Sentences with phrase «whole end of the film»

«When he died we had to make sense of the whole end of the film.

Not exact matches

If you watch the whole video it shows Sancho filming himself then in the very end Auba gets hold of the camera and randomly asks that question fromSancho.

We talked about some of the behind - the - scenes of JvM, the upcoming apocalyptic film festival, End of Days, the overall state of horror films, and a whole lot more.

In the end, this is again a very good horror comedy which needs to focus less on the main characters (lets face it, they are cliches and the interest of this whole movie is to the idea behind it) and more on the variety of monsters that were created for this film.

The film feels like it's been assembled by committee, and news stories about the film's troubled production bear this out: after an initial round of photography during which the ending was being crafted almost on the fly, the film's release was delayed so that a new ending could be written and shot in an attempt to glue together two halves of a story that still don't feel like a whole.

There is a lot of symbolism in this film that doesn't make a whole lot of sense, but the ending really just brings it all to a head.

It's ultimately clear, however, that Fear and Desire simply isn't able to justify its feature - length running time (ie the whole thing feels padded - out even at 61 minutes), with the movie's less - than - consistent vibe paving the way for a second half that could hardly be less interesting or anti-climactic - which does, in the end, confirm the film's place as a fairly ineffective first effort that does, at least, highlight the eye - catching visual sensibilities of its preternaturally - talented director.

The whole of India is watching and rooting for him and by the end of the film you will be too.

I can see some people complaining about one particular character that is given the shortest end of the stick when compared to pretty much everyone else, but this character's whole purpose ends up being the final driving factor of the film and the most emotionally resonating moment when stripped down to its raw core.

The confinement, which lasted until the war's end, is also the longest stretch of the film, and might easily have been made into a whole movie, with the other chapters of his life added as footnotes.

No one likes to have the ending of a film spoilt, unless your one of those arseholes that sits through a whole movie shouting out what they think is going to happen next.

Braff plays Aidan (a strange name choice, perhaps, considering the film's focus on his Jewish roots), an out - of - work actor whose wife, Sarah (Kate Hudson), is barely supporting the whole family with her dreary dead - end job, and whose children, Grace (Joey King) and Tucker (Pierce Gagnon), are about to be booted from their yeshiva for non-payment.

This fun for the whole family release includes an extended cut of the film with an alternate ending and loads of special features.

While the main event of the film certainly did happen, as well as some of the scenes (some of them, excerpted from the documentary, are shown during the end credits), the film as a whole does tend to traverse familiar territory as far as feel - good sports films go, especially with the final game where all of the loose ends comfortably fall into place.

There is an attempt at some sort of twist ending, a la M. Night Shyamalan, but even this adds so very little to the story as a whole, and comes off like a gimmick just to give the film a «big reveal» even if it doesn't really merit one.

The film plays atmospherically on genre tropes, too: a close - up of a gun in darkness (which ends up playing no role whatsoever), the moody chiaroscuro interior of Jo's apartment, which a bulky early -»80s answering machine makes look like a whole recording studio.

By this point the action is flashing by like a fire engine without any clear end in sight, other than more and more violence, and the film feels as if it could go on indefinitely, or at least until the whole of Queens lies dead on the restaurant floor.

When you're watching a [narrative] feature film, you're often given bits of information at different times, not understanding [the whole story until the end].

Another thing you should know is that, for the first time, I and contributing writer Ben Sachs, whose year - end list appears on the Bleader, agreed on three whole films: Toni Erdmann, Nocturama, and Norman: The Moderate Rise and Tragic Fall of a New York Fixer.

However as a whole, this is a satisfying, and truly unique viewing experience, and we get to see a director who is at ease with such grand ideas of storytelling, and in the end, we get an experience like no other, and for true film lovers, we couldn't ask for any more.

There were several times during this film I thought, you know if this was just a mini series and this whole character's storyline had been mapped out over an hour, this final moment would have me going like the end of an episode of Lost.

The clear implication, given the production timeline of the second film, was that Brolin had been a part of it the whole time, and his character was nowhere near defeated at the end of the first one.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

Of course, this certainly won't mean a lot to a whole lot of people, but it sure is nice to see that this whole special era of enjoying quality films ended in such a powerful, meaningful notOf course, this certainly won't mean a lot to a whole lot of people, but it sure is nice to see that this whole special era of enjoying quality films ended in such a powerful, meaningful notof people, but it sure is nice to see that this whole special era of enjoying quality films ended in such a powerful, meaningful notof enjoying quality films ended in such a powerful, meaningful note.

The film twists itself too far and tries to keep throwing the audience for a loop so often that by the end of it all, it doesn't make a whole lot of sense.

As brilliant as I find the film in its parts, as a whole I can't completely rave, as the film does falter a bit due to a lack of focus and there are some weak scenes, especially as the film nears the ending, which should have been edited out of the rather long film to make sure the storyline stays tight.

