Sentences with phrase «what type of film»

Like Jordan, «Green Lantern» can't quite decide what type of film it wants to be.

With Endless Love setting its stall out early about what type of film it was going to be, it was always going to be an uphill battle to win me over.

«SKULL ISLAND knows exactly what type of film it wants to be, and never loses steam or tries to be something more than what it is.»

The film opens and closes with a film reel filter and flickering, showing us exactly what type of film it is.

However, both these creative artists have made films that aren't the Academy's cup of tea, so it will be difficult to forecast just what type of film Ricki and the Flash is until we see it.

Glass Chin seems to be a bit confused as to what type of film writer / director Buschel wants it to be.

Since spectacle is what these types of films are all about, from Buster Keaton to Jacques Tati to Jackie Chan, it's cool to see these stunts treated as the athletic feats they truly are.

Vigorous, self - assured, and innovative, Chazelle is a brilliant auteur filmmaker that knows exactly what type of films he wants to make.

Not exact matches

The algorithm is part of what's known as electronic image stabilization, a type of video processing that can help smooth the jerkiness in videos even when filmed in an unsteady environment, like from a dirt bike cruising down a bumpy trail.

I wonder what type of «proper funeral» those in the towers got... OBL should have been cut into little piggy treats and fed to a pen full of piggies, film the whole process and post it on Utube.

That's definitely what the film was saying... As much as I might like to laugh at alarmist - types, a cover of this very magazine from 1999 suggests that we were equally worried about... well, presumably, Darth Maul's makeup?

When the old Legion of Decency held a boycott - type club over the film - maker, and the Protestants through more subtle but no less paternalistic devices promised a docile and bland audience, the industry knew what to expect.

We used a new type of MBE system to observe what happens during the growth of oxide thin films.

It's possible to do both, it just depends what type of programme it is — whether it's a radio interview, a week or two of filming, or a trip up a mountain for six months.

One has to question just how formulaic this epic Roman drama is, because the formula was still fresh by the time this film came along, establishing certain tropes that would be shamelessly slammed into by future epics of this type time and again, and yet, outside of what would go on to become conventions, this film does most of what you'd expect, with a predictable narrative, storytelling style, dialogue, and, for that matter, portrayal of Ancient Rome.

I'm not sure what type of movie this is supposed to be or who its audience is, but it's a low down dirty shame that Wayans» talent is wasted on this film.

I thought the message for children especially, those with disabilities, who can find some type of encouragement and hope through this film was amazing and that's what won me over in a family - friendly film that typically wouldn't catch my mind or time.

«The Virgin Suicides» is that type of film that you need to know what to expect or you could be on the verge of tears the whole way through.

Cause right now, these «New Geek Cinema» makers are attempting to tell «clever» films, but if you take a look at what Tarantino is doing, you'll see he's already moving away from the type of film he allegedly birthed.

What's most stunning about the anecdotes recounted by Dick's interviewees is how alike they are, and if his film doesn't delve quite deeply enough into the type of culture that breeds such conduct (specifically, the way in which the army projects strength as a masculine trait, thereby subconsciously disparaging female victimhood as an undesirable weakness), its spartan use of graphics and statistics conveys arguments with little grandstanding.

From that, the rest of the film follows, for there is no broadly, easily villainous type present in the film at all, whether student, faculty, administrator, or even parent; thus the focus more clearly and cleanly zeroes in on the central idea at hand: that the two are their own worst enemies, and they need to get over themselves to be awakened to what's truly worthwhile in their lives and in life as a whole.

The performances in this film are incredible, and considering the type of film it is, I'm even more amazed by what these actors were capable of achieving.

Pettyfer is pretty and easygoing but lacks the sort of charisma that comes with a more focused sense of interior purpose, and the film basically feels, at its core, like a mash - up of carefully cross-tabbed teen movie trends, which is probably what happens when you set out in pre-production with the chief intent of manufacturing the next big «Twilight» - type cinematic franchise.

For him, it seems that genre movies have the potential to show the type of extreme moments that other, tamer films can not offer, making people amazed by what they are seeing, but also question what it is they are watching and how exactly it came into being.

Even if you don't particularly see people from your own family in them, you can certainly relate to some of what they're going through and with this type of potentially manipulative and unconvincing film that's certainly nothing to be sniffed at.

The writing - directing team of Eshom and Ian Nelms gets what makes this type of film work and deliver something that punches you in the face while still leaving a smile behind.

