Sentences with phrase «where lesser films»

But Annihilation really hits its stride at the point where lesser films jump the shark.

Watching this play out, you can see where a lesser film would have stopped the action: after Steve agrees to sleep next to Diana, after his flirting falters, after a generic statement about how long it'll take them to reach land.

Not exact matches

EASTWOOD: So anyway, we did that and then I went to Tokyo and where they hadn't been too fond of Americans going there and filming, I sold the governor who was actually the mayor of Tokyo, I sold him on the idea that this would be a great thing for the Japanese people that didn't even know this battle even existed much less how tough it was.

«Our new film has been produced specifically for use in less extreme graphics applications where cost is more of a deciding factor,» said Kim Brewer, Marketing Manager, 3M's Commercial Graphics division.

Two weeks ago they were filming inside the physical therapy office that's less than half a block from where I took these photos!

Cut by Benson and original editor Kristina Boden, this shortened and combined version premiered at Cannes in May, where it received a less - enthusiastic response than the original films.

Succeeds where so few Hollywood movies even venture - it builds a believable life, adds just enough nervous laughter to relieve the realistic tension, and constantly escapes the dumbed - down expectations beaten into us by lesser films.

As the film opens, New York photographer Ronit (Rachel Weisz) returns to the Orthodox Jewish community where she grew up to mourn the death of her rabbi father (Anton Lesser).

It's the combination of character development, action and pure emotion that drives the film, where even secondary characters have motivations; a wonderful moment a lesser film would have cut for time finds the shapeshifting Mystique (Rebecca Romijn) propositioning Wolverine, at first disguising herself as Wolvie's crush, Jean Grey (Famke Janssen), then purring, «No one has left scars like you.»

The film, while a bit messy and increasingly less interesting as it rolls along, will be considered a misfire, there are still some moments where it manages to shine.

Carano's screen presence evokes nothing less than»70s Pam Grier — where the effect is not that of an actor giving a natural and charismatic performance in a film, but, rather, a natural and charismatic person acting in a film.

The universal quality you mentioned is interesting given the earlier films where the characters» idiosyncrasies are more pronounced — they still have universal themes below that — but this one seems less about heightened idiosyncratic characters and more about a universal fear.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

The film opens on Christmas 1947 at a party where affluent Palestinian woman Hind Husseini (Hiam Abbass, best known to Western viewers from The Visitor, though she also appeared briefly in Munich) interacts genially with everyone from the English hostess (a briefly seen Vanessa Redgrave) to an American soldier (slightly less brief Willem Dafoe).

That's a shame, too, because there are places where the film gets out of argument mode long enough to recognize that Christians are generally judged by their friends and colleagues less by their arguments than their attitudes.

The story in the film — and this is where I really believe the film gets even less credit than it deserves — follows the short, troubled life of a small Puerto Rican newspaper, The San Juan Star.

Atom joined us at Geraldine to discuss his latest film at the time, Devil's Knot, and its relationship to some of his other historically rooted films: Ararat, Citadel, Where the Truth Lies and the lesser seen TV movie, Gross Misconduct.

Consequently this film, more than the other two, feels like a straight line: less improvisation, more inevitability, all of it leading to the moment where our hero, the merciless assassin, decides whether his training to be an instrument overrules his instinct to be a human.

It shows the influence of Cassavetes in its comic dramatization of the trials of male bonding and the struggle for emotional integrity, but where Cassavetes captures the tooth - and - nail wildness of first - generation Americans clawing their way into the middle class, Anderson's film recalls an older, more disciplined, although no less self - excoriating, tradition — the WASP modernism exemplified by Ernest Hemingway and Howard Hawks.

Over at USA Today, Susan Wloszczyna has come to the conclusion that, in a fairly weak year for film with a less - than - competitive Best Picture slate to show for it, the performance categories are where it's at this year: The real action this year is in the acting.

What Sightseers gets right where Seven Psychopaths (out today and reviewed here) gets it wrong is that this film does not try to admonish itself for including violence, and incidentally is much less indulgent in the violence, along with having a much more coherent plot with better direction, writing, acting, and presumably better catering too.

Where Malick's recent films have boasted A-list casts, this one is dominated by lesser - known character actors.

Indeed, without giving away where the movie heads after that, it's safe to say that it starts to reveal itself less as a story about righting a wrong and more about reconciliation — one that still blends McDonagh's signature dark humor and sudden swerves into laughs into gasps, yet also taps into an emotional depth that closer to his theater projects than his film work.

One of those films where the more knowledgeable you are about this subject, the less honest the movie becomes.

Koch introduces seven deleted scenes as well as the section for them, where we uncover a less incoherent version of the film's car alarm set - piece, as well as one «Three's Company» scenario too many as Paul, wired for eavesdropping, fakes being a devout Christian to get out of sex with Karen.

