Sentences with phrase «with anything in film»

Much like with anything in film, it has a lot to do with approach.

The main menu plays clips in the gemstone at the center of a pentagram, a design that doesn't strongly resonate with anything in the film.

Not exact matches

Trump's longtime personal attorney Michael Cohen paid Daniels, an adult film actress, $ 130,000 in exchange for her signing a nondisclosure agreement in the final days of the 2016 election that kept her from saying anything about an alleged affair with Trump.

I'm not sure there is anything creepier than children in horror films, there is just something about taking that innocence and turning them into something dark and sinister that doesn't sit well with...

What are the odds that intelligent, technically advanced aliens would look anything like the ones in films, with an emaciated torso and limbs, spindly fingers and a bulbous, bald head with large, almond - shaped eyes?

During an early screening of Roland Emmerich's latest disaster flick 2012, which opens today, laughter erupted in the audience near the end of the film thanks to corny dialogue and maudlin scenes (among the biggest guffaw getters: a father tries to reconnect with his estranged son on the telephone, only to have the son's house destroyed just before he could say anything).

Another advantage of this light - based processing is it doesn't require anything to come in physical contact with the film being treated — for example, there is no need to attach electrical contacts or to bathe the material in a chemical solution.

what can i say here goes im happy love going out or stay in with rite lady like films pubs walkin in the country will try anything once just looking for fun or dating or long term relationship

While Yates doesn't do anything shockingly out of turn with the film, I found myself struggling to connect with the epic, symbolic conflict and was more interested in the smaller moments.

Not even Donkey, infused with serious panache by Eddie Murphy, so fabulously fast - talking yet obtuse in the first and second films, can muster anything, even while sparring with the previously entertaining Puss in Boots (Antonio Banderas).

With this movie, he just doesn't deliver anything worthwhile for fans, and it's a shame because if the story would have been a bit more developed, then I think that the film would have succeeded in being a memorable action film.

Even in Refn's and Hubert Selby Jr.'s script, this film is just so blasted limp, and from a directorial stance, Refn makes pacing problems all the worse with a meditative atmosphere which is rarely effective, primarily carrying dead air which is inspired by a quiet sobriety that distances and bores more than anything.

In a less well - written film, Cody and Reitman could have lost their way with the path the film takes, and while it feels like a bit of a jarring bait and switch in the moment, it never cheapens anythinIn a less well - written film, Cody and Reitman could have lost their way with the path the film takes, and while it feels like a bit of a jarring bait and switch in the moment, it never cheapens anythinin the moment, it never cheapens anything.

Issues regarding pacing and structural tightness are among the more considerable in this film, which promises to be rather extensive as a biopic, only to succumb to anything from repetitious filler, - at its worst with the forceful and recurrent insertion of a recital of Oscar Wilde's own short story «The Selfish Giant» - to meandering material whose being backed by steady directorial storytelling by Brian Gilbert leads to moderate bland spells.

Evenly matched with the vocal performances of several actors, they are stunning, and profoundly different from anything you've heard in a Disney film before.

With just the right amount of characterization, the cast in this film pull off performances that feel more real than anything.

It's just that the film feels so unusually empty; even if he has subtly snuck his usual hallmarks into the mechanics of the narrative itself, he's populated the foreground with characters who never come alive as anything more than archetypes, who trade in so much exposition it's hard to see how any audience member could be overwhelmed with confusion at the story being told.

I dislike anything with a grossly simplistic and crude agenda so that's my main issue with the politics in this film.

Put together, REBEL IN THE RYE feels more like an HBO film that a real, big - screen feature - not that there's anything particularly wrong with that.

As Abraham Lincoln, Daniel Day - Lewis is nothing short of mesmerizing, even in this brief introduction, and in a way this sequence is evocative of the film as a whole — it's overtly chatty, with little interest in anything beyond the dynamics of two people communicating with each other.

The first hour of the movie is virtually unwatchable, with Braff oddly sprinkling in fantasy sci - fi sequences that are supposed to convey the character's inner - life, but never really add anything to the film other than make it feel alternately goofy and pretentious.

If you're in the mood for something fun, then give this one a shot, just don't expect anything great with the film.

If there is anything I didn't like about the film, it's Cameron's lack of realism when dealing with the roles of children, especially Jonathan Lipnicki's (Stuart Little, The Little Vampire) character as the boy that Maguire forms a bond with, as he's too unrealistic in demeanor and too strange looking to buy as a real kid, and for that matter the same goes for Tyson Tidwell's (Suarez, The Ladykillers) demeanor (son of Rod) as well.

Black Panther's cast and creators trod carefully around the movie's connection to current politics in the press conference attended by Screen Rant, with Chadwick Boseman saying that anything that seems like a reference is just coincidence, and Marvel Studios President Kevin Feige saying that «things have happened in the world which make the film seem more relevant.»

The first third of the film shows them in action, with each character attempting to do anything that's possible to earn some money.

And just as with those films, my mind couldn't help but wander adrift in a sea of thoughts that had nothing to do with anything taking place on screen.

I'm not even of the school that thinks the Zimmer approach is fundamentally wrong for a film like this — it's just that in this instance, he (assuming he actually had anything to do with it) certainly did get it wrong.

