Sentences with phrase «why film works»

«I think that's why the film works in a cinema.

I think a big reason why the film works so effectively is because it does so much with so little.

That's why the film works as well as it does.

Although Chazelle should get the lion's share of the credit as to why the film works, that shouldn't take away from the phenomenal performances, not only in acting, but also in singing, dancing, and playing instruments, to Crazy Stupid Love and Gangster Squad cast - mates Emma Stone and Ryan Gosling, who took over the roles from the originally pitched Emma Watson (who was iffy on the project before ultimately being unavailable) and Whiplash star Miles Teller (who, reportedly, lost the gig trying to stall for a bigger paycheck).

What DOES work though is the heart of the film, which is really why the film works as a whole.

We need to look at and judge each aspect of the film in detail — avoiding spoilers, whenever possible — to explain why the film works as well as it works, where it occasionally stumbles, what makes this the first genuine motion picture event in many, many years.

The ambiguity in the film is so essential to why the film works the way it does.

The main reason why this film works is that it isn't afraid to take its time.

Yet the simple reason why this film works is that, even though it runs at over two hours, precious little of that time is given over to lumbering exposition or unnecessary back story.

In addition to Eastwood and Bridges, another key to why the film works is the presence of George Kennedy as Red, the grumpy, burly, hayfever - stricken guy who trusts no one.

The main reason why this film works so well is because Luhrmann and his co-writer, Craig Pearce, know that The Great Gatsby isn't an exercise in realism, but rather it's more an epic, lyrical ballad, complemented with light tones of gloss and glitter.

Frankly, that may be one of the reasons why the film works so well.

And that's also why the film works so well as a comedy; for the most part, it is a human one.

And we also immediately believe the relationship between Will and Tom, which is so essential to why the film works.

Anderson upped the pathos in Extinction and that is why the film works as well as it does.

Moore is the reason why the film works so well.

If you understand why the film works, you're well on your way to understanding cinema.

One of the many reasons why the film works as well as it does is that West has the guts to take the material seriously.

The goofy relatability of these guys is a huge part of why this film works as well as it does — at one point, there's a long sequence involving drawing a penis on one of the guy's faces while he sleeps, and he doesn't notice for a long, long time.

I could go on about the things that are just plain wrong about this film (and yes, plenty of them are on purpose), but the key is that almost all of them are the same reasons why the film works.

Not exact matches

This film is a stunning representation of his work and gives great insight to the man behind iconic images and why he cares so much for humanity.

«If a guy has a hard day at work or is at a convention and wants to sit down in his hotel room and puts on an adult film and plays spank the monkey, why can't he do that?»

It's why Steve Young said he didn't work hard enough in the film room, why Fran Tarkenton called him a «pontificator,» why DeSean Jackson tweeted that you can't do great things «with basic people,» and why Gruden benched him.

Featuring some of the top scientists, journalists and press officers who have worked with us in the last decade, the film covers how and why the SMC was set up and the methods by which the Centre works from day - to - day.

Suffice it to say, I now really want to see The Room, but perhaps only as a double back - to - back feature with this film - because they work so harmoniously together and it allows me to appreciate what actually happened here, what was really going on with this film (and why it is what it is).

(The 2017 film Wonder Woman mostly adheres to this structure, which is why it works even when it shouldn't.)

This is supposed to give the film «authenticity,» though that only works if you know the people onscreen are the real guys, which I guess is why the marketing department made sure everyone knew that.

But this film would have worked either way: It's a celebration of a tough woman's rise from her role as a powerful man's spouse, and it's a case for why reporting should never be beholden to the whims of the White House (as the Supreme Court ruling in favor of the Times put it, the role of the press is to serve «the governed, not the governors»).

Hoss's breathtaking portrayal, especially in the film's final minutes, makes it clear why director Christian Petzold has made a habit of working with her.

WHY: After working together on the «Expendables» films, it's only natural that Jason Statham and Sylvester Stallone would team up again.

