Whatever marketing decisions resulted in this film being rushed through the pipeline, I personally think it deserved a better chance at success, because it's actually
a very decent film.
I was expecting more from this film (after watching the engaging trailer, and knowing the screenplay is by Nick Hornby), so I got a little disappointed... It is
a very decent film, the acting is flawless (Saoirse Ronan can definitely carry a film), the colours, the sets and locations, the costumes are all beautiful and the story does grab your attention... and then it ends: when it seemed the real drama would happen.
All things considered, this is
a very decent film.
Not exact matches
hey im darren im
very loving caring genuine fun honest kind nice
decent down to earth independant trustworthy outgoing friendy respectful adventurous spontaneous with a gsoh also romantic i like making music like most types of
films and music like swimming walking camping going out having fun...
The special effects are
decent, but not remarkable, and the seeds are
very clearly planted for an entire Wolverine franchise of
films to come.
The artistic meditativeness to Refn's approach to this
film may be a little more realized than it was with 1996's «Pusher», but nevertheless, this effort is even more of the
very thing that ruined Refn's breakout, and even seriously threatened Refn's
decent follow - up, «Bleeder», having an experimental, almost abstract, and perhaps even intentionally incoherent structure that is not only questionable, but frustrates with pretentiousness, or at least too much ambition.
The
film definitely had potential in being something much better due to its
very good concept, but for what it turned out, it was
decent and with a cool thriller that was
very interesting, it saved the
film from being a total dud.
A
decent very low budget UK
film, featuring a few well known faces to UK TV audiences.
I'm not sure how people who are not musical obsessives will react to the
film — it takes the form
very seriously — but for those with any
decent amount of showtune-itis in their blood, Les Misérables is, I'm surprised to find myself saying, something of a must - see.
Yorgos Lanthimos is no stranger to a
decent film poster or two, and this effort for The Killing of a Sacred Deer marks another triumph, giving away
very little about the
film's harrowing plot, and somehow managing to make curtains look unnerving.
Despite appearances by tennis greats - chief among them John McEnroe and Chris Evert playing themselves - lending heft to the
film, some of the tennis scenes are clearly digitally enhanced and Bettany, while a
very fit bloke (in all senses, as we see a lot of him in the locker room) is not a
decent enough player to pull it off.
The action scenes are
decent, but the
film's entertainment value comes from seeing adult stars playing teens
very different from themselves.PG - 13.
Still, it's a
decent film with
very notable craft.
The robots are cute and the awareness of nature a
decent intention, but beyond that the
film just has
very few redeeming qualities.
Although there are some
decent chuckles sprinkled throughout, and perhaps one or two that will have you falling out of your chair, unlike most
films revolving around a couple of naive idiots, the rest of the
film isn't
very intelligent, either.
There are a few good things about it, the gunfights were gritty and non exaggerated proving that Mann can still do
decent gun play that is more accurate opposed to the infinite clip that we are used to seeing in many other movies, the cinematography is also
very good and it was really nice to just look at the beautiful landscapes and backgrounds of the locations they
filmed in Hong Kong and Jakarta.
It's a troubling
film to watch in that anytime you see a man bringing himself down it's not easy, and he never really lifts himself up again, but the writer does a
decent job of representing an introspective feel without boring the audience which is a
very challenging thing to do.
The
film starts off
decent by staying simple in its story, but quickly degenerates into a
very uninteresting diagnosis on concussions and the dangers of the sport, as if we needed assurance that driving into a wall or other driver at 200 mph is a life - threatening thing.
Despite a
very wobbly screenplay, this
film's
decent cast and gorgeous setting make it worth a look.
Pair that up with a rehashed premise and a weak script and you have a
decent enough but
very lackluster
film.
There are
very few
decent moments in the
film, with an occasional funny gag, but none of these have to do with the story at large.
Also like Saw and Identity, Mindhunters offers some superficial thrills that makes it a
decent diversion, even if it never approaches sufficient quality to think it to be a
very good
film.
The
film fails when it comes to characters, but at the
very least, it builds up to a funny finale and has enough quotes and memorable scenes to be a pretty
decent cult viewing.
It's tiresome, dizzying and completely ruins the
very few halfway
decent elements the
film does have.
It doesn't seem
very likely, but sometimes that just the kind of
film that The Academy gravitates towards:
decent, but rather forgettable.
Still, even if it doesn't quite stick the landing, there's a lot to like here; it's a fundamentally
decent,
very well - acted and cannily written
film.
I think this is a
film for people that do nt like art cinema Its all
very visual and cut skillfully with requisite tied up in a bow ending but it has little of the wit of the much superrior «Read my lips» Which this is
very much a companion piece as for the acting Marion does needy again and Matthias doe lovable brute... no stetch then its a
decent film and you almost want to visit waterworld ooops own goal for Greenpeace
There's a fine documentary on the making of the # 1
film from this year, Les Blank's Burden Of Dreams,
decent prestige
films like Gandhi, Sophie's Choice and An Officer And A Gentleman and some
very good comedies: Tootsie, Airplane II: The Sequel and Fast Times At Ridgemont High.