Sentences with phrase «with anyone in the film»

Consider Dustin Hoffman in «Rain Man,» a widely acclaimed performance that asked that he not connect with anyone in the film, never make eye contact, rock back and forth and speak in a nasally voice.

Not exact matches

In this modern day, anyone with a camera, a body, and an internet connection can create an adult movie, and a lot of them are pretty normal people just filming what they do normally.

Early in my challenge I had heard about the Summer Screen series at Somerset House, and keen to include one of the evenings in my 30 Dates by 30 Challenge, I posted on Facebook to ask if anyone had a friend who might like to go and watch an outdoor film with me.

In this mecca of fashion, film, and killer fish tacos, local singles are looking to share the warm SoCal sun with not just anyone, but with the right one.

As with Eli Roth's Hostel films, the context should be clear to anyone aware of the role America plays in the developing world and the festering anti-American hostilities out there... or to anyone interested in the politics of horror and / or familiar with the genre conventions in this regard.

Anyone who hates this movie because it does not comport with their beliefs about the «real story» is either a racist or simply misses the point: Phiona overcomes great odds to achieve what she does in the film.

I still love this film to this day and I recommend it to anyone with kids or to someone who wants to watch a great story that doesn't care if it is in the form of a 60's Disney cartoon.

For anyone not familiar with the events in Entebbe, the film is engaging enough as a historical account of a watershed moment in how the world chose to deal with terrorism — the actions of the Israeli Defence Forces prompted governments around the world to reassess the way they responded to acts of hostage taking.

A game that's going to stoke the hearts of anyone who ever fell in love with the original films — which is likely anyone who's ever picked up a game pad.

Jeffrey Dean Morgan's government agent Harvey Russell, for example, struts around with a giant belt buckle and a pistol in his holster for the entire film, lest anyone forget that he's the cowboy / maverick type.

Anyone who pays even the faintest bit of attention to the behind - the - scenes goings - on in Hollywood must be aware that its original directors Phil Lord and Chris Miller — the guys behind The LEGO Movie and 21 Jump Street — had a creative disagreement with Lucasfilm, leaving the film in the safe - as - cotton - wool - padded - houses hands of Ron Howard (a close chum of one George Lucas).

You don't have to be Asian - American to appreciate the Wongs with all their flaws and missteps; this could be your family, or the family of anyone you know, and in that way the film crosses that invisible genre line in the sand.

... Okay, so it's kind of lame to forcibly cite this film as nerdy to the point of getting a star with a surname that sounds kind of like «Edison», but the filmmakers had to have some corny joke somewhere in the casting, for it's not like Edison has been earning enough attention from, well, anyone to get a gig even this low in profile.

And did anyone connected with this film know that Hill House is supposed to be the quintessential haunted house in film and literature?

The film's creators, or possibly author Suzanne Collins (I'm not sure which since I haven't cracked a spine in the series), rig the first game, «The Hunger Games,» by ensuring that Katniss Everdeen (Jennifer Lawrence) never loses favor with us by never actually killing anyone in cold blood in this kill - or - be-killed world.

There's no word yet on returning cast members, but given the title and the fact that he appeared to be having more fun than anyone else in the first film, expect Rupert Everett to once again get in touch with his Camilla Parker - Bowles side in the role of Headmistress Fritton.

Not only does he have some of the best dialogue in the film, but for anyone with a soft spot for a particular Lego minifigure, his transformation will be especially satisfying.

While the film may be an uneven blend of shock therapy and wholesome homespun wisdom, anyone in the mood for a colourful and camp confection with plenty of bawdy humour will find Mental fits the bill.

As anyone who knows anything about LA, its police organization has had long standing problems with corruption and racism, but the film never addresses that even though one can see the roots of it in the material.

See Also: There's not a lot comparable to «The Lobster» in Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at alin Farrell's (or anyone's) filmography, but to see him ugly up to more grotesque effect, you could always check out «Horrible Bosses» which is fun enough until it loses steam, while the black comic vein of Lanthimos» film is maybe closest to a more surreal take on Farrell's collaborations with Martin McDonagh («In Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at alIn Bruges» and «Seven Psychopaths») inasmuch as it's close to anything at all.

Anyone who attends film fests knows that, even with a perfect schedule, squeezing in 4 or 5 films in one day is the limit.

But I'd challenge anyone to come up with many more ebullient, honest moments of uplift than the conclusion of that film (set to «Free Bird» of all things), as Zombie's miscreant clan makes a bid to let their freak flag fly in the middle of the American desert.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

For anyone not intimately familiar with the background and names within the upper echelons of The Third Reich, the coming and goings of so many characters in Downfall can be a little confusing at times; yet the film avoids becoming unnecessarily convoluted.

