Sentences with phrase «which slow the film»

The script, however, is very weak and there are some needless twists along the way which slow the film down but add very little to the enjoyment of it.

Not exact matches

From the film, he was able to culture the slow - growing bugs, which he dubbed nanobacteria.

The opening scene, in which the two friends share a Christmas Eve donut because they're too broke to afford one for each of them, unsentimentally suggests the high - wire act that making a living on the streets can be without the film ever slowing down its electronica - soundtracked strut.

House of Sand and Fog is a ponderous, slow moving film which, if you allow yourself to take the time and let yourself fall into the excellent characterizations by Connelly and Kingsley, becomes a ponderous film with a killer ending that, even if you see it coming a mile away, is still a killer ending worth sitting for.

It's adapted by Tracy Letts from his 1993 play (Friedkin also turned Letts's play Bug into a film in 2006), and its theatrical origins do become obvious in the way certain characters are left disconcertingly off screen; the movie is concluded with a long, slow and single - location sequence, which makes it looks oddly like a filmed stage play.

If you've caught any of the media blitz for the film you've seen the episode in which Ferrell's character swings at Galifianakis» and accidentally slugs a baby, but it's still funny to watch the characters» horrified reactions, smartly played in slow motion while we hear «My Country «Tis of Thee.»

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

These consistently unsubtle and occasionally slightly cloying sentimental atmospherics reflect an overambition, until laziness is reflected in atmospheric dry spells, which dull down momentum in a film that is slow enough without a certain chilling quietness that blandly meditates upon storytelling a little too much.

The film is further harmed by all the interviews and investigation which really slow the pace down.

That said, the film is considerably more commercial (and splattery) than Gray's last, The Yards, which was slow, almost groggy: The light seemed unable to pass through air thickened by corruption; the protagonist (Wahlberg again) moved through the bowels of Queens like a somnambulist.

Brian De Palma demonstrates the drawbacks of a film - school education by overexploiting every cornball trick of style in the book: slow motion, split screen long takes, and soft focus abound, all to no real point... He's an overachiever — which might not make for good movies, but at least he's seldom dull.

It's highly regarded (as are all of his films) which got me interested, on top of the sci - fi focus, but it also sounded like it might be the slowest moving and most bleak title of his oeuvre.

Most of the action takes place not on court, but between Rhys Meyers and Johansson in a sub-Ripley thriller in which Allen over-extends the tennis metaphor (he starts the film with a slow - mo of a tennis ball balancing on the net — which side will it drop?).

The whole city seems to exist in anticipation of a storm, just before the rain comes down: there's an ominous, thunderous feel; the air hangs heavy; the threat of violence permeates.Much will and already has been made of the violence, of which there is lots, the impact exacerbated by the agonisingly slow, painfully tense character of the film; it makes you wait and it makes you suffer.

Somewhere Slow, which opens in select markets today, is not one of those films.

Garland's 2015 directing debut, Ex Machina, was a slow - burning hit which found favour with critics and film festival juries.

Everything else is dreadfully slow which is something you can expect from a John Ford film.

Based the outstanding novel by William Peter Blatty, which was turned into the classic film directed by William Friedkin, THE EXORCIST has all the potential to be a great TV show, as it can explore the characters over time and have a very slow build up.

During most of that time, Whannell tries his hand at the kind of atmospheric, slow - burn scares that made Wan's films textbook examples of what Roger Ebert termed «bruised forearm movies» (so named the intensity with which they cause your date to squeeze your antebrachium).

This is a film that definitely improves as it goes along — the beginning is treacle - y slow and it's quite hard to get into the story, something which isn't helped by the fact that Petit doesn't seem like a particularly nice man; focussed, passionate & dedicated yes but a little lacking in the people skills department.

The Manchester By The Sea deal is the first big one of Sundance, which so far has been slow going as buyers see the most prominent films.

Set months following a devastating World War III, the film posits a world in which most of the Northern Hemisphere has been contaminated with radiation poisoning and people are moving down to Australia in order to escape the slow - moving but ever encroaching radiation dust.

He stars in the upcoming «12 Years A Slave,» and we'd guess that after he wraps on «Slow West,» he'll get start getting into stealth mode to film «Assassin's Creed,» which is due to hit theatres in 2015.

This middle section of the film concludes with a kind of slow - motion dance, as the six brothers sing about loneliness on the farm while listlessly doing their chores (the axe chops and wood saws of which provide rhythmic punctuation to the song, «Lonesome Polecat»).

In a strict narrative form, most of Blue's main themes and actions reside just below the surface, so this is the kind of film that might be too slow for some impatient viewers, especially if they are watching it without the political, social, and artistic context from which it is created.

The film seems to drag by in places which rendered it a much slower - moving hour and forty - five minutes than it should have been with such a star - studded cast; the flaw in its pacing is something that should be unforgivable given the playfulness of the style and tones on display.

The film didn't really even build the sisters» relationship with the grandmother which definitely could've made her slow descent into death more heartbreaking (it also could've helped explain why neither of their parents were there).

