Sentences with phrase «values film part»

Not exact matches

In mixed plastics recycle streams such as this, using Fusabond ® improves impact resistance, surface finish, and processability of parts and films... so the recycled material can be made into more sustainable articles with less material loss and higher end - use value.

Steven Spielberg's film is an ode to an era when newspapers — with their crotchety reporters and editors, connected and well - heeled owners, democratic values, and broadsheet features — were a literal part of the social fabric, lining parlor couches and billowing through windy city streets.

Part of this comes from the excellent characterizations provided throughout the film, with many archetypical elements of Hispanic women getting together for a tug - of - war between old - fashioned values and the new independent spirit.

ATLAS SHRUGGED PART I Rather than take the time to come up with something witty to write about this heavy - handed screed that boasts all the production values of a bad made - for - TV movie from the early 1980s, I'll just substitute the word «novels» with «films» in this popular quote and be done with it: «There are two films that can change a 14 - year - old's life: The Lord of the Rings and Atlas Shrugged.

It complains about Hollywood as much as it adores it (a line from Ryan Gosling that L.A. «worships everything and values nothing» is especially on point) and that paradox is only part of why it's just a great film.

Not exactly a fresh script, one part Sex and the City, one part Hanna Montana, and one part mid 80's John Hughes film, the end result; a corny romantic comedy with no nutritional value.

«The reality is that if you are a part of films that have global releases, you do become an actor that is considered an asset or of value to a production,» she said.

There is the clash between devout middle American values — no sex before marriage, the importance of church — with the hedonistic lifestyle of L.A. — where sex is a key part of what drives the film industry.

Clooney gets in his moments, and Julia Roberts, while mostly absent throughout most of the film, gets in one clever scene late in the movie when she... well, I won't spoil it because the surprise is a large part of the humor value.

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.

It's hard for me to imagine how the dominant, non-formalist form of film studies, with its systemic handicap of abstaining from value judgment and not being able to treat the film as an independent aesthetic object capable of producing an infinite variety of affects, can be terribly instructive for the enterprise of film criticism, which necessarily calls for a hierarchy of values on the part of the practitioner and his / her acknowledgement being a sentient, unique subject capable of being transformed by the film.

It's a good metaphor but a rather thin film that reveals its TV series origins in the rather cheap production values and a narrative structure that plays like a two - part episode, with a cliffhanger break right at the mid-point.

Instead of striving for a more competent film experience, Breaking Dawn: Part 1 is simply pandering to the existing fan - base with almost nothing of value to anyone who isn't already in love with the characters.

For the most part, the film is upbeat, and enjoyable at face value.

The Twilight films have never been known for high production values, or even particularly stand - out performances (despite the claims of impassioned Team Edward / Jacob fans), and those trends continue with Breaking Dawn: Part 1.

Brennan's film maps converging lines between the protected relics of ancient temples, smuggled antiquities and exchanged car parts, exploring the care, circulation and shifting value of objects.

Mr Campbell's response to the film has four parts that explore the idea of value and the commoditisation of art.