Just about any film that explores the question that all of us ponder about what happens to us after we die already starts with built - in intrigue, and while Flatliners eventually becomes a relatively standard «Twilight Zone» - esque story about dealing with the guilt and remorse of one's past to resolve one's future, it's certainly a movie that stands out as quite different in style and, to some extent, subject matter than most anything that Hollywood had churned out before.

That's not to knock these films on quality or suggest that anything with name actors is merely mindless escapism: Fox Searchlight's thriller The East efficiently mines suspense out of Brit Marling infiltrating Alexander Skarsgaard and Ellen Page's eco-terrorist group (at least until it goes south in its last third) and the Paul Rudd - Emile Hirsch two - hander Prince Avalanche makes the most of its pastoral settings and gently bro - centric chattiness, to name just two.

When it comes to «Marvel's The Avengers», they are the hottest ticket in not only film this year but also anything having to do with media in general.

What is more, the film brings a vivid immediacy to events which goes beyond anything on the written page, be it the face - to - face drama of Jed's dialogues with Joe (conducted in the novel mostly through letters and phone - calls), or the occasional brilliant reds (the balloon, blood, etc.) that flash from the film's otherwise subdued palette, signifying all at once eroticism, danger and passion with a visual economy reminiscent of the colour - codings of Zhang Yimou.

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.

The trailer indicates that Ridley's film is as much a work of Impressionism about Hendrix's experience performing as part of the 1960s London music scene as anything else - a sentiment backed up by the early reviews, with the Seattle Times» Moira Macdonald calling the movie «a mood piece, not a biopic» in her overall positive critique.

If anything, the tiny - budgeted film (though not that poor considering the filmmakers licensed a David Bowie song) is a sizzle reel for Josh Trank who shows he can do on a fraction of the budget what many directors in Hollywood can't do with hundreds of millions.

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.

A lot of focus on his personal life without actually telling you anything, in my opinion let the film down, especially as there was a lot more that could have been included as far as his relationship with Winnie was concerned.

If you haven't heard anything about it or you want to learn more, here I share with you some things I learned about the film when I visited the set in Albuquerque, New Mexico, as well as two brand new images from the film below!

Of course, if his films are any evidence, von Trier has been orbiting Planet Melancholia for a while now, even before his widely reported battle with clinical depression, and so it's little surprise that the main characters in Melancholia enter the stage with an existential weight on their shoulders that has little, if anything, to do with the world's imminent demise.

The film is anything but rushed and that is in its favor; a string of fast - paced set pieces weighs down any movie and Miyazaki has the good sense to balance the adventure with quiet but meaningful character moments.

It ends with a title card that states «A Paul Schrader Film,» but it is such in name only — a version of the movie that neither Schrader nor Refn (who retains an executive producer credit) nor Cage endorse or have done anything to promote, assembled by a team of producers without the input of Schrader or the film's credited editor, Tim Silano.

Granted, anything with Ashton Kutcher is doomed to miserable failure, but in a film where you have proven comedic actors... who is the weak link?

And any time spent thinking about how ridiculous what they're actually talking about is, is still more entertaining than some of the antics the supporting characters get up to, be it John Malkovich trying to kung fu a robot or a former Special Forces soldier complaining stress or all the running he was having to do, or dear God anything having to do with Sam's parents who offer nothing to the film but reminders why they shouldn't be in it.

Those who have not enjoyed Rogen's efforts in the past will not find anything new here to convert them, but those going into the film with an idea of what to expect should find enough laughs to make it worthwhile.

This religious - fish - out - of - water narrative involving the Hasidic community has been well trod in films before, but in the hands of filmmaker Sebastain Leilo and his more than capable cast, Disobedience doesn't treat it with anything less than striking intelligence and humane interactions.

Edgar Rice Burroughs» ape man, Tarzan, has been featured in some 200 films since Elmo Lincoln first donned the loincloth in 1918, so any filmmaker would be crazy to think that he or she could come up with anything new.

And for better or for worse, this next Frankenstein film doesn't have anything to do with that campy, fan - fiction - spurring flop Victor Frankenstein, in which James McAvoy and Daniel Radcliffe recently starred.

I lost my own father shortly before seeing this film, and I'm sure that my copious tears had as much to do with that as anything happening in the film.

Considering Linklater's own suggestion in the documentary that, discounting anything to do with their critical or commercial performance, he's not been dissatisfied with the qualitative results of any of his films, Black and co-director Karen Bernstein hastily bypassing so many of them seems to go against his perspective.

It's actually astonishing that we not only have great actors nailing tricky scenes, and really some stunning, winding camerawork to go with it, but such things as the weaving in of special effects and the utter lack of capturing any of the off - screen crew members who surely must have been around helping with the shoot (that we never see anything we shouldn't in any of the many on - screen mirrors is quite astonishing) only makes this one of the more brilliant efforts at shooting a seamless film since the first in Alfred Hitchcock's Rope.

The key problem is the decidedly dull script, which throws up a handful of decent ideas, but fails to do anything interesting with them — one of the characters is obviously meant to represent the misogynistic attitudes behind the Gamergate controversy, but the film is content just to push that to its extreme and turn him into a full - on murderous scumbag, rather than explore it in any depth.