Not exact matches
What he means is, Pixar's ballyhooed Braintrust
idea meetings boast a mixture
of champion storytellers like John Lasseter, the director
of the first two Toy Story
films — and a
whole bunch
of employees unafraid to challenge him, even though he's the John Lasseter.
I loved
filming the lookbook but still need to grasp the
whole idea of talking whilst showing the pieces as I couldn't stop laughing at the sound
of my voice, weird I know!!
Time travel has always been a thing
of science fiction but the rules for time travel in this
film, as well as from the book, seem very reasonable and the
whole idea of killing something off that shouldn't be, will kill everything.
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.
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.
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.
The
idea of spiritual meaning expressed in style is deftly encapsulated in the first shot
of «First Reformed,» a neat synecdoche for the
whole film.
When
films tend to recycle
ideas under different titles, the genre as a
whole suffers, and we have several
films in the last few years that show the decline
of great horror.
From that, the rest
of the
film follows, for there is no broadly, easily villainous type present in the
film at all, whether student, faculty, administrator, or even parent; thus the focus more clearly and cleanly zeroes in on the central
idea at hand: that the two are their own worst enemies, and they need to get over themselves to be awakened to what's truly worthwhile in their lives and in life as a
whole.
Naturally, the
film removes the basic
idea that made it work, adds a
whole bunch
of superfluous special effects and puts everything on the shoulders
of star Hugh Jackman in hopes that he can pull out a winner.
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.
Understanding the jaw - dropping effort that went into this movie, it's tempting to wish that Kobiela, Welchman, and their army
of animators had come to the same conclusion that old Albinus reached before he scrapped the
whole idea: A
film made in this way, he reckoned, «would bore most people to death and be a general disappointment.»
He has emphasised his debt to the Japanese maestro Akira Kurosawa with this
whole idea, and while the quest in the story, to find a missing guard dog called Spots, recalls some
of that director's samurai
films, the setting is very specifically indebted to Dodes» ka - den, his multi-strand 1970 drama about people subsisting atop a rubbish heap.
The last lines
of the
film (badly overwritten — the
whole thing needed another pass through a typewriter) convey the
idea that the survivors will never be emotionally well again.
In my humble opinion, I believe that both
films are, as a
whole, greater than the sum
of their parts, primarily entertaining because
of the choice key bits
of hilarity and satire that, when strung along successfully, manage to make them very funny to quote from, despite the fact that they aren't really brilliant
ideas in and
of themselves.
The opening shots imply that the floridly romantic «style» is not necessarily that
of the
film as a
whole, but an
idea of the kind
of visual representation a group
of isolated, intelligent, impressionable, hormonal young women might make.
The
film itself becomes overly episodic to the point its meanderings and side chapters begin to define the
whole with a lack
of ideas and focus.
Pacino overacting is always more fun than Pacino underacting, but he's playing an
idea instead
of a person here, and the
film on a
whole plays like some laughless comedic spin on Synecdoche, New York, complete with some stage / life blurring and Dianne Wiest.
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.
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.
I love that
whole idea of a stripped - back, economical, non-intellectual cinema, but I also love Fellini's
films.
One, as you point out, Genevieve, is food; the
whole film unlocked itself for me when I noticed how Anderson uses food as a way to embody all kinds
of ideas.
In this version, however, Mel Brooks adds his own personal touch, parodying traditional adventure
films, romance
films, and the
whole idea of men running around the woods in tights Read the rest
of this entry»
Shuri lights up the
whole film, and while Black Panther is a contained story that has sh*t - all else to do with the rest
of the MCU, the
idea of Shuri showing up Tony Stark in Avengers: Infinity War is delightful to contemplate.
It's a
whole bunch
of half - baked
ideas happening in the
film, but that's kind
of the fun
of it.
Since the
idea of a doll possessed by a serial killer is already fairly meta in the horror
film canon, though, the
whole approach comes across as masturbatory and just a wee bit sociopathic.
Had the rest
of the
film had more dance numbers, this might be forgivable, but perhaps the
whole thing was doomed to be half - ingenious
ideas from one
of the great visual filmmakers
of our time.
«Vampire in Brooklyn» (1995) The
idea of Wes Craven directing Eddie Murphy in a horror comedy would seem to be a win - win scenario, a
film that couldn't possibly fail at the box office, but for some reason, audiences were lukewarm to «Vampire in Brooklyn,» and critics didn't seem to care a
whole lot for it, either.
I always liked the
idea of exploring a sister relationship... I've had an incredibly fascinating and rich love / hate relationship with my sisters my
whole life and I thought it would be rich territory for a
film.
Actually, that comic that the
film is loosely based on sort
of gave the filmmakers the
whole idea.
The story feels like a
whole lot
of half - hearted attempts at an interesting
idea, and this is where I can only assume (since this is from the director that brought us the awesome La Haine) that all the clever plot points were blunted in an attempt to make the
film a little more mainstream.
It's a
film with
ideas, some
of which are interesting, though the
whole of them fails to add up to something either entertaining or remarkable.
The
whole idea of a student
film festival emerged from the desire
of the head
of our IT department to have students create more videos.
And just like those first dialog
films of the late 20's and early 30's, not every video game is going to have great or even good dialog; the
whole idea of writing for games is too new.