Sentences with phrase «version of the movie does»

However, the original Japanese version of the movie doesn't have a central character of any sort to anchor the story; even Godzilla himself seems to be a bit actor in his own movie, walking in and out of scenes almost randomly.

But rather than an awakening to some creative idea or passionate project, it feels like investor's alarm clocks woke them to the huge popularity of The Force Awakens and attempted to shoot out a version of the movie done in Lego six months after the film released.

Not exact matches

Analysts knew the film version of the book would do well, but they didn't quite expect this: The Hunger Games raked in US$ 152.5 million on its opening weekend, the third - best for any movie, ever.

That sentiment is expressed in the top rated comment on IGN's version of this story: «It is in fact the smartest thing EVER done for a video game movie,» writes KDonivan.

Ms. Streisand will be doing it in a movie version of Larry Kramer's play The Normal Heart.

Shalit tells us that in 1994 she rushed off to see the new movie version of Little Women, only to discover that our hidden cultural censors, fearful of anything that does not cohere with prevailing orthodoxy, had expunged one of «the best lines» in the story, when Marmee says: «To be loved by a good man is the best and sweetest thing which can happen to a woman; and I sincerely hope my girls may know this beautiful experience.»

I don't care if they decided to show what seems to be a slightly different and extended version of that in theaters, and call it a movie, but I can still and I do respect Conor tremendously, as a person and fighter.

No matter how it got done, I for one am glad it did, and I can't wait to see how the extended version of James Harrison's movie ends in the postseason.

First of all, we recently did a version of this when I was out of town for work - it was the perfect time for me to enjoy a movie in the theater, and since our son was staying at his grandparents» for part of the time I was gone, my lonesome husband also went to see the same movie back home, then we had a nice phone discussion of it!

Faith comes at quite a steep price in both the 1966 and 1988 versions of the movie — Bratton doesn't tell Esquire which he prefers.

My Bride of Frankenstein Halloween makeup tutorial wasn't inspired by that movie, from 1910 but rather by the same movie that had a remade in 1931, don't confuse the 1931 version with the later version from 1935.

Maybe that's why the movie swept the Golden Globes and is sure to do the same at the Oscars — not because it's revolutionary, but because Hollywood is infatuated with the rose - tinted version of itself Chazelle provides.

As a bonus, Porter's «From This Moment On,» not written for the 1948 theatrical version of + Kiss Me, Kate, but performed in the 1954 movie version, is herein revived to give poor old Harrison Howell something to do besides get laughs.

That done, his team have quite literally reworked the entire movie - reframing some shots, recolouring most of them, and generally spending an enormous amount of time making sure that this is the definitive version of the film for home video, both on DVD and on future higher - definition formats.

It's only a matter of time before hollywood does a big budget, computerized - effects version of this movie starring Shia LeBouf or Zach Effron as Abu.

What they meant was that Polly did not resemble the 1960 Hayley Mills movie version of Pollyanna, which itself played fast and loose with the source material.

Sad to say, the rumored intensity of the play» «night Mother» is not on display in this filmed version that does not translate particularly well to the screen as it feels like just another made for television movie of the period.

This movie accurately portrays all of the emotions of the musical; although, regrettably, it only hints at the concept of a dirty, gritty New York without fully embracing it, as the stage version did.

The whole affair feels like the second movie in a trilogy because it does the whole «hero fights an evil version of themselves» storyline, which doesn't work when we don't really know our hero.

As a revenge thriller, the movie is serviceable, but it doesn't really deliver the delicious guilty pleasure of the better film versions.

If anyone else were doing this, you'd hear about it and say, «A movie version of «The Polar Express»?

Indeed, it is a uniquely dreamlike, lushly romantic, highly erotic and prototypically Coppolaesque version of the story - a movie that does for the vampire genre what «The Godfather» did for the gangster saga, and what «Apocalypse Now» did for the war movie: raises it to the level of grand opera.

It's intimate, as an autobiography ought to be, but co-directors Satrapi and Vincent Paronnaud also manage to give it a panoramic scale: While the movie doesn't attempt to be an Iranian history lesson, it does capture the way people's lives can be both drastically changed and yet, in some ways, remain defiantly unchanged when their government subverts everything they believe in, using God — or some version of God — as its chief weapon.

The movie isn't a groundbreaker — it's a British version of what John Hughes was doing in the»80s.

Spielberg was first attached to this project in 2014, when he was close to directing a movie version, but Amblin has expanded it to a TV miniseries «so it can do justice to the scope of the epic story.»

I don't usually do horror movies, but I've been really excited about this version of the iconic Stephen King novel.

Thunderbirds owes more to films like Spy Kids and the movie version of Lost in Space than it does to the original television series, so if you like slickly - made family sci - fi schlock targeted at the youngest of the audience members, you may not mind this mostly inferior knock - off.

They'll be showing six different Ghibli movies (the best of the best) in total, in both subtitled and dubbed versions, on screens all across the country (so you don't have to drive 6 hours away just to see them - or maybe you will anyway).