This is the type of film that could have been really bad if the script tried too hard but instead it knows exactly what it is going for and never tries to do too much with it.

Working with Sundance Institute on casting also provided some insight to what casting for the actual feature will be like, and made it more clear exactly what types of personality traits each actor should have to really make each of the film's characters complete.

It's the type of film best seen fresh, as its main pleasures come from that increasingly rare feeling of genuinely not knowing what's going to happen.

It can be a joke, but it plays into what I was saying before: these filmmakers go to festivals, and those are the types of films that are bought and that you see at the major festivals.

But in the mid-credits scene of the film, we saw that Thanos was about to board the Asgardian ship, making everyone wonder what type of carnage would follow.

The Death Cure should not work as well as it does, but thanks to a good amount of focus and a few subversions of what we tend to see in these types of films, there is a lot to appreciate.

The joy of seeing such the rare complicated and successful female character is only deliciously complicated by Sloane not being what we would expect from this type of film.

Guillermo Del Toro is notorious for trying different types of films, but I always get the overall presence of his work no matter what genre it is.

It's the type of half - assed, sketch - style comedy that only those who are already inclined to get a few laughs out of the film based solely on its premise — and aren't terribly demanding of films that don't demand terribly of themselves — are likely to truly enjoy it for what it is.

I mean here everyone expected an action film and what we got was a completely different type of movie.

Scoffing at gross - out comedies just because they aren't in accord with what has traditionally been construed as quality cinema doesn't mean that this type of film should forever be banished from award ceremonies.

Film reviews don't provoke the type of responses you received, but then what you did was anything but a «film review»

At the film's recent press day, Costner talked about the appeal of playing Coach White, Niki Caro's directing style, the bond that developed between all the actors during filming, the pivotal role a coach can play in a young person's life, the Jim White - type coaches who influenced Costner's life in a positive way, what he learned about Latino culture growing up in Visalia, why he waits for projects to come along that he can really respond to irrespective of genre, the biggest cultural gap he experienced on this film, and how sports movies allow us to address other issues within the wider society.

Along with its satiric Gilliam-esque atmosphere, High - Rise is incredibly British, but despite my lamentations of what a recent conventional British film tends to be, this is the type of film we deserve.

Even now, as I type this blurb to proclaim The Force Awakens as one of the ten best films of 2015, I'm still not sure what I should or shouldn't mention.

He also talked about what he gets out of test screenings, why he doesn't want to make sequels for any of his previous movies, the 12 - part streaming TV series that he hopes to do, and why he finds it so hard to get financing for the types of films he wants to make.

Another involves the marital happiness of one of its characters, Simple Simon (O'Dowd, «the IT Crowd») whose relationship and nuptials are barely set up before we have feel - good scenes of partying and marriage, only to follow it up with seeing the young man's heart crushed in a wholly manufactured and not terribly funny gag that his bride (January Jones, We Are Marshall) only is using him to get closer to the object of her obsession, the flamboyantly popular DJ Gavin Cavanagh (Ifans, Garfield 2), is, like many scenes in what is a lengthy film for its type, not only a needless and long side distraction, but there's no payoff in either laughs or carrying forth the themes.

It is unclear what type of role Jordan will play in the standalone film.

Whilst aspects of the film are a little predictable (within the first ten minutes I'd worked out exactly what type of characters Whannell and Angus Sampson were going to play, even though they didn't appear until much later), this film sees the Melbourne boys back at the top of their game.

With his newest film, While We're Young, Baumbach returns to this character type again, twenty years after the release of Kicking and Streaming, looking at what happens when those intellectual bohemians reach middle age.

I believe Vader did some pretty bad things in his time within the Star Wars films, so what type of «things» are we exactly looking at for Thanos?

What Edgar Wright doesn't appear to be is the type of Sidney Lumet / Walter Hill, gritty 1970s action - film auteur he'd probably like to be.

In fact, it makes the film overall slower, weighing the audience down with a fancy way of discussing womanhood, which is essentially the steps that Lena is set to go through as she chooses what type of person she wants to be for the rest of her life.

For what it's worth, James Spader does nice work playing against type as an intellectual nebbish, and Russell incorporates what could've been an albatross — the death of his character's young son — into his every delayed gesture without seeming merely thrown by the film's premise, whose machinations are so befuddling as to deter one from inspecting Stargate for political and allegorical angles.