Paranoia is one of those thrillers that has excellent presentation of high caliber actors and excellent filming, but it totally lacks any misdirection of plot and situations which makes the whole movie pretty predictable and the ending a bit anticlimactic.

None of Johnson's «triumphs» are played as such — the Civil Rights Act is passed midway through the film, and the whole thing ends on an almost bitterly interior note.

The Cleanse is both written and directed by filmmaker Bobby Miller, making his feature directorial debut after a whole bunch of award - winning short films, including Tub and End Times.

Add to that the usual problems of sequel-itis and the death of the theatrical experience and having to constantly figure out whether film critics are unimportant or too important, and you end up with a whole lot of gloom and doom.

The ending of the film is a bit weak, and the film itself is only good as a whole.

There are some snubs without question like Three Billboards, Girls Trip, and Colossal, three great films that didn't end up getting any love in the end, but I love the range of winners that truly represent our organization as a whole.

However, but for right at the end of the film, when the dance provides a tempo and impetus to the soldiers going blazing in for the rescue, the whole exercise seems pointless and indulgent.

Yeah it made the filmmakers seem ridiculous because the whole point of this film was to showcase what happens to normal people during a massive fight and the film ends with them destroying half of Metropolis again.

By the end of the film, it was given to The Collector (aka «blond Benicio Del Toro») for safekeeping — although his whole house was wrecked during Guardians of the Galaxy, so who knows if it moved at that point.

«The ending was really moving to me in a way that really helped me see this whole thing from a different perspective,» he said of the film, whose distributor, A24, recently put up a Disaster Artist billboard above Highland near where The Room one once loomed.

Another film about atonement, its very existence and execution betray the idea that the past must be dealt with, the better to face the future; you compare the whole of it to the five minutes Tommy Lee Jones commands the screen at the end of No Country For Old Men, or how no more than sketches animated in Marjane Satrapi's Persepolis convey the painful humanity of time's labour's lost, and you realize there's no one authentic chord in The Kite Runner.

However, now that Bill hasn't dropped the huge news that The Bride's daughter is alive at the end of Volume 1, the whole film feels different.

Youth: Youth is annoying as hell, the kind of navel - gazing film that finds great meaning in the ogling of a perfect female body, but there are just enough wonderful moments peppered in there — Rachel Weisz's monologue; the song at the end — to keep you from writing the whole thing off entirely.

It's lies lifeless, as the film has already squeezed whatever juice the fruit of ideas were once held at the time of the project's inception, until there's nothing of the fruit left but the hands that once held it, torn apart and bloodied by the constant gnashing together to get that one last drop to provide the sustenance to bring the whole thing to a merciful end.

The holiday season is typically one of the more family - friendly times of year at the cineplex, and 2010 is no different; while you'll still get your share of hard - hitting dramas and raunchy comedies, the weeks between now and the end of the year will also provide a cornucopia of films the whole family can enjoy, including the latest from Disney («Tangled»), a new «Narnia» sequel («The Voyage of the Dawn Treader»), and yet another version of Tchaikovsky's holiday classic («The Nutcracker in 3 - D»).

A certain sense of foreboding emanates throughout the whole picture, but the film's finale, however disturbing, is not the period at the end of the sentence that I was looking for.

If I could buy a Blu - ray of just the 25 minutes or so of action at the end of the film, I would, because it's thrilling and exciting and emotional and a whole lot of other words that can't really be applied to the rest of the franchise.

Maybe because he's British and therefore an outsider to the blue - collar Midwest he's depicting, he never gets beneath the surface of the class caricatures he peddles as representatives of American justice gone awry, and the whole film ends up feeling both slight and, like its protagonist, self - aggrandizing.

There is room for expansion on some of the more artistic visual concepts the film offers sporadically (the ending shot is powerfully memorable)- but on the whole, the film speaks volumes through its visual shorthand.

A film with a few inspired moments — mostly towards the end — sprinkled in with a whole lot of awkward, even mean, portions.

Even if «Part III» really does mark the end, «Part II» and «III» are so abysmal, it'll be tough to appreciate the gem of a film that started the whole craze to begin with the same way again.

By the end of the film, we realize that we have been seeing the world through their eyes the whole time; in reality, most of us still find polygamy odd, but for the duration of this movie, it seems like the one right thing.

One of the few unfortunate elements of the film, without giving away the whole plot, is near the end when Jesse «borrows» his the truck of foster father (Michael Madsen) without asking.

The viewer may feel like an observer to this ritual and to the film's world as a whole, perhaps like CIA agent Everett K. Ross (Martin Freeman, «The World's End»), who takes on an outsider role in a reversal of typical Hollywood racial binaries.