What type of movie would this have been, then?
But I guess whatever floats your boat, that's
what type of movie the people were yearning for so...
[Director] Gavin [O'Connor] and I went around and spent time with people who were at various places on the autism spectrum, and observed behavior and talked to them and engaged with them in everything from what their daily life is like to
what type of movie they'd like to see about someone with autism.
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.
It tells
you what type of movies your date prospect likes and how often he goes to the theater.
If you like a particular movie, ask your date
what types of movies they like and build into a conversation from there.
For more details like
what types of movies or music someone likes or if they're shy or outgoing, Jerry recommends doing it the old - fashioned way: just ask them.
So share
what type of movies you like or how you like to travel, where you've been and where you'd like to go, or that you enjoy hearing live music and / or what type of music.
So
what types of movies do you find scarier?
Not exact matches
Instead
of searching for a specific genre, for instance, you could ostensibly search for
what movies in that genre have a specific
type of scene.
It also reminded me
of the
movie «Antz» where the ants form the wrecking ball and
what happens when the «neurotic -
type Woody Allen» ant has his doubts about his life's purpose.
I mean, you almost always know
what to expect — the
type of songs that'll start airing on the radio, the rotation
of Christmas feel - good
movie marathons playing on the tube, the same decor that'll overtake storefronts and neighborhoods — year after year.
You and your boyfriend or girlfriend are going to watch a
movie,
what three
types of movies would you choose?
I am a stand up guy, hard worker, honest caring, a USAF vet, proud american, a grandpa
of two, and a harley rider.some
what old fashioned, love all
types of music, except most rap stuff.sing and dance not to bad, good cook and a good listener, love old
movies, bingo and flea markets, enjoy the water,...
According to the site, «No matter
what type of relationship you are looking for — fun
movie nights, eating out, parties, picnics, or just hanging at the park — this is the place for you.»
It goes beyond surface - level stuff like
what your favorite
movie is and
what types of food you love.
It's the
type of movie (if there is a
type) that shows you who these characters are, where they live,
what they do and
what happens to them, along with the consequences
of their actions.
One wonders
what the financial incentive for making this
type of movie is.
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.
Verdict: There are plenty
of scuzzy revenge -
type American independent genre
movies out there, but for one to premiere in Cannes» Director's Fortnight suggests that it's something special, and that's exactly
what «Blue Ruin» delivered by the time we caught up to it in Toronto.
Back when this was first released, you might wonder
what the massive star
of Braveheart and Gangs
of New York is doing in a small
movie like this, but since In Bruges, this has become Gleeson's typical
type of movie.
In both «
types»
of movies, Assayas displays the same gaze: the camera always glides over people, never letting you believe that you can get «inside» them,
what they think,
what they feel; and, whether big (the kidnapping
of the OPEC delegates in Carlos) or small (the decision
of which heirloom to give to a deceased mother's old retainer in Summer Hours), «events» are shot in the same way, as an accretion
of minute, yet complex decisions;
of out -
of - sync bodies competing for leg room in a claustrophobic space.
What makes Wright and Pegg's handling
of genre clichés work is the way they spin them to make an almost realist view
of how these
types of movies would play out in the real world.
In the end, No Strings Attached is exactly the
type of movie that makes me worry about
what 2011 has to offer.
The
types of performances he gives in
movies like 21 Jump Street (along with 22 Jump Street on Friday, which is just as good, trust me there), Funny People, Knocked Up, and Superbad are tremendous, but they're very different than
what he's shown us in Moneyball and The Wolf
of Wall Street.
However, We do get a much wider scope
of the
type of action that will be found in this
movie,
what with the cannon - balled pirate ship sails and Tintin zooming around on his motorcyle, about to fly out
of the poster.
Unfortunately, this
type of movie isn't really
what Michell is striving to make, as he turns up the fatalistic music and short - attention span cutting to seem like this is a riveting thriller in the mode
of Se7en, which featured similar themes
of envy and misguided betrayal.
