Sentences with phrase «up happiest film»

Not exact matches

He was only too happy to show up to film a beautiful and informative documentary with Eugene Peterson about the Psalms.

Anyways, I'm oh so happy the Sharks swept those chickenshits and have a cool amount of time to rest up and prep for Vegas, study some film and get their game plan set.

His latest filmed stand - up special «Miserably Happy» is available in early 2018, tweets at @TiernanDouieb

I couldn't answer the question - I simply said that I hope it ends up being a good film, with a happy ending!

Bobcat Goldthwait, one - time stand - up comic, who has morphed into a film director, is happy to tell us who Crimmins is, in his «Call Me Lucky».

In most cases, flashbacks often do nothing for a film, except oversell the protagonist's loss with affected sentimentality, in a scene that depicts happier times, where the grieving spouse gets all red - eyed after waking up from a reverie.

While the film didn't stir up enough business to warrant a sequel, the Starfighter video game remained a much - sought - after commodity by joystick - happy «warriors» all over the country.

Since their notable appearance in a song and dance routine with actor Dick Van Dyck in the 1964 film Mary Poppins, these little black and white creatures have scored numerous screen roles in films like Madagascar, Cat's Don't Dance, Surf's Up, Happy Feet and this fall's sequel Happy Feet Two.

Ryûsuke Hamaguchi's follow - up to the five - hour Happy Hour is «less ambitious and lacks the raw honesty or spellbinding intensity of that film,» according to Maggie Lee of Variety.

Also the ending is not at all happy and conclusive, which leaves it SUPERBLY up for the next film.

To get happy for 100 minutes, put this film in the entertainment line - up.

ANIMATED FEATURE FILM It's a close race between the souped - up «Cars» and the tapping «Happy Feet.»

The cover of their The Happy Ending blu - ray is embarrassing — it's a fraction of the film's original movie poster blown up and set off center with the title written in thin blue lettering that's nearly indecipherable.

Up until her joining the narrative the film had been funny, if a touch icy, happy to tell a story that shouts from the rafters that our environment is doomed while also making us laugh with visual sight gags such as a miniaturized Laura Dern in a bubble bath.

It's a little reactionary in a kind of «Forrest Gump» - y sort of way — the moral runs that it's better to be decent than brilliant, happy than successful — but the film is well - meaning and the performances from a stellar cast (Joe Mantegna, Ben Kingsley's accent, Laurence Fishburne, Joan Allen, Laura Linney, William H Macy all show up) mostly walk the right side of mawkishness.

Though a PG - 13 slasher film is like the equivalent of sex with clothes on, «Happy Death Day» gets around that hurdle by being less of a straight - up slasher and more of a darkly comedic murder - mystery that just so happens to involve a temporal loop and a knife - wielding masked killer.

Even the look of the film holds up to the expectations of today's effects - driven industry, with Stan Winston's practical creature effects outdoing the likes of Stephen Sommers» SFX - happy «Van Helsing.»

Have been a fan of both the books and the films and to be honest up until the last film I have been very happy.

Theatre owners were pissed when the cinema - to - VOD window was downsized to 60 days earlier in the year («Unknown» was one of the films available to buy on the telly after only a couple of months at the cinema) so they're likely not going to be happy about giving up a movie 3 weeks after it's debut.

His latest film, Happy - Go - Lucky, throws up another couple of classic Leigh folk: Sally Hawkins» Poppy, a sunny giggle of a north London girl clinging to her youth as she approaches adulthood and her thirties; and Eddie Marsan's angry, ridiculous driving instructor.

But though it could be viewed as a series of short, fun, film pitches - Channing Tatum's happy sailor tap - dancing routine was a favourite - wrapped up in the larger narrative of a movie star being kidnapped, its so beautifully put together, well - performed, tightly - scripted and deliberating making fun of itself that it works.

«I'm really happy a film like this with a performance as strong as Frances's is getting out there this year, it's a great statement for the Time's Up era and we made it a year and a half ago.»

The latter story is told in sped - up film stock, as highlights and soon lowlights of their relationship progress until he comes to a realization (which is unfortunately marred by a shot of them happy together in the final montage).

Morgan isn't a film with many happy or pleasant characters, and Dr. Alan Shapiro is a particular stand - out, lighting the screen up with incredible intensity, a seething disdain for the government project that sits before him.

DeWitt's work here also fits the autumnal mood of the film, its low tenors slowing down to a crawl at times as things get ugly between the characters, only to jump back to life as things pick up and seem hopeful, even happy (only insomuch as Philip would be capable of such a genuine feeling, of course).

