Sentences with phrase «weak film making»

Not exact matches

NOTHING to do with a Hollywood film - making process, technicolour takes us back to the beginning of the universe, when two of the fundamental forces of nature, electromagnetism and the weak force (which governs particle decay within the atomic nucleus), were united in a single force — the electroweak force.

That, plus the strange, wacky humor, make for a weak first film from Talalay.

I wasn't aware that the great actor / director made some pretty weak films over the years.

The weak link is Steve Zahn who's straight laced screenwriter character grates making him a dreadful lead considering most of the film follows him.

It's not his fault, though, as this film would have been weak regardless of the star, with a predictable storyline and events that will have you recalling bits and pieces of plenty of other comedies of humiliation featuring a meek man finding the cojones to finally take on the bully in his life, only to make an utter ass of himself.

Former photographer Floria Sigismondi makes both her writing and directing debut with The Runaways and is unfortunately the weakest link in the film.

Unfortunately, the other new segment is hands - down the weakest entry from either film, not only because Jessica Alba's stripper is a complete bore, but because it makes a huge mess of the overarching continuity.

Those who see the original after this remake will now be bored, but most will choose not to even view the classic because this one seems so weak and stupid it will make them care even less about seeking the 1960 film out.

A film about a man who is always last to the scene of the crime is a solid starting point, but no amount of flashy directing can make up for a weak story.

The fact that Jimmy's a laid - off construction worker and Clyde a veteran with a conspicuous prosthetic hand gives the film an air of social relevance, and while Soderbergh seems enthusiastic about the idea of his characters banding together to take back from a society that's made them collateral damage, the attempts to draw any sense of sociopolitical import are the film's weakest spots.

It's not much of an achievement that co-directors Anthony and Joe Russo (held over from Captain America the Winter Soldier) make a better film than Zack Snyder... but it's worth noting that Marvel (corporation as auteur) have nurtured their characters (even in weaker films like Iron Man 2) to the point when they carry more screen weight than lasting icons Batman and Superman.

In fact, it so desperately wants to capture that beatnik - y place and tone where crime films and swinging London met that it just seems to try too hard, slathering the movie with music, trippy visuals and other elements that just can't make up for the deficit of a weak and blandly told story about a ex-con (Colin Farrell) hired to look after a reclusive young actress (Keira Knightley) who finds himself falling in love, which of course puts himself in direct confrontation with one of London's most vicious gangsters.

They probably can't do or say such - and - such...» But sacrificing more adult thematic elements for a broader MPAA rating ultimately was not what made this version a weak film.

As brilliant as I find the film in its parts, as a whole I can't completely rave, as the film does falter a bit due to a lack of focus and there are some weak scenes, especially as the film nears the ending, which should have been edited out of the rather long film to make sure the storyline stays tight.

We also get Naomie Harris as Field Agent Eve, and the argument can be made that she is weakest link in the film.

The film's plot — while not exactly unprecedented — is weak at times and sits at the back burner to these guys all trying something cool with the jokes, but I would've preferred, in light of the film like Attack the Block, for this movie to try and embed the narrative into the humour a lot more, rather than just make another The Babysitter with more comedians.

The film makes up for its weak plot in strong comedic performances by the entire cast, and is sure to entertain male and female audiences equally.

The Killer Elite (Twilight Time, Blu - ray) is included not for the film itself — one of Peckinpah's impassioned expressions of loyalty, betrayal, professionalism, and violence as a way of life hung on a weak scrip — but for its very special supplements: the American home video debut of Peckinpah's 1966 made - for - television drama Noon Wine, an intimate 52 - minute production shot on a combination of film and videotape and broadcast on TV once.

Every year, someone online will always make the brave stance that it was a weak year for films.

You'll want to make sure to switch tracks at the film's start; by default, a basic stereo mix plays and it's seriously weak.

For whatever reason the respective film fails: perhaps the writing was weak, the direction went horribly wrong, or all the ingredients needed to make a great film, hell even a good film, simply were not there.

Fillion makes a pleasant and amiable narrator, and the points where the film really hums — particularly in the Abin Sur and Mogo portions — help power through the weaker spots.

Lynne Ramsay was told she'd never make it in film because she was too weak to carry a camera.

