Sentences with phrase «with regard to the film»

Soon the film theoreticians asked the same ill - considered question with regard to the film.

Not much else has been released about Anna with regards to the film's plot or what characters the actors will play.

I mention Wexler a lot more often than Nichols with regards to this film because Who's Afraid of Virginia Woolf?

I appreciated the effort of my friend to get me the information and of course, of his friend to extend his thoughts but what he ended up telling me was something that has become an all too familiar refrain these days with regard to film.

With regards to the film itself, it is just pretty pointless.

With regard to film, people have been saying «they don't make»em like they used to» since long before The Goonies came around.

Particularly worthy of mention with regards to this film is her note about Walsh having just one eye, making his 3 - D accomplishments all the more remarkable (just like André De Toth, who directed the pioneering 3 - D Vincent Price chiller House of Wax, released, believe it or not, also in 1953).

But I'm glad this film pointed out what a prejudiced little arsewipe I had become with regards to any film incorporating the concept «teen slasher» into its armoury.

After a number of years in development hell, the project was abruptly cancelled shortly before beginning shooting, with Universal Studios seemingly not on the same page as Verbinski and franchise creator Ken Levine, with regards to the film's direction.

Not exact matches

It is true that popular opinion has shifted repeatedly with regard to this year's most award - worthy films.

Much like the success of last year's Warner Bros. film Wonder Woman helped change the conversation around a female superhero movie helmed by a woman director, a box - office smashing debut for Black Panther could pave the way for a similar paradigm shift in Hollywood with regard to how studios approach big - budget stories about characters of color.

Today's question comes from ochaos on reddit, who asks how things are going with regards to the recent changes in Sprint's financial eligibility date checker: Comment from discussion We're filming another...

Donnerstein's research showed that films which combine erotic material with violence tend to desensitize people regarding aggression against women.

Dozens of people have written to me regarding Dr. Caldwell Esselstyn's work, which you may be familiar with through his book Prevent and Reverse Heart Disease, his son Rip's book, The Engine 2 Diet, or the documentary film Forks Over Knives.

Those quibbles aside, though, I'd recommend the film to any parents or teachers who'd like to get a productive conversation going with children regarding where our food comes from and how our food's origins affect our bodies and our world.

Lifetime's Aaliyah biopic has undergone its fair share or casting changes in regards to who will portray the R&B singer, but the film has During a pretty standard interview with HuffPost Live's Caroline Modarressy - Tehrani on Monday afternoon, R. Kelly condescendingly asked if the

Snyder was rightly criticized for Superman's lack of regard for saving human lives in the first film, so in this film he tries to rectify that with a montage early on showing Superman saving people from burning buildings, exploding rockets, deadly floods.».».

It's oft regarded one of the most memorable climaxes in cinema and, though that is probably true, it just doesn't seem to fit with the rest of the film.

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.

It frustrates me sometimes when critics honor Goblet of Fire with such prestiege when in fact the true magic lies in what both Cuaron and Yates were able to achieve in regards to film artistic integrity.

The film's infinitely more interesting questions do not have to do with John's expedition to emotional health, but its occasional observations regarding gendered expectations and desires, particularly within the confines of middle class «happy endings.»

At times this film can be fun to watch, but it tries so hard to deliver a message regarding the world being phony and pretentious and obsessed with physical beauty that it becomes what it is trying to parody.

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.

Well regarded among horror fans, Alice Sweet Alice has aged surprisingly well and stands up to repeated viewings like many of the best films of the seventies, particularly with its look and style.

It gives me lots to think about with regards to whether I should see this film or not

Papadopoulos is the reason to see the film, and he's photographed with the loving regard that Claire Denis brought to «Beau Travail.»

The action is surprisingly clear, with the focus rarely faltering; with so many animations opting for a much denser, clustered style, its good to see this film do much better in that regard, making it more eye friendly.

Last night, Saoirse praised Jennifer Lawrence for writing her «wage gap» essay and for criticising double standards in the film industry, and she spoke of the frustration she feels with regard to the lack of strong female roles.

For one thing, the recent track record of these late summer dramas is decidedly mixed - while The Help indeed connected with Oscar, Lee Daniels» The Butler's summer box office went unrecognized by the Academy, and it is the latter film that Get On Up seems to resemble more, what with it being a biopic that attempts to tell the entire life story of its subject, which, as discussed in the previous installment in regards to Unbroken, is a questionable proposition with today's Academy.