It's not just kind of latex and a costume; it would be a motion - capture performance of the monster — I can give away maybe not too much by saying there's more than one in our version — and then I would go to Europe, shoot the movie, do scenes with the real actors and I would be able to see the motion - captured monster in real time due to SimulCam, so yes that is our technological VFX paradigm for Frankenstein.»

It ends with a title card that states «A Paul Schrader Film,» but it is such in name only — a version of the movie that neither Schrader nor Refn (who retains an executive producer credit) nor Cage endorse or have done anything to promote, assembled by a team of producers without the input of Schrader or the film's credited editor, Tim Silano.

She is this movie's version of James Bond's Q, except that she does not just provide the cool gadgets; she invents them.

If you're a stickler for the most up - to - date stuff, you might want to hold off, or of course go with the Blu - ray version, if you don't already have that; if you're a less discerning fan who just wants a copy of the (new) biggest movie of all - time to revisit at your leisure, well, this release works fine.

Although coined by many as the female version of The Hangover, and there are certainly similarities, this does the movie a certain injustice.

Just sticking to relatively recent television (as opposed to something like the movie version of From Hell), The Alienist arrives after The Knick and Boardwalk Empire featured a New York only slightly further in the future, Peaky Blinders and Penny Dreadful have done the same across the pond (the latter featuring an alienist character of its own), and Netflix's Mindhunter tackled the»70s codification of the kinds of criminal profiling that Kreizler fumbles about with here.

While the base version of Ultimate Ninja Storm 4 already features a playable side - story from the «future» arc, Road to Boruto will expand on the lore of new series similar to how the Boruto movie and manga series does currently.

Also new on DVD: M. Night Shyamalan's The Last Airbender (Paramount), an adaptation of the animated TV series and one of the most critically reviled films of the year, the feature film version of Beverly Cleary's Ramona And Beezus (Fox), Cats & Dogs: The Revenge of Kitty Galore (Warner), Marina de Van's Don't Look Back (IFC) with Sophie Marceau and Monica Bellucci, The Lightkeepers (Image) with Richard Dreyfuss and Blythe Danner, Lau Kar - Leung's classic martial arts movie Shaolin Mantis (Vivendi) and the newly remastered The Endless Summer: Director's Special Edition (Monterey).

To compare a movie to another isn't the best thing to do, but when director Joseph Kahn states his intentions of making a «piss - take» version of F&F, it is impossible not to.

Waititi doesn't seem to give a damn about answering questions from previous movies or setting up the next big thing — Avengers: Infinity War (May) will follow Black Panther (February)-- and that's the beginning of the end for this version of the MCU.

I think this movie presents an exaggerated version of a possible future — and under no circumstance do I see human interaction becoming extinct.

The musical parts of the movie are the best part, the soundtracks mostly made up of Dylan covers from around the world, though he gets the band together to do a few numbers himself, including a great version of Dixie.

Well, maybe, but only if we accept the sanitized version of the decade that gave us rock and roll and the beats — the declawed, gutless, and thoroughly superficial take passed down by Happy Days and the movie that inspired it, American Graffiti, which was exactly the sort of film that Linklater said he didn't want to make when he set out to write and direct Dazed and Confused.

There are a few deleted scenes that didn't make it into the final version of the movie.

I'm sure that the excursion - to - a-Coney-Island-day-at-the-beach scenes in the 1941 comedy «The Devil And Miss Jones» or the 1959 «Imitation of Life,» as Hollywoodized as they were, presented more realistic versions of such excursions than this movie does — I mean, Coney Island is / was a lot of things, but lyrical is not one of them.

Though the film's basis as a big - screen version of Peter M. Lenkov's 2001 comic of the same name doesn't disprove its borrowings from either source of similar material, such associations might actually work in the feature's favour; indeed, the resemblance to both ranks among the movie's few highlights.

The fleet - footed movie version of Catching Fire, directed by Francis Lawrence (I Am Legend), captures the spirit of its book even better than the last film did.

Since both films well pre-date the preservationist era of film - as - art - and - heritage — Greed was released in 1925, The Magnificent Ambersons in 1942 — they have suffered the further indignity of being unreconstructible; studios back in those days didn't hang on to excised footage for the sake of future director's cuts on DVD, so the reels upon reels of nitrate film trimmed from the original versions were — depending on which movie you're talking about and which story you believe — burned, thrown in the garbage, dumped into the Pacific, or simply left to decompose in the vaults.»

When I started the movie, Al and Chris told me that they had done a reading a few years earlier of a different version of the script.

If you look at «The Hand That Rocks The Cradle» and «Fatal Attraction» and all of those genre movies, what I wanted to do was a contemporary version of those movies, where you really understand all the characters, and steep it in plausibility.

There's another version of the movie where everyone is more anonymous, but I didn't think it served the story any better.

It doesn't help that the ordinarily great Mann is an unconvincing leading lady here, perhaps realizing she already made a better version of this movie called Funny People.