Clever humor and scares drop in with equal measures of success, and Peele's film ends up drilling into your brain with more effectiveness than anyone could have possibly imagined.

Fans of Jason Statham will no doubt have some fun with Killer Elite and there's one show - stopping moment in the first Statham / Owen brawl that will certainly get a reaction from audiences, but for anyone looking for either an over-the-top action flick or a smart - witted political thriller, the film fails to live up to the sum of its respective parts.

It paid off handsomely for James and anyone with profit participation in the film series, but less so for audiences, regardless of their dedication or interest to the book series.

I doubt anyone who had no interest in the film to begin with could be persuaded to see it but for those that are even mildly curious, it's well worth the trip.

The film opens with Dan (Vince Vaughn) quitting his job over a five percent pay cut and loudly announcing that anyone who wants to join him in his new venture should meet him in the parking lot.

Ted 2's story is filled with holes, but obviously that's not what's going to draw anyone to this kind of movie and so MacFarlane wisely makes a concerted effort to up the laugh ratio here from what we saw in the first film.

In anyone else's hands this film would be a vapid product with the occasional violence and nudity to keep mild interest.

But things feel malformed from the off, which begins with a lot of people saying a lot of portentous things, and continues to the assassination itself, which is more than underwhelming, in part because of what seems to be a pretty tight budget — Landesman watches Giamatti as he films the shooting, but there doesn't seem to be anyone else in Dealey Plaza except him.

Needless to say, I like Burt in this film, although I don't see it as any different than the Bandit, especially in his sense of humor and get - even strategy with anyone in authority that tries to bend his will.

Truth be told, it isn't a bad film, but in an ocean already teeming with films just like it, it will have a tough time impressing anyone who has seen a few entries in the recent crop of animated family fare.

On the other hand, anyone with sensitivities about how inhumane man can be towards animals will likely appreciate the messages conveyed in this film where man gets a taste of his own medicine.

With some 10,000 entries, including hundreds of titles we never covered in our annual guide, this is the perfect companion for anyone who watches TCM or dotes on silent films, European classics, and the golden age of Hollywood.

But for those interested in this time in American history, those studying music or anyone who likes a good story with interesting characters this film is a must see.

Verdict: The vampire movie might feel played out for most of us, but if anyone was going to find something new in it, it was Jim Jarmusch, who delivers with «Only Lovers Left Alive» his best, and most purely enjoyable, film in years.

Disturbingly, Bertolucci, a poet raised on the cinema in Langlois's Cinematheque, a «true artist» now refusing interviews to anyone not associated with a «major daily,» has crafted a film that talks about growing out of movie love as something inevitable and to be accepted with resignation.

I say, anyone that purchases a ticket to Zoom thinking they are going to see X-Men: The Last Stand are probably the only ones dumb enough to be properly in tune with the kind of witless, vacuous fodder that this film is.

The director seems as aware as anyone else of the irony that the worlds biggest, most corporate football club are taking a central role in his first film on the subject, but he never lets these opinions interfere with his story and characters.

Zach isn't particularly keen on the unexciting town until he meets Hannah (Rush, The Giver), the cute girl next door, with whom he becomes fast friends, though Hannah's feisty and reclusive father, revealed later in the film as R. L. Stine himself (Black), thinks she should have nothing to do with Zach or anyone else.

A few days ago I caught up with Jay & Mark Duplass for a chat about their new film and their filmmaking process in general, since the ways these guys shoot their films is unlike anyone else out there.

He's not shy about shooting anyone in their way, even a troublesome girlfriend, and he's so tough that the film has to throw everything at him (starting with one of the great urban car crash stunts of its time) in the third act just to slow him down.

A really lovely tale staring two great leads that you fall in love with almost immediately, however, as Ananda states in her review, anyone more concerned with space - time continuums or time travel paradoxes should just bypass this film, as it really is just another Richard Curtis movie and thus all sense of reality should be left at the door.

Anyone with an interest in directing films would do well to watch Laughton, a notoriously difficult actor, handle his own actors.

It is a harrowing, exhausting, painful film, and a very good one - a film that will not appeal to most filmgoers, but will be valued by anyone with a serious interest in schizophrenia or, for that matter, in film.

Film is an art that allows the viewer to bring themselves in conversation with it, and therefore what each person sees in a film will be different from what anyone else sees.

The film almost redeems itself with what may be the longest, most elaborate post - film / pre-credits sequence in film history, but it will still disappoint anyone expecting more than watchable trash.

by Walter Chaw The question, and it's a question with currency, is why anyone in their right mind would subject themselves (and their long - suffering editors) to coverage of two concurrent film festivals.