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