I mean here everyone expected an action film and
what we got was a completely different
type of movie.
The formal daring
of the moment is the exact sort
of thing these
types of movies typically don't do, which is exactly
what makes Johnson's choice so exciting, so impactful, so special.
Slow motion takes over as the Bennet sisters begin unsheathing various
types of blades hidden underneath their elaborate Victorian - era appropriate garments (in
what is a rather titillating shot), but most crucially, seems to promise that the ludicrous
movie titled Pride and Prejudice and Zombies will live up to the level
of absurd, stupid entertainment promised.
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.
That being said, I was very curious as to
what he'd do with this cast, and a
movie of this size: a gangster
movie with Josh Brolin, Ryan Gosling, Emma Stone, and Sean Penn has to be some
type of gold, right?
The onscreen
typed summary is a perfectly deployed example
of how something can be factually correct (meeting with a «Negro militant» is, literally,
what Coretta King is doing) without being true; the
movie, by contrast, finds many ways
of being true without being strictly factual.
The thing about this flick is that it constantly breaks the rules
of what makes a «safe»
movie for Hollywood to digest, while still being in that vein
of the
type of character study they dig on.
She will have no need to return to her career as a
movie publicist, and we will be watching to see
what type of projects appeal to her after this.
In one
of the
movie's slyest moves, information regarding the dead girl's traumatic past is subtly revealed in a chat window, as someone waffles about
what she wants to say,
typing and retyping the words until she finds a suitably cryptic explanation.
What began in 1991 as a
movie about a law - and - order
type who's seduced by the wayward lifestyle
of bank - robbing...
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.
A great
movie that unfortunately failed to attract audiences back in» 83, this adaptation
of Tom Wolfe's bestselling book about astronauts pays tribute to
what we would like to believe represents the American spirit: hard work, perseverance, camaraderie and a visionary attitude that extends beyond all
types of borders.
It's a
type she played most memorably in Kiss, Kiss Bang, Bang, a
movie whose post-modern, meta - textual smartassery so resembles
what Playing It Cool is trying to do, and feeling miserably at, that I just found myself wishing I was watching a Shane Black
movie instead
of a
movie full
of characters that, like, Shane Black, are
movie - and - self - obsessed writers deeply in love with the sound
of their (and by extension the screenwriters») voices.
Pattinson is more
of a chameleon: Sometimes he plays against
type, but just as often he loses himself so completely in the particular world
of a
movie that you forget
what type he ever had to play against.
I usually
type out a short summary or try to set - up the plot at some point early on in my reviews, but I feel like it's a moot talking point because if you've kept up with the Marvel
movies or have a good idea
of what's going on in them, you don't need me to paint a picture about the Infinity Stones, the Infinity Gauntlet or the fight to save the universe.
Add just one more layer to the story, and this could be one
of those «Jacob's Ladder» -
type movies where you never really know
what is real and
what is fantasy.
The uneven pacing
of WHAS guarantees a small audience — big laughs come in clusters, and the plot speeds up and slows down depending on
what you like — but I have a feeling that it's the
type of movie that will find its niche in repeat viewings.
Whether it's as direct as a Māori Dennis the Menace —
type kid (Julian Dennison) bonding with a reluctant white father (Sam Neill) in Hunt for the Wilderpeople (2016) or as abstract as the outsider experience
of Wellington's long - standing vampire society delineated in
What We Do in the Shadows (2014), Waititi's
movies exist at the nexus
of native and colonizer cultures, the dichotomy that forms the basis
of modern postcolonial theory.
We've gotten used to seeing titles with Bad BLANK as a quick way
of letting audiences know
what they should be expecting from certain
types of movies: edgy comedy, even if the premise seems cute.
«Due to its length and the fact that we pretty much know
what's going to happen, these
types of movies turn out to be nothing more than a chore to watch.»
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