Sentences with phrase «whole feel of the film»

Although Radliffe's acting left a lot to be desired, the whole feel of the film was just perfect - the great amount of magic mixed with character building and drama!

Not exact matches

As titillating as it might be to read Andreessen's text messages to Zuckerberg, however — in which the former quotes from a 1950's film noir with Burt Lancaster, remarking «The cat's in the bag and the bag's in the river» — the whole thing feels like a bit of a sideshow.

With the advent of the professional youthworker, there also came the danger that the church as a whole and parents of teens in particular would feel that they couldn't do the discipling job, that we needed people who watched the same films, wore the same clothes, could bear to listen to the same music, and could actually get as far as Level 2 on a computer game.

This whole experience from visiting Morocco again and filming DVF's Journey of A Dress in Morocco feels very special to me since my best friend Jennia filmed it for me (edited by my Wesley Mason) and to think how far I've come.

Yeah sure they continue where the last film left off which is good but the whole thing could of gone much further than it did, it just feels like they stuck in their own backyard for safety.

The first two films are a tough act to follow, and here, the laughs are spread out too far, the story feels forced upon its characters, and the whole gimmick of twisting the conventions of fairy tales is starting to show a lack of new, worthwhile ideas.

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.

Maybe that's just my fandom of Tadanobu Asano, who is very good here, but I'm sincere in feeling that his character is the driving force of the film and his *** SPOILERS *** death leaves a huge whole.

Similarly, the idea of a potential rebirth sees Noxon leave the almost documentary - like reality of the rest of the film behind for a moment, but this major tonal shift would've felt more organic and tethered to Ellen's whole journey if it had been more clearly foreshadowed.

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.

It did have some disturbing images and the whole wrap up of it all didn't feel quite like the resolution to the film.

This whole film felt like an extra long episode of Alias, from the flashbacks to the music and even down to some of the minor casting.

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.

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.

The Solution: The trailer does such a good job of setting up Carrie's prom stuff, you almost feel like it's the main climactic event of the whole film.

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.

There are still plenty of highlights in the film's second half (the film does the mandatory drug - trip sequence particularly well, including a cameo from Keanu Reeves himself), the whole thing feels a bit rushed and obligatory.

So good is Cable that you wish the film would've allowed more room for growth with his inclusion into the story and while he plays a key role in proceedings, you still can't escape the feeling that the film would've grown as a whole had Brolin been allowed more spotlight, ditto for Dennisen and Reynolds budding mateship, that despite forming the core of the narrative thrust is never properly built up, making Wilson's mission as a whole less engaging than it could've been.

On the whole, On Chesil Beach presents a deeply moving story with intricate ramifications and a big secret at the heart of its storyline, but the film somehow fails to ignite the same feelings and emotions as the book does.

For a film which features the word «irony» so prominently, it's suitably ironic that Reality Bites features a documentary given the commercial television treatment, as the movie as a whole has an underlying compelling story that feels like it has been drained of all uniqueness by the corporate interests handling the film.

The whole first half of the film feels very safe like a glossy «Hollywoodized» telling of the events.

Malcolm McDowell was the biggest let down of the whole thing Rob Zombie did terrible with Dr. Loomis in this film felt more like he was a author and not a doct...

The whole romance between Emma and Dan feels dull, which makes the climax of the film a celebrated affair because you have — thank god it's over — kind of feeling.

Some of my hipper colleagues feel a little suspicious about the film's mainstream pitch, wondering whether the whole thing finally goes down a bit too easily, given Brenda Blethyn's quavering histrionics, the upbeat conclusion, the snugness of the whole concept.

Sometimes you can cut one scene and the scene plays out great, when you see that scene on its own, but when you see the scene strung together with the whole movie suddenly the scene feels ultra long or feels incomplete or you feel like you don't want that emotional payoff at that point of the film.

«Magic in the Moonlight» doesn't make you believe in magic, or love, or anything, really, although maybe that's just the cynic in me, eager to expose the film as the fraud that it is, because the whole thing feels less like a genuine Woody Allen comedy (smart and funny with a healthy dash of neurosis) than a pale imitation.