Black's 2005 film Kiss Kiss Bang Bang, where Robert Downey Jr's sneaky thief is mismatched with a gay detective played by Val Kilmer, was more or less a warm up for his latest, The Nice Guys, which sees louche private investigator Holland March (Ryan Gosling) team up with thug - for - hire Jackson Healy (Russell Crowe).

is less about the production than about the saga of Weirton, West Virginia — where most of the film's exteriors were shot — and the crumbling steel mill that once held the town together.

This coming Sunday he is nominated for no less than four BAFTA Awards for Three Billboards Outside Ebbing, Missouri, and two weeks later will be at the Oscars where the film is up for seven Academy Awards including writing and Best Picture for McDonagh himself.

The film does lose steam in the home stretch with Niccol serving up some dialogue that is too on - the - button (such as a line where Viktor lays bare all his reasons for creating Simone) and some mechanical plot twists that are less than surprising.

It's less of an issue here than on the original Toy Story, where the logo change has actually necessitated losing a few seconds of the film's original opening wallpaper shot, complete with the opening chords of Randy Newman's score that always accompanied Pixar's Disney castle.

An important secondary role is badly acted; the film might have gained from a less closety approach to the characters» sexual impulsions; and during its course it is often more tedious than interestingly harrowing — but, once done, it does stick in the mind as the work of a director of real potential, and not in the craw where most of the festival entries eventually lodged.

But where the Hostel films and Aftershock - to a lesser extent, given Roth's writer / producer credit - differ from The Green Inferno are their conceits.

In Great Britain, where this tale unfolds, the government had all but banished it from the official airwaves, allotting less than an hour a week to that music during, the film posits, the single greatest era of British pop and rock.

We pick up more or less where the last film ended, with Wick still in search of the car that was stolen from him by the (now deceased) son of a mobster (also deceased).

For De Palma, Obsession, Dressed to Kill, and Body Double are less the oft - accused rip - offs of previous Alfred Hitchcock films than rigorous reckonings with a burgeoning postmodern dilemma; not merely the «anxiety of influence,» to quote literary scholar Harold Bloom, but something more akin to outright agony, where questions of artistic lineage from the outside spool the proceedings within into a nightmarish phantasmagoria, the implications of which are still to be unraveled.

«A film without main characters where the lives of characters that have lost their head intertwine in a dramatic and less dramatic way in an ordinary concrete panel apartment building.»

Less positive was the ordeal of Natural Born Killers (1994), where the backlash was so severe Tarantino had his screenplay credit removed before the film went into production, solely based on the script revisions.

It's strange, because if I'd have gone through a scenario in my head where I was doing quite possibly any American film, let alone one directed by Paul — because I'm less known there than I am [in the U.K.]-- I certainly would have created a scenario where I was doing multiple self - tapes, auditioning 12 times, meeting him eight times, and hopefully getting the part after eight months.

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.

But while previews have eerie music and depictions of spooky creatures, Entertainment Weekly writer Chris Nashawaty says the film «forgets to be scary,» Variety writer Peter Debruge says there are «vacancies where the scares should be,» and Guardian writer Peter Bradshaw wrote that he is «less convinced by [director Guillermo Del Toro's] Halloweeny ghosts» than by other aspects of the film.

For my taste McQueen lingers too long on scenes of brutal floggings and assaults (though the sex is not tastelessly explicit), which may be what white viewers need to be reminded of — except excessively explicit violence is a staple of many modern films, where the old saying that «less is more» has long been forgotten.

If I could (and I've been known to) predict the future, this would be where it all goes wrong for him, as well as being the first - to - third - degree - burn for pathetic director Nima Nourizadeh, as the film is in no way entertaining, much less «comedic,» as the tags so misleadingly describe this 88 - minute chaotic Cloverfield-esque booze fest.

Mind you, it's also a film I think is great too, but it also uses violence as a dramatic crescendo whereas «Bluebird» is much more honest and less melodramatic about the organic and natural direction where the narrative needs to take these characters.

The best you can say is that it's a commentary, and this is one case where a subtle film would have benefitted from Scorsese's natural tendency to be less restrained.

The sliding Sandler scale, where you rate the film on just how much more or less offensive it was when compared to his previous works, is still completely applicable in The Ridiculous 6.

It's one of those films where the less you know the better.

For «The Weather Man» succeeds where so few Hollywood movies even venture — it builds a believable life, adds just enough nervous laughter to relieve the realistic tension, and constantly escapes the dumbed - down expectations beaten into us by lesser films.

Where it's most effective is when it plays the up to the heroism of everyday citizens, driven less by altruism than hatred for the enemy, and in the telling little touches strewn through the film, like the carefully sharpened pencils lined up like soldiers on the desk of a Gestapo officer, or the crates of beer from the collaborator's brewery stacked up at Gestapo HQ.

Where the film is less successful is in its occasional post-battle montages, filled with the overly sentimental strains of the score by composer Steven Price (Gravity).

Less a city symphony than a muted impressionist painting of urban drifting, the film takes place within the shadowy side streets, modest corner bars, and nondescript 24 - hour diners of the eponymous northwest Portuguese city, where Jake is burning time as a manual laborer and flannel - clad somnambulist.