It's not every director who can show three kids (including an infant wrapped in swaddling clothes) perforated by bullets without so much as flinching, but that's Cooper's M.O., refined over the three films since his relatively marshmallowy «Crazy Heart»: As in «Black Mass» before this, violence packs more punch if depicted matter - of - factly, which somehow registers as «realistic» these days (although one suspects that it would be far more horrifying if his victims suffered slow, agonizing deaths after being shot).

In 2015, Fassbender continued to prove himself as one of the best actors working in the industry today, starring in three critically acclaimed films, Slow West, Macbeth and Steve Jobs, the latter of which earned him his second Oscar nomination.

Even after watching the brilliantly effective first trailer — which opens with a slow tracking shot down a long, dark corridor — we have absolutely no idea what the film is about.

After a slow start, this film - about a former boy genius (George Clooney) and a current girl genius (Britt Robertson) traveling to a city outside time and space - becomes a delightful and thoughtful exploration of the ways in which the future, the concept and promise of it, function in human life.

The film is a claustrophobic thriller which isn't all that mentally stimulating but does its best to never slow down so that you get so wrapped up in the idea of who's doing all this?

We got our first look at Justin Kurzel's (Snowtown) upcoming Shakespeare adaptation Macbeth earlier this month [see here], and now a new international trailer has arrived online for the film, which stars Michael Fassbender (Slow West) and Marion Cotillard (Two Days, One Night) as Macbeth and his Lady... Macbeth is the story of a fearless -LSB-...]

It can never quite figure out what kind of film it wants to be, however, mixing deep thoughts about artificial intelligence (A.I.) with crazy drunken synchronized dancing (which, I will admit, was extremely fun to watch), and although it has fine cinematographic elements that are reminiscent of the best of Stanley Kubrick (slow tracking shots, some on steadicam), if one ponders the subject matter for more than a minute or two, it all seems very dumb.

I'm not familiar with any of Gray's films, but it doesn't look like anything he's done before is quite in the same realm as Audition, which is a twisted slow burn that delivers a gut - punch of a finale.

Coming to Cannes with such a film the year after «Blue is the Warmest Color» made such an unprecedented splash with its lesbian love story was perhaps part of the reason the film was slow to be embraced, but it's a comparison that isn't really fair: Laurent's film is darker and more unsettling, a tone she conveys masterfully without ever compromising the authenticity of the performances (both of which, from Josephine Japy and Lou de Laage, are superb).

However, they also decided to use that budget for slow - motion moments in the film which, overall, were fine but certainly felt excessive.

Other starry offerings include: «Z for Zachariah,» in which Margot Robbie believes she's the last woman on Earth, until she discovers Chris Pine and Chiwetel Ejiofor; «Sleeping With Other People,» starring Jason Sudeikis and Alison Brie; the gambling drama «Mississippi Grind,» starring Ryan Reynolds, Alison Brie, and Alfre Woodard; «Lila & Eve» with Jennifer Lopez and Viola Davis; «Slow West» with Michael Fassbender; and the closing - night film, «Grandma,» starring Lily Tomlin.

Unlike the earlier films, however, the new movie requires the viewer to adjust to Majidi's rhythms, which are slow and meditative.

You'll love the film when it's being quiet; alas, it begins a slow slide toward cutesy meeting of the minds, which, even in these capable actors» hands, comes off like an indie cliché.

On the one hand, perhaps this is too much to read into a teen sex flick, but on the other, Greenfield is inviting us to look deeper into the characters through the way in which he constructs his film, utilizing some very good, moody music mixed with vivid, slow - motion imagery to evoke many feelings, mostly profound.

The director that made Thank You For Smoking, Juno, and Up in the Air switches gears with his new film, Labor Day, which slows down its pace and trades charismatic and quirky characters for flawed and heartfelt ones, while keeping solid performances from the cast.

RAGE With a 142 minute running time and multiple plotlines, Rage is a quite slow moving film, which didn't always keep my interest.

Before the film Martel stated that she is «quite a supporter of falling asleep at the cinema» which certainly fits with the slow, sleepy build of the first half.

As the wheel upon which the film turns, Jordan burns bright, managing to play a slow descent into doubt and revelation without seeming to moralize, but the film's script ultimately underserves him.

Filmmaker Miller imbues the movie with a slow - paced, expectedly talky sort of vibe, which admittedly suits the material but prevents the film from ever really taking off.

His films are almost always slow and methodical, which works for me sometimes and not others.

And while there are a few compelling sequences here and there - something that's particularly true of the scene in which several characters engage in a dramatic confrontation while carnival music plays in the background - the film is generally crushed under the weight of the overly familiar storyline and unreasonably slow pace.

While the subject matter of his subsequent films has varied from comic book heroes to crop circle aliens, Shyamalan seems to be adhering to a formula, one which never fails to include a dark ponderous tone, a Pennsylvania setting, slow self - aware camerawork, a bit part played by the director himself, and importance assigned to colors and sounds.