Sentences with phrase «whole story of the film»

And I got a pen and she was just telling me the whole story of the film.

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.

Both the film and the novel make much of God's strategic metamorphosis here, which is really the premise of the whole story.

This understated story - telling is indicative of the film of the whole, as nothing is laboured, false or out of place.

«I went there because I wanted a proof of the fact that the site was just fenced and there was a heap of sand there as Nana Addo was claiming... I went there with the MP of Salaga, with the Regional Minister and with the Police Department that was escorting the Regional Minister and we filmed the whole place and that is the story we put out for people to know and for Nana Addo to know that if they are relying on information by his propagandists then he is threading on dangerous grounds; because what we saw there was an exact opposite of what he sought to portray in his true state of the nation's address and what we saw vindicated the President's assertion that there was a 60 - bed hospital construction in Salaga.»

The DVD even contains the oft - forgotten «In Search of Dr. Seuss», a full 90 - minute film which is basically a series of set - pieces linking a whole bunch of Seuss's stories together into something approximating a coherent narrative.

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.

However, the film is electric and the performances are exceptional, set against the backdrop of humor (dark or otherwise), a banging soundtrack and a story you may know but will appreciate in a whole other manner.

Based on the real life story of Tom Murton, this sure is a worthy tale to tell, however I found the whole film pretty boring and I have to say Robert Redford did absolutely nothing for me acting wise.

This film doesn't use a whole lot of CG, but it really is a big part of the story.

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.

Whether you would put them on your own list, or choose a different movie mom to recognize, there is no denying the importance these women have within their stories, and for the legacy of moms on film as a whole.

There aren't a whole lot of surprises in the way René's story plays out, and the film could perhaps have probed the ethical and moral dilemmas of the situation in greater depth (the film does conclude on a satisfactorily bittersweet note).

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].

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.

Shrek: The Whole Story has all of the Shrek films on their own Blu - ray discs packed with a rather healthy dose of extra features.

It secured its place among the greatest, at least according to our belief, because of the freshness and audacity of its ambition to use a popular film genre for the exploration of an unexpected subject that gives the whole story an extra dimension.

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.

But while there is a note of wide - eyed childlike wonderment early on, the film as a whole fails to develop any sustained sense of the magical spell the story calls for.

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.

Ang Lee's big - screen adaptation of Yann Martel's bestseller «Life of Pi» opens this week, and while the film's main stars may be Suraj Sharma as Pi and a CGI tiger, actor Irrfan Khan almost steals the whole show as the older Pi, who narrates the story.

Coming from the US, I take as much as I can from films that depict a culture I am unfamiliar with, but having the opportunity to discuss the technique and story of a French drama with someone who is more than familiar with the director's work and the social commentary surrounding a film brings about a whole new understanding and experience from what I initially left the theater with.

The single unqualified advantage that the new version has over William Wyler's 1939 film is that it tells the whole story, instead of stopping after the death of Kathy.

One of the most expensive films ever made for that time period, it is loosely based on the story «We Can Remember It For You Whole Sale» by Philip K. Dick.

There is a whole world involving the supporting players Lucy, Ida, Wally and Bert who all play significant roles in the film that we haven't gotten to and we've left out pretty much all the major plot turns and twists of the story.

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.

Ron Howard's Solo: A Star Wars Story will be in theaters this month, which means Disney and Lucasfilm have Howard on the hook to do a whole bunch of promotional work for the film.

Written by aviator - turned - author John Monk Saunders (of Wings and The Dawn Patrol fame) and directed by German émigré William Dieterle, the film lacks a strong central personality and mostly meanders through the middle but that easy rhythm and directionless story defines their whole situation and sets up the devastating third act, where the group travels to Lisbon for the bullfights.

Despite its whimsical story and its consistent — as well as consistently dry — humor, the whole film is centered on such moments of remorse — for what has passed and for how the future is being shaped.

The main one is that Seal was an unofficially contracted employee of the CIA, which definitely had their own fingers in a whole lot of pies in Central America in the late 1970s and 1980s, when the film's story is set.

(For instance, if you wanted to hear the complete story of Iain Softley's intentions with the film, you'd need to watch the whole thing.)

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its ficstory of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its ficStory (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

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.

4:00 pm — TCM — His Girl Friday This is a remake of a 1931 film called The Front Page about newspaper buddies who go after a major story — Hawks took it to a whole new level by turning one of the men into a woman, and setting reporters Rosalind Russell and Cary Grant as a former couple, now divorced who can't seem to stay apart, either personally or professionally.

Characters pop in and out of the story with little explanation; others yell and fight with each other for no reason; and Anna Paquin (who plays one of the most annoying film characters in recent memory) simply isn't a good enough actor to carry the whole thing on her shoulders.

The middle story has a brilliant introduction but the tension created therein is slightly dampened by the fact that it becomes the most overtly comic part of the film, which for me was a little disappointing, but in general these are compelling mini-arcs that successfully complement the wide whole.

Luhrmann takes great care with the rhythms of individual scenes, yet the film as a whole plays like a long trudge through a familiar story.

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.

Every December the whole Curzon team gathers round the fireplace to tell each other stories of our year in film - the highs, the lows, the ones that stuck for the weirdest or worthiest of reasons, the unforgettables and the unforgivables.

This film wisely dispenses with the whole origin story and reintroduces us to the rookie wall crawler by revisiting his Civil War coming out party from the excited kid's point - of - view via Parker's camera - phone.

Burroughs» story and Stanton's visual treatment are fine for film escapism, but the script flaws (and some of the acting and pacing) really lessened the movie as a whole for me.

Spotlight, the feature film account of how The Boston Globe broke a major series of stories about the Catholic Church's child sex abuse scandal that encompassed «not just Boston, it's the whole country, the whole world» as one character puts it, figured prominently at Deadline's The Contenders event Saturday.

Whilst it does take a lot of queues from the recent Avengers film, TT have said they want to offer a more complete Marvel experience, so expect to see characters and stories from a whole range of Marvel franchises, films and comics.

«We got the whole story of Palpatine's rise to power in the prequels, but in the original films he's exactly what he needs to be, which is just «The Emperor.

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.

Although the two films will stand on their own, they explore the two halves of a whole story, from His and Her perspectives.

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!