Sentences with phrase «work against the film»

This also slightly works against the film, as some elements look even more digital and fake to a trained eye than they would on the (also included) 1080p Blu - ray disc (which also have the same audio and widescreen specs).

In the end, that may be the greatest factor working against the film; it lacks a point of view.

One major problem working against the film is that you know the kids can't get mauled by rage victims and it kills a lot of the film's suspense.

The pacing is a little slow, but that doesn't work against the film.

What works against this film is the usual, over saturated field of comic book adaptations plaguing this year's box office and the predictable plot lines.

This, however, also works against the film's favor in some way.

But the temporary tragedies of the plot work against the film's narrative momentum and remove its sting.

Not exact matches

The film examines the potential consequences that arise when law enforcement officials zero in on one suspect and work to build a case against that person while ignoring any contradictory evidence.

As such, its latest campaign comprises several films juxtaposing ordinary equipment such as the humble exercise bike against a backdrop of gritty «This Girl Can» - style footage showing people working out.

Country Lovers and City Lovers, two of six short films adapted from Nadine Gordimer short stories and locally produced, are well - wrought cries of controlled outrage against sexual apartheid.

Brockovich's work on behalf of plaintiffs who brought suit against Pacific Gas & Electric in the 1990s was dramatized in a 2000 film starring Julia Roberts.

Laboratory tests indicate that the eCAPs work well against biofilms, which are bacterial communities that develop very high levels of resistance to antibiotics by working together to protect the film's inner bacteria from traditional treatments.

For all the little moments which successfully bring the Greek Myths to life, the film doesn't have enough dramatic energy to sustain itself, and its poor effects work against the power of its set - pieces.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

Perez, and directors Daley and Jonathan Goldstein, also know that the tightly controlled light comedy taking place among the film's ensemble only works if the chaos it's contrasted against isn't truly chaotic.

The villain, against whom every one of these galactic guardians is arrayed, is Josh Brolin's Thanos, and he needs to be a huge, huge deal or the film can't work: if this lot have handled anything remotely his equal before, there's hardly the need for such an all - points call - up.

The result is the work of a funereal yet darkly funny neorealist, sounding the rallying cry against the inflexible maxim casually delivered by one of his own film's characters.

This works both for and against the film.

A sobering look at a life any of us, if enough things work against us, could find ourselves living, «Survivor's Guide to Prison» is a film that should not be missed.

The only things thing film has going for it is the effects, which actually work against the story sometimes.

The film offers little new insights into Felt as a character or his personal struggles working against his own government.

Here's a classic case of expectations vs. the actual experience, which in my case worked heavily against the film.

Resembling a bunch of rocks, Korg is nonetheless a very appealing personality in a very appealing, very funny comedy that actively works against the stereotypes of superhero films.

Despite all that computer wizardry at work, the green - screen seams show and the herky - jerky pace mitigates against the kind of creeping tension that should inform this film.

Perhaps one of the reasons that the mass public has continued to fail to embrace the film is that he works against the grain at every opportunity, playing a borderline villain, not unlike Captain Ahab in «Moby Dick», willing to push his entire family to the brink of his own madness in order to come to a destiny that he keeps changing a firm position on.

With both actors performing against type — Jonah Hill in particular is known for melodramatic roles in «The Wolf of Wall Street,» about a financial tycoon, and «Moneyball,» about the use of technology in baseball — «True Story» is a gripping, fascinating film, a psychological thriller without the melodrama we associate with highly commercial works.

He has been working steadily since his career began in 2011, appearing in a number of films, including «' 71» and last year's «Trespass Against Us.»

The film works as a commentary on not only Osama Bin Laden's crusade against the West, but also Bush Jr.'s crusade against the Middle East.

As the title implies, the focus of this hour - long live - action series is not on the larger than life costumed superheroes who turned The Avengers into the third highest - grossing film of all time, but the employees of the Strategic Homeland Intervention, Enforcement and Logistics Division, the government agency of espionage and law enforcement that has worked with and sometimes against the likes of Captain America, Iron Man, Thor, and the Hulk.

But the truth is that a movie about deeply personal obsessions can't work if it doesn't have some of its own, and the prevailing mood of The Current War is indifference; there's no point listing the crimes against the past committed by Michael Mitnick's dramatically inept script, which ends with a tacked - on, emotionally manipulative paean to the wonders of cinem - ah that anyone who cares about film history will likely find insulting.

These films display little concern with reinforcing screen personas, in fact, they actively work against typage.

This is all well and good, but we are still left with a film whose material is working fundamentally against Disney's strengths.

Admittedly, we wouldn't be surprised if he wasn't interested in taking on another sitcom gig so soon after wrapping «Scrubs,» especially if he has any desire whatsoever to make a significant play for more feature - film work, but he was so darned good at berating Zach Braff that we'd be lying if we didn't admit to being kind of excited at the thought of pitting him against Cryer and Jones.

Three years ago, director Sam Mendes took the reins of the Bond franchise, pitting cyber terrorism against old fashioned knuckle and grit, employing the most talented international actors working, and crafting the single best 007 film of its then 50 - year legacy, Skyfall.

In a sense, it would seem like having all of these egos is a small - time film might work against the production, but by all appearances, everyone put in their best effort in making this film work, with what must have been a sparse crew and few takes allowed for every scene.

The real Desmond Tutu commented on the film: «This timely, compelling and intelligent film, movingly, and above all humanely, captures what it felt like to be working with those selfless members of the TRC who strove, often against the odds, to help bring both truth and reconciliation to the ordinary people of South Africa.»

There's part of us that anticipates some kind of whispering campaign against the film involving how much of her work was CGI and / or abetted by puppeteers.

Even hough the upcoming film may be working against a spoiled storyline, Terminator: Genisys has the endorsement of the original Terminator director, which the studio seems to be using for a marketing advantage.

The film does drag ever so occasionally — some of the deep and meaningfuls have less impact than others — but for the most part the cinéma vérité style filmmaking doesn't work against the enjoyment factor.

Yet, I must take the road less traveled as a movie reviewer here because, in truth, Xanadu is one of those films that, despite all of the naysayers and evidence of a bad movie against it, still manages to work its magic on me.

What some critics have described as a novelistic quality in his films has worked for and against Sayles.

With so many heroes and the massive build to the fight against Thanos for the Infinity Stones, the film is working on a huge scale.

It would make sense then that these films, which largely pull from many of the same archival footage sources, might be in danger of working against one another.

British actress Emily Blunt found it «hell» working against green screens for her new adventure film GULLIVER»S TRAVELS because she exhausted her imagination with the «tedious» and «confusing» process.

Its program is designed not just to spotlight noteworthy independent films and new voices, but also to push back against the chronic underrepresentation of women and people of color working within the ranks of the industry.

This is a film whose awards momentum has been huge, and is so far carrying it forward against the critical backlash which is now working against it: a