Because the FDR / Daisy storyline is so inherently weak, the film shifts its focus to the preposterous notion that a visit to Hyde Park by the King and Queen of Britain in 1939 secured the freedom of the world by making firm allies of the USA and Great Britain.

You'd never know given her day to day routine, which involves making weak tea for a boss too lazy to fire her (at least for a while), ineffectually feeding her pet rabbit Bunzo, and watching and re-watching a videocassette of the Coen brothers» classic film «Fargo.»

No, it wasn't nominated for an Academy Award, and with weaker films like The Sixth Sense and Cider House Rules making the cut, it's truly a great shame.

by Walter Chaw John Dahl's latest foray into knock - off B - movie territory is Joy Ride, a film that indulges an awkward dedication to hiding the face of its villain (which results in the biggest cheat of the film at its conclusion), presents predictably misogynistic victimizations for both of its female characters (followed by weak - wristed salvations), and demands an ironclad suspension of disbelief that the bad guy is omniscient, omnipresent, and only ruthless when there isn't a long speech to be made.

So you were talking about this kind of karmic circle where it comes back around — where now «Hoop Dreams,» a film Ebert helped make successful, he was someone that shined a light on these less - well - known films that had weaker marketing budgets or so forth, drew people's attention to Errol Morris, who you saw on screen, really helped launch the careers of some of these people by shining that light on them... and you were saying how from your experience as a critic and all that, you say in your own words, you yourself feel the same desire, that your job is to cast that light.

Insidious - A scary and well - made horror film is rare enough to forgive a slightly weak finale and still rank this highly.

There isn't enough story here to sustain a full - length feature, and Shyamalan probably would have been better served making this the first short in an anthology film (indeed, it is rather reminiscent of a «Twilight Zone» episode, «Five Characters in Search of an Exit»), rather than stretch it out with weaker side stories and needless characters.

Nero's a bit of a yelling villain and Bana can only do so much to make him interesting and that's the film's one weak point.

The Boat That Rocked was an expensively made film that ended up with a weak # 6.2 m total in the UK — a massive disappointment after the # 36.8 m success of 2003's Love Actually.

The film made him the A-lister he is now, and spawned two massive sequels, but it can't just be us that finds «Batman Begins» in retrospect one of the director's weakest films.

Technically speaking, the film is fantastic, but that doesn't make up for some of the weakest direction and poorest plotting of the films in the Harry Potter series.

Last year saw long - time festival director Sandra Hebron make way for Clare Stewart, the former head of the Sydney Film Festival, and the result was a slightly awkward transition, with the 2012 fest proving to be a rather weak selection given the films that were available.

He said that Luke will be the «emotional entry point» into the film and that he will explore what empowers the newcomers from «The Force Awakens» and what makes them weak.

The greatest problem with the film isn't as obvious as its bad writing and weak structure: it's that Queen of the Damned tries to make sense where none is to be made.

«The picture might have made a pretty good college show... But the wit is too weak to sustain a film, and the songs all sound the same.»

It was also a very good year for film — the best, perhaps, since 2007 — so a number of movies that could have made the list in weaker years (Argo, The Dark Knight Rises, Life of Pi, Les Miserables, Skyfall, etc.) have instead been consigned to honorary mentions.

This mix of comedy and action handles both adequately, but the weak script and a disappointing ensemble of actors keeps this film from making the jump into a successful vehicle.

Zombie fixed some of the major flaws from the first film, including some laughable make - up effects and weak costume design.

TN: As an example: if there was a weak script that was going to be made into a film or there was a strong script that was being made into a TV series, I would go for the strong script in the TV series.

Sure, the first film wrapped up with a weak and rushed third act, but otherwise, it was well made and genuinely scary.

The parallel to those living with disabilities is explicit within the film, and it gives Strange, both the character and the movie, a unique and rewarding message for a superhero movie: Injury is not defeat, and that which you think makes you weak, may in fact be the source of your power.

The Cold War between the United States and Soviet Union is at its peak, and Richard Nixon (the make - up, especially on the aged Nixon is one of the film's weakest aspects) is the US President for a fifth term (after a repeal of the 22nd Amendment), able to secure the position through his utilization of costumed superheroes to do the government's dirty work in world affairs.