate all ambiguity — now would be the time to dig up that gift - wrapped box I told you about earlier — which reduces the film, in the end, to little more than a cheap, if rather expensive - looking, joke.

And while I question a lot of Tarantino's ideas personally, there is some commentary which I found at least interesting and at times truly thought - provoking... until they just keep repeating the same things over and over and over again, losing the larger message in the flood of Tarantino dialogue which now seems to be the crutch of an indulgent filmmaker... not the original voice who made such an impact on Hollywood 20 years ago.

Given that the plot motor is Thanos's worry that the universe is overpopulated, sly self - awareness is shown as the filmmakers embrace drastic solutions to the problems of braiding multiple franchises into one — though some jiggery - pokery with Dr Strange's time - juggling amulet (and Cumberbatch's knowing line readings) suggest any shocking plot developments can be rolled back later, especially with sequels in development for characters who seem to be permanently written out in a tragic finale that's also an old - fashioned cliffhanger.

The time seemed right to explore this new opportunity to further strengthen our relationship with the Institute and partner with two young independent filmmakers who's commitment to pushing the boundaries of creativity and innovation mirrors ours.

The few known pieces of information on the filmmaker seem to confirm that; he just turned 40 in September and has been married for some unspecified time.

If American filmmakers seem to have spent a lot of time in therapy, or rehab, or both, it looks like the best European directors were weaned on Beckett and Camus --- or maybe (and here's a crazy idea) Buddhism.

For a time, it seemed like genre filmmakers hadn't learned from those sorts of examples.

But Hoult seems to be taking a quieter route to the top, having gradually made his way from bit player to scene - stealer to young leading man, and now finally rushed into the public consciousness, rat - a-tat style, by filmmakers who seem to have been privy to his gifts for some time.

Unconnected to SXSW, the Austin Film Society is in the middle of an Olivier Assayas retrospective this week, but SXSW also seemed like a good time to get the legendary French filmmaker, one of the greats of the»80s,»90s and today («Irma Vep,» «Demonlover,» «Something in the Air,» «Cold Water,» «Carlos,» «Personal Shopper») in conversation with Richard Linklater.

There are times when the film seems like a defiant statement from the filmmakers: If this stuff is eventually going to get old and tired, it's not going to happen on their watch.

Netflix was apparently offering $ 8 million — I ran across some Netflix buyers and it seems they actually have a budget this time — but the filmmakers, including Margot Robbie, wanted a theatrical release that will play better with Oscar crowds.

On paper, both Disaster Artist and Tonya seem likely to spark the debate that flares every time the Coen brothers or Alexander Payne make a movie, over whether darkly comic filmmakers are condescending to or exploiting their sometimes - hapless characters.

It seemed a given that Iñárritu would win director after taking the DGA prize, but if «The Revenant» had won best picture as well, it would have marked the first time in the Oscar's 88 years that the same filmmaker had won both director and best film two years running.

Focus Features» upcoming thriller Thoroughbreds may seem like it's being helmed by a long - time filmmaker with plenty of features under his belt, but it's actually the debut movie for writer / director Cory Finley.

Very prolific — at the time of his death, he had six films in post-production — Yelchin seemed to gravitate toward eccentric filmmakers and projects.

Lover for a Day seems at times almost a parody of Garrel's work, a throwback to a time when a filmmaker's artistry or hubris often excused, for many viewers, melodramatic characterizations of women, who in this kind of thing all too often threaten suicide or erratically burst into tears.

Yeah, a lot of filmmakers seem to think that all neon, all the time somehow constitutes an actual visual aesthetic and not a garish eyesore.