Sentences with phrase «value of films like»

Many are happy to concede the value of films like this set in the developing world, showing sympathetic people trying to retain their dignity while being hungry.

Because, what is the entertainment value of a film like Ma nuit chez Maud, the equivalent of spectacle in a Hitchcock film, or of laughter in a Chaplin film?

Not exact matches

«I see us being less of a paper - feeding machine and rather a dispenser of value added substrates like water - soluble flavorings or ingredient - bonded films used for flavor transfer.

I mean, playing games at places like Cameron Indoor or in the NCAA Tournament as the guy other teams are trying to stop may be of some value in terms of basketball development, but it doesn't hold a candle to FILM STUDY and EXERCISING IN A POOL!

So I understand why Dirty Harry was made, and I understand why people like it, but America was founded on a combination of communitarian and individualist values, a fact the film elides.

Baker's combination of acute emotional intelligence and raucous, often bawdy humor sometimes brings to mind Fatih Akin, a German filmmaker of Turkish descent who also likes to set his films (Head - On, The Edge of Heaven, Soul Kitchen) in tough urban areas where conflicting cultural value systems meet and clash.

For all the value of his three most recent period pictures, they feel less vital as direct responses to the world around us than as filmed civics lessons, like popcorn Rossellini in his historical films era.

With these three films, Spielberg has crafted something like a Trilogy of Good Decisions, in which, at pivotal moments in our nation's history, more or less decent people took the opportunity to make the right choices based on fundamental beliefs in foundational American values.

Like Gleeson and Byrne, Gluck seems to recognize his film's inherent frivolousness, frequently calling attention to some of the screenplay's plot mechanics and hacky tropes — at one point even hanging a lampshade on Peter's famous blue jacket, in acknowledgement of the object's trite value as an emotional symbold.

Though it does have its moments and a nice, creepy atmosphere, it seems more like a movie made for TV, with cheap production values, a lot of annoying clichés and a derivative plot that brings to mind a thousand better horror films that you could be watching instead.

Without this shock value, the film is still an infernal machine — designed, like LaBute's In the Company of Men, to goad us into dark reflection — but its meanings tend to contract rather than expand.

But to me he was always this giant behemoth, and to do it as sort of a normal - size guy didn't seem to fit the character, and more importantly I think we got a lot of value out of him being larger than life and, you know, this fantastic physical presence in - and I mean fantastic like otherworldly - this otherwise very grounded film.

It's tough to say, but it feels like their C - character status in the film is informed by the public's perception of the group rather than their value as human beings in the five - way friendship.

Even the films I like from this year I do nt have clear memories of (I saw Women in Love when I was way too young for it in the 1980s), don't truly love (big Altman fan but MASH, is more of a «like»), or I love them more for their historical value or genre personality than for actual quality (Boys in the Band, Aristocrats, Bloody Mama, On a Clear Day You Can See Forever).

Yet despite the distracting detours of adult content, this film, like most of Jane Austen's novels, is determined to give older audiences a glimmer of hope by championing the value of marital bliss.

Overall, I think that while this is not nearly as good as the best animated films of 2010, it is on par with the likes of Kung Fu Panda and Despicable Me in entertainment value.

It's like an anniversary clips show for a long - in - the - tooth sitcom, filmed with the same sort of production values as a backyard porno and scripted (by an uncredited writer) with almost exactly the same kind of ear.

There's a certain degree of kitsch value in films like this, Modesty Blaise, and James Coburn's Flint series — a value explored by «Get Smart» and Mike Myers» Austin Powers series, which is essentially the Flints updated with a more inept protagonist.

As Hollywood churns out sequels, reboots, and shared universes, sci - fi films like Arrival are proving the value of self - contained stories.

At the 40 films I attended, audience response split between enthusiasm and skepticism, the latter because «hosting» seemed like an awfully demure term for the colonial history motivating these words, the rhetoric of unclear value to the indigenous communities who were its ostensible dedicatees.

It is educational, heartfelt, and adds immeasurably to the enjoyment of the film, although as with New Line's excellent Infinifilm format, my wish is for the studios to reserve such treatment for films that actually deserve it instead of formula dreck with questionable scholarly value like Driven and Blow.

Colangelo understands the value of implementing a story like this into the setting and she does that with careful cinematography and filming at certain times of the day when the light and weather cast a particular mood.

Higher production values are the only asset in this sequel that plays out more like a rehash of the first film.

Like some of Warner's prior classic film releases, Captain Blood comes with a mini-program of short subjects, newsreels, and cartoons, plus a Leonard Maltin intro designed for those unfamiliar with the value one got during the Thirties for a dime.

Admittedly, the production value has improved with more characterful creature effects and the claustrophobic locations make for more scope for suspense, but the pedestrian direction and tired formula makes the film feel like a TV movie with little in the way of flair or imagination.

What films like The Babadook and Goodnight Mommy show us is that no matter the amount of blood and gore and shock value a film may possess, there is no real substitute for great acting.

(It also feels like it was filmed on more than one set, immediately elevating it above the production values of the original Deadpool.)

Instead of a brainless action film, it plays out more like a propaganda piece for those who value the right to buy machine guns over human lives.

It's just so much fun and is a rare film that seems like it would have a ton of rewatch value.

Actor David Krumholtz — who's probably best known for his work as a young actor in movies like Addams Family Values and the Santa Clause films, as well as more recent regular roles on network fare like Numb3rs, Mom, and The Good Wife — went on Twitter yesterday to make a public apology for one of his recent films.

And so, in choosing it as the film from the past ten years I would most like to discuss in the context of the future of the medium, I might be asserting, against my better judgment, the primacy of the auteur over and above national cinemas and identity art — the ferocious and aggressively confrontational cinema of Lucrecia Martel serving as evidence that an ethos long - since debunked in serious academic circles still has credence or at least value in the second century of the movies.

Like many Silent Era films, the rampant historical value makes it easy to overlook the lack of general entertainment.

These special effects are merely the epitome of Stargate's second - hand wonder; part of the film's value as a curiosity piece is its New York street - merchant vibe: like peddlers of the Rolux watch or Parda handbag, Emmerich and co - producer / co-writer Dean Devlin are selling us an approximation of a blockbuster by a licensed hitmaker, and we excuse them the same way we allow for the smudgy print of carbon copies or the colour bleed on VHS dubs.

Though nominally a celebration of the life and storied career of children's broadcaster Fred Rogers, anchored in present - day talking - head interviews with collaborators and friends that threaten at times to bludgeon the delicate and achingly sincere archival footage of Rogers's show «Mr. Rogers» Neighborhood», Neville's film has a bit more teeth as a manifesto for how children's educational programming that resists the trends of busyness, noise, and violence can function as a form of public service, instilling values like neighbourly stewardship and mutual respect.

In the early 2000s, the Japanese government started to evaluate the value of the country's popular culture industry following international successes in anime / manga such as Pokémon and Dragonball, videogames like Nintendo's Legend of Zelda and Super Mario series, and films including Spirited Away (2001) and Ringu (1998).

If you liked the movie, you'll probably like the game, as it's a near - perfect blend of classic gameplay with the production values and design of the film.

Readers who found the Hollywood stories of films such as The Day After Tomorrow, Waterworld or An Inconvenient Truth scary, might like to note that the mean average value of +1.0 mm / yr is not quite as dramatic.

When our Waggl team saw this film, it resonated with us immediately because we share core values like inclusion and the importance of culture and progressive leadership.