Sentences with phrase «whole film down»

It's excusable at this point, part of the narrative; it isn't until later the melodramatic syrup clogs the whole film down.

Not exact matches

In our process, you can form the film evenly down to 20 nanometers because the crystallization at room temperature is much more balanced and occurs immediately over the whole film upon bathing.»

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.

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.

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.

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...

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.

Or rather, more accurately, the whole film is a critique, but one in which we're put in the above - it - all position of the two Satan figures, looking down at these pitiful specimens and laughing at them.

The whole experience isn't quite as good as actually sitting down and watching a movie with Wright — whose clear enthusiasm for film and gabbing about it is pretty much unquestionable at this point — but it does make for a pretty good excuse to bust out one of our best comedies since 2000 and give it another watch.

The story's broken down, but each film works as an individual act for the whole.

That's why, every year, The A.V. Club finds room not just to count down our favorite whole films but also to highlight the strongest standout, stand - alone scenes — some of them pulled from those aforementioned best movies of the year (which we'll unveil later this month), others most definitely not.

Wahlberg plays his character right down, delivering a solid reserved show of stoicism and anchoring the whole film.

Bringing toys for his kids and admiring Shell's hand - me - down clothes, Shell and Hugh's conversations are endearingly awkward, a strange non-romance that could easily make up a whole film on its own.That's where Graham's power lies: building believable relationships with a natural cast.

Along with the wordy, head - trippy title, the film's flagship poster suggests a very Hunter S. Thompson-esque romp, the sun beating down on a whole lot of hedonistic,»70s - era elements.

Because there is such a complicated, polluted, labyrinthine past, both America's and this American's, and because none of it can be faced and corrected, this film does what is denied a whole nation: it pares down all troublesome memories, focuses the camera on Jack and occasionally on Clara and Jack, or Father Benedetto and Jack, or Mathide (Thekla Reuten) and Jack, and finds an untormented, easily digestible Hollywood «international underworld / intrigue» plot to house the whole.

The script from Mitchell Kapner (The Whole Nine Yards) and David Lindsay - Abaire (Rise of the Guardians) now appears to lift elements directly from Alice in Wonderland's playbook, right down to making its protagonist the «chosen one» whose arrival has been prophesied to bring peace to the film's fantastical setting.

Just as some ounce of sense begins to form, as the film seems to settle down its clunky exposition, smash cut to one year earlier and begin the whole obfuscating process again.

Williams is perfect in her role, one misstep by her and the whole film comes crashing down and her performance is a joy to behold.

The whole conceit of Baby Driver syncs the actions of its cast to the film's soundtrack, and director Edgar Wright wastes no time getting down to business.

The whole film is, of course, a chase, wearing down shoe leather and tire treads.

This (Kevin Pollack, End of Days, The Whole Nine Yards) is the first Presidential campaign for Emerson, who, due to reasons left unexplained (they are not really relevant to the film), was appointed President after President Buchanan stepped down (that's at least two different Presidents in seven years...).

Even with its problems, Rachel Weisz still manages to be amazing in it and its hands down her best performance in a film by far and she has given a lot of great performances (I saw «The Brothers Bloom» in Toronto last year and yes, she's great in that as well, so the whole «Inconsistent» dig is unwarranted.)

Sure we've got a whole summer season of films to look forward to, but there's a ton of good material in the works that'll undoubtedly make for exciting fare further down the line.

It was once a creative way of letting readers know a movie was on a whole new level of awesome, but it's now as watered down as calling a film a masterpiece.

I thought the whole film was a let down.

If the film proves just one thing, it's that Anna Kendrick can be set down in almost any gruelling situation and keep up that whole «wait, what?»

Such obviousness marks the film as a whole, right down to the grotesque chili - bowl haircut that the now - grown - up Josh (Zachary Quinto) sports to immediately signal to us that we're watching a mentally disturbed individual.

The film's absolutely worth watching for the performances alone, and I'd be lying if I said I wasn't intrigued to catch the «Him» and «Her» versions down the line too (if nothing else, the whole project should be invaluable to film school lecturers in years to come).

Desperate to finish the film before foul - mouthed movie producer, Les Grossman (Tom Cruise), shuts it down, Cockburn and Tayback conceive a plan to take the actors out into the middle of the jungle and shoot the whole thing guerilla style.

The music cues have also been through a vicious blender; as whole scenes were paired down to quicken the film's pacing; since no effort was made to adapt the score, cues abruptly stop or pop up and disappear in a jarring musical mulch.

Because it's not optimal to look at a book with the area around the letters shining brightly directly into your eyes, the Kindle crew here has turned the whole show on its head, shining light from the side of the screen across it, down toward the display through a reflecting film layer just 0.5 mm thin.

Created out of a truck that was cut down to size, and outfitted with custom - made interiors that merge the analog with the digital, SEFT - 1 was designed to travel on both rail and road in order to collect stories, film footage and audio surrounding railways that had been abandoned since 1995, when Mexico privatized their rail system, and when whole communities then became isolated.

I don't think we actually finished the whole film, but we did re-board it to [the point] that they saw a little potential there and didn't shut down the project.»