The involvement of so many real musical luminaries (in particular Aerosmith's Steven Tyler in a key rôle as himself, and Outkast's André Benjamin eating up his scenes as trigger - happy gangsta Dabu) may bring a certain postmodern edge to the proceedings, but it also goes some way to explaining the film's gently - gently approach to the record industry — an industry which would be unlikely to release its stars to a project that was aiming to score any real hits against it.

Copying the model of many of his previous vehicles with Seth Rogen — who has the supporting role of a baffled script supervisor — Franco plays up the odd - couple bromance between Wiseau and Sestero, which gives him the like - hate - love trajectory an audience can find reassuring, and equips the film with a ready - made happy ending.

The film charts the ups and downs of their relationship by juxtaposing their dramatic journey with flashbacks to happier times in their romance.

The happiest outcome to consider is that, if Tony survives the next Avengers film, we might see an epilogue that sends him off into the sunset with Pepper Potts (Gwyneth Paltrow) following their wedding (acting as the second instance he's hung up the red and gold armor after Iron Man 3).

It begins in spring with a close - up of a face locked in abject misery: Asked by a counselor how happy she is on a scale from one to 10, Janet (Imelda Staunton) says one, in effect setting the tone for much of the film.

And unlike films typical to the genre of animation (especially those with princesses), The Tale of the Princess Kaguya doesn't tie everything up in a neat happy bow for us at the end.

Timothy Spall's astonishing, largely non-verbal central turn saw him pick up the Best Actor prize at the 2014 Cannes Film Festival, and we'd have been quite happy had the film swept every major award on offer.

For, at that juncture, the film sweeps up Jupiter for a visually - captivating journey which careens around the universe at breakneck speed, while barely pausing to take a breath until finally depositing a very relieved heroine back home where she's happy to find herself surrounded by familiar faces.

The ending of this film is perhaps the biggest botch - up job, as if they had no idea how to tie it up, except to give us half - baked conspiracy notions, and unlike the Lemony Snicket books, an attempt at a happy ending, which sort of goes against the premise of these children never really finding happiness.

The film sets this man up as a happy new father who is sickened when he first responds to the destitute couple's apartment, to find this baby in a closet (with an ear - shattering music sting).

Don't get me wrong: I'm happy as a clam that the films (remastered in effervescent 1.85:1 anamorphic widescreen transfers — pan-and-scan sold separately — supervised by co-creator Bob Gale with Dolby Digital 5.1 remixes that beef up the re-entry effects especially) look and sound as good as they do and that, for the first time in home video's history, each picture is now being seen as it appeared in theatres (more on that below).

I'm happy now because I never expected the film could whip up so much debate and discussion about the city and what the martial arts masters» roles were in its history.

A couple month later, Steve Paul, a producer on the film, spoke out about the controversy stating that fans will «end up being really happy with it» and that nobody will be disappointed with the outcome.

Happy Death Day is directed by up - and - coming American filmmaker Christopher Landon, of the films Burning Palms, Paranormal Activity: The Marked Ones, and Scouts Guide to the Zombie Apocalypse previously.

To overcome the stress of filming, some crew members volunteered and set up a «happy place» where she could recuperate as and when it was necessary.

The real star of the film, though, is Bava's fluid and often balletic camera work: long takes frequently incorporate mercurial compositions, moving from extreme close - ups to wide, tracking, and variable zooms; and with the exception of three moments, Five Dolls is less zoom - happy than the ludicrous indulgences found in Planet of the Vampires («watch out for the bubbling LAVA - LAVA - LAVA!»)

The films of Nicholas Ray, more than any other contemporary American director's, were singled out by the up - and - coming Cahiers du Cinéma crowd (on the cusp of their own splashy Nouvelle Vague) as justification for their politique des auteurs — more a personal stance on critical practice than dogmatic superstructure, and long since codified and ossified by academic film criticism into hierarchy - happy «auteur theory.»

So I'm really happy with where we ended up, and the film looks great - I love it.

Heads up folks — the trailer for Martin Scorsese's next film Shutter Island has finally arrived online, and I'm happy to say it was well worth the wait!

And as the film wraps up in exactly the last place it ought to end up, we realize that we're just as stupid - happy as the rest of the clams.

I was also happy to see Ice Cube get more screen time in the sequel, and his character ends up being a major factor in two of the funniest moments in the film.

There was no best actress nomination for Sally Hawkins, whose sunny schoolteacher in Mike Leigh's Happy - Go - Lucky had been expected to pick one up; although Mike Leigh's script did make an appearance in the best original screenplay category — a controversial inclusion, given that Leigh's films are largely the result of improvisation.

This leads to the screwball episodes which make up the film and of course the inevitable happy ending.

Unfortunately, it just ends up being an unfunny mess that squanders a lot of comic talent and further tarnishes whatever happy memories viewers had of the first film.

The picture quality varies based on the source; for instance, a «Happy Days» clip look atrocious and the old short films are beat - up.