Sentences with phrase «weird little film»

At the very least, this is an entertaining, weird little film that keeps you engaged throughout.
It's a weird little film and I'm never really fully understood it, but you can definitely see why so many people hold it up with reverence.

Not exact matches

I was using baby wipes to quickly clean up little messes, but that kinda leaves a weird film on the wood and doesn't really do anything for the look of the table.
In a weird way, that can be a little disturbing to some folks, but films such as Shallow Hal, Stuck on You, and Me, Myself & Irene illustrate their unique treatise on democracy, in which we are all collectively equal in our wonderful, horrible, messy humanity: a whole wide world of freaks.
Its absurdist scenarios serve as little more than a ramshackle frame for bizarre non sequiturs, stoned pop - culture riffing, and some of the weirdest gags ever to make it into a studio - released film.
Sure, the young man who first enters the bar seems a little «off» in our first meeting (something the film is able to leverage into initial tension), but as the film unfolds, what seems weird simply becomes sad.
Clocking in at a brisk 103 minutes, «The Great Wall» has very little on its mind beyond its B - movie premise, operating like a weird hybrid between a Hollywood swashbuckling adventure and a Chinese fantasy film.
That weird little plus sign in the title signals that this film wants to be as down with the kids as was Baz Luhrmann's Romeo + Juliet, but here a lumbering storyline and mudsplattered emoting ensures that it doesn't really succeed.
If I'm a little wary of the film, it's only because of Taymor's own wildly spotty record; she also has the memory of Peter Greenaway's own avant - garde «Tempest» adaptation, «Prospero's Books,» to contend with, or at least to out - weird.
Wes Anderson's films may be weird little beasts, but each one has a simple approach to «quality control» that allows the viewer to feel somewhat smart, partially «in» on the joke, and an important part of the storytelling process.
Premiered in Sundance this year, Hosking's film sparked a controversy of sorts: Variety's Dennis Harvey detected «a sense of absurdism that stubbornly remains on the peepee / caca level,» and The Hollywood Reporter (John DeFore) commented, «in addition to being repulsive it's a witless bore»; conversely, IndieWire's Russ Fischer hailed it as «a new event movie for the truly weird at heart» and Jordan Hoffman, in the Guardian, found it «a welcome oasis of filth, depravity and shock in a culture that too often thinks merely being a little weird passes muster.»
The film starts off a little weird, with the main character a slightly quirky teenage boy depicting his love of film - making.
Breaking the weird little bubble of the first film actually harms the efficacy of many of the more absurdist jabs; they are often funny on the surface, but feel like some of the force has been robbed from them.
Perhaps non-coincidentally, Baghead is the first of these films to receive a national roll - out of sorts (in a weird strategy, it's opened in college towns first — I saw it in Austin a little over a month ago — and proceeded back to the big cities, presumably on a storm of buzz.
«My films are a little weird,» says Taylor Guterson.
The film is still a little weird and confusing but I have learned to appreciated it more for what it is.
Considering it was one of the few films on the short list to actually receive a relatively robust American release (I gauge this basically by the fact that I was able to see it myself by going to a movie theater and buying a ticket in the same year it is nominated), it seemed likely that Ruben Ostlund's wonderfully weird little domestic drama was pretty close to a lock.
The film starts off has a lot of fun as the singer and her old friend go hat shopping and ride around town in a cab, turns a little weird as she fights with her songwriters (one of whom is played by the great film composer Michel Legrand), and picks up again as she meets a soldier in a park.
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