«Praise JC that Blood Work has been quietly swept under a rug somewhere and Mr. Eastwood has made a film that reminds us why a good script, good cast, and good director can make a damn fine dramatic movie without trying to be a show off, or emotionally manipulative.

There are so many films playing at the fest, and so many I'll end up seeing (30 +), that this is a quick list to get everyone acquainted with some of the work premiering in 2017 (and why I'm so excited for these).

He talks about filming in English rather than his native Greek, casting Alicia Silverstone in the movie and why he enjoys working with Colin Farrell — so much so that they're trying to get a third project green lit.

That's why they periodically work in sequences of a film - within - a-film featuring Jason Segel and Rashida Jones that parodies every studio rom - com cliché.

She's quickly becoming one of my favorite actresses working today, and this film perfectly shows why.

WHY: There's been a renewed interest in the work of British spy novelist John le Carré over the last five years, with several of his books adapted into feature films («A Most Wanted Man») and TV miniseries («The Night Manager»).

After six years working on First Australians, it is not hard to imagine why, in 2009, Perkins embarked on the adaptation to film of Jimmy Chi's 1990s stage musical hit Bran Nue Dae.

The film has some solid observations about why relationships sometimes don't work, and how it's easier to focus on another person's faults than on one's own.

Where Polley's work goes from mere family movie to something much greater is in how she uses her own quest for answers to illuminate why & how we tell stories in the first place, especially in the form of film.

Alas, it's never satisfactorily explained in the film why Yousef (aka the Green Prince), apprehended in the mid -»90s for buying illegal weapons, then interrogated and imprisoned, would accept Ben Yitzhak's offer to work for the Shin Bet, particularly given his father's own lengthier imprisonment by the Israeli government and the younger man's description of how cooperating with Israel is the «most shameful thing you can do in my country.»

Like Howard Hawks, another Hollywood professional who celebrated professionalism in his films, Huston is more interested on how things work and how they fall apart, where arguably the greatest noirs were more interested in the why.

The director of the Globe - nominated Holocaust film talks to Jason Solomons about why he chose to direct Bernhard Schlink's German fable, working with Kate Winslet and his personal odyssey as a film - maker

It is shot with the usual High Definition glitz we've come to expect from any film set even a little bit in the seventies, which works a dream for the highly - charged performances but jars uneasily with the murkier aspects of Brown's life Taylor attempts to tackle, which is perhaps why he spends so few times in those moments.

Says co-producer Matt Miller: «Having audiences understand the work that went into the film's production will also reinforce the messaging of why we felt it was important to present this film only on 35 mm and only in theaters.»

(2) Quick Review: The first half of this film works very well as a reflection on why and how Europeans fall victims to radicalization.

The main reason why it doesn't work is due to the fact that the most bizarre set of coincidences, as well as the most befuddling character motivations, are necessary in order for this film to come close to working, and even then it makes very little sense from a practical standpoint.

I applaud Working Title for breaking new ground and not sticking to the «Into Thin Air» version of the 1996 Everest tragedy, which is maybe why this book is not in this film's Credits, something that has not gone unnoticed by some professional reviewers.

Three reasons explain why Tokyo Story is generally regarded as Ozu's finest work are: it's by far the film of his that's been most widely seen in the West; its first distribution in the U.S. coincided with the landmark publication in 1972 of Paul Schrader's Transcendental Style in Film, which considered Ozu alongside other such luminaries as Carl Theodor Dreyer and Robert Bresson as an exemplar of spiritual filmmaking; and it's seen as the most complete summation of its director's art.

During our chat we touched on why the film is only 58 minutes long and whether there was any intention to extend it, whether Refn believes he should have won the Palme d'Or, why he switched from composer Peter Peter to working with Cliff Martinez, how they had little boosts of money that helped get the film made, why the film is just now coming out instead of closer to Only God Forgives «release, whether Refn ever wanted to stop being filmed, the commercial prospects of an hour long documentary, and much more.

In so doing, it invites uncomfortable comparisons to just exactly why Hawks's films work (economy) versus why Tarantino's do (excess).