The film plays out in heartbreaking anger and passion, but is told with serenity and visual beauty; it reflects the way these characters in 1938 might have regarded the situation, not the way it would seem to modern eyes.

Infinity War definitely succeeded as a whole but it's also not quite the film I bet most fans are expecting, particularly in regards to how we get to the big showdown with Thanos.

Zombieland screenwriters Paul Wernick and Rhett Reese have zero chill with regards to the established tone of a comic book origin film, the X-Men franchise, the cast or the Fourth Wall.

The best parallel I can make to this is 1993's Contact with Josie Foster in that, that film also tried to showcase what it felt was a realistic scenario regarding aliens.

Given that I am a fan of Smith's and hold a few of his films in high regard, I was certainly happy to go along with seeing how this film turned out, but if I had no clue about what this film was, I am pretty certain I would have thought Tusk was a film made as some sort of dare.

The film is a low - key thriller with a surrealistic air, particularly in regard to real historic events that are presented in an exaggerated, almost other - worldly fashion.

When you have spiritual films regarding any sort of divine intervention, you have to go in with a bit of an open mind that this story could actually be true.

In an age when the offspring of famous actors seem to be granted front of the line status with regard to acting work (Rumer Willis, your table is waiting...) I wasn't expecting much from a film that stars the son of Jack Tripper, John Ritter.

Here also, Bratt says he felt a part of «a new cinematic movement» filming Abandon (referring mostly to the brilliant Libatique), and a peculiarly excitable Gaghan tells an anecdote regarding his dog's cameo that perhaps ought to have finished with someone throwing a butterfly net over him.

The supporting cast all do a good job despite some of the characters feeling a little out of place with regards to the tone of the film.

There are some interesting moments when we see the same moments from different perspectives, but this film doesn't really sit on the fence at all with regards to the «truth» of Emily's demise.

While British films can sometimes be regarded with great affection at home, they rarely do well abroad — unless they happen to be the sort of strait - laced Bonham Carter historical dramas or soppy Hugh Grant contemporary rom - coms that pander to comfortable stereotypes for a foreign market.

Certainly anyone who still regards print as the core (read: best - paying) part of their practice has reasons to fret, what with film studios having largely abandoned spending on print advertising and arts sections unlikely to ever regain the pages they've shed.

While Buchanan's logic with regard to the summer tent pole is sound, there's one glaring omission from his article: the outstanding box - office performances of The Purge and The Conjuring, two original works, both horror films.

Alice Rohrwacher's follow - up to her Grand Jury Prize — winning «The Wonders» shared the Best Screenplay award with Jafar Panahi's «3 Faces,» and Lukas Dhont's film won both the Camera d'Or for best first film and Best Actor laurels in the Un Certain Regard section for Victor Polster.

Our Verdict: Among all the acclaimed films to bow at Cannes last year, there was one film that went in with no buzz and came out a true critic's darling: Alain Guiraudie «s «Stranger By The Lake,» which won Best Director in the Un Certain Regard strand, and went on to be named as Cahiers Du Cinema's best film of 2013.

Coupling that with a few of the points mentioned above, like the fallout from his father's death and the disdain from his sister regarding the mantle of Black Panther, we'd expect next year's film to knock this one out of the park.

Why We're Excited About It: Okay, so this one's a bit of a stretch with regards to the «blockbuster» definition, but when a horror classic like Evil Dead gets a remake, it's automatically an event film.

With regards to the former trait, the film takes full advantage of the reality that foresight - based suspense is essentially unparalleled.

I could discuss similar films that played at this year's Berlinale — but these two examples must suffice to demonstrate the dilemma German cinema faces: these genre films suffer on the level of craft, while also facing the problem that the socio - cultural context might simply not lend itself to the kind of genre filmmaking (at least with regard to the thriller and action film genres) that seems to come so organically to filmmakers working in different national contexts.

The documentary is mainly comprised of interviews, many with the director himself in his apartment, but the highlight for most will be the scene of Tarantino and De Palma talking about the similarities in their careers of having to deal with public attention regarding the violent content in their films (this comes after an extended sequence featuring Tarantino explaining his love for De Palma, which includes a personal scrapbook of printed interviews and a description of the influence that Casualties of War had on certain elements in Reservoir Dogs).