The first half of this new trailer is a recap of the events from the first two films, and when we finally delve into new footage it kind of feels like we've seen the whole movie already.

And second, the thinness of the source material gives the whole film a slightly padded feeling.

Yet whereas the movie is most impressive during its final scene, its random conclusion leaves us feeling like there's a whole half of the film missing.

Movies based on true stories are already hard enough to critique on a plot or character level, but when you're dealing with such a harrowing, difficult story as the one about what happened on New Year's Day of 2009 in a BART Station by Oakland, California, there are a lot of things that need to be acknowledged, regardless of your overall feelings for the film as a whole.

As always, Fuller is grittier than the mainstream, but the whole thing feels a bit too schematic and doesn't ever reach the poetic heights of his best films.

They try to tell the whole life span of their subject making the film feel rushed and a bit generic in its approach.

The whole film feels not like a call to arms against Australian policies, so much as a study of life adjacent to them.

The whole thing feels frantic; within a short span of time the film wildly veers from a botched heist to a cheap «kickass» montage to a dramatic fight, and the constant changes in tone are jarring.

Simien's film takes place at Winchester University, a predominantly white, prestigious university where we're introduced to six significant characters: Sam White (Tessa Thompson), the biracial activist who overcompensates her blackness; Lionel Higgins (Tyler James Williams), the black homosexual who lives in an all - white residence building, and feels little sense of belonging; Colandrea «CoCo» Conners (Teyonah Parris), the white - washed blogger who acknowledges racism yet chooses to ignore it in fear of non-acceptance from the white majority; The Dean (Dennis Haysbert), who has worked hard his whole life solely to over-emphasize his superiority and intelligence towards white corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchester.

«He's this kind of inadvertent witness of the whole thing that I think he felt guilty about filming this thing, witnessing it the way he did.

One punch is worth a whole clip of bullets in any other film, all landing with such satisfyingly messy semi-realism that the action feels real and tangible.

The commonplace meanderings of the film's center fare better than the forced climax that makes up Tarzan II's final act, but the whole of it feels rather inconsequential.

Honestly, the whole film feels like it might have originally been about Alec Baldwin and Jesse Eisenberg's tale but then ran out of steam too quickly, necessitating a few other short stories to be added.

However, aside from a few jokes — which unfortunately don't always land where they're supposed to — and a handful of enticing action sequences — especially the ones surrounding Flash and Wonder Woman — the film, as a whole, feels simplistic in structure and lazy in execution, with the story lacking substance, ingenuity and enough heart to leave a lasting impression.

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.

The whole point of a Vacation film is for us as audience members to feel as though we are a member of that family and that the events that happen can actually take place during a trip across country.

But the beauty of Jonathan Glazer's film is how unfamiliar the whole sci - fi element feels (visually and sonically — Mica Levi's score is excellent), while the setting of drab, rainy contemporary Scotland couldn't feel more familiar.

But what's kind of sad about the whole sorry affair is that there's really no reason the film had to be this bad — watch the opening, with the well - cast stars (Miles Teller, Kate Mara, Jamie Bell, Michael B. Jordan and Toby Kebbell) going through an overfamiliar but effective origin story / getting - the - team - together arc, and it feels like we're in for something quite tolerable.

What's most refreshing, though, is the way the animators made the active choice of making sure that the whole film feels like it's cel animated, even if it isn't.

Kim Ki Duk makes this films that maybe is not a masterpiece per se, but a favorite of mine because of the mood in the whole thing and specially because of the acting, wich I find refreshing and thank to that, I feel constantly connected with the film.

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.

For anyone who happens to be sane, however, no, it's not, it feels as if the whole thing has been made by a 19 year old who's done one semester of film school.

And while it probably feels like I described the whole movie and gave away most of the story, the above piece only covers the first half of the film!

Even with my reservations, I liked this films, at times a whole heck of a lot, and if the filmmaker feels the need to explore more of the many case files sitting in the Warren's archive I for one can not wait to see which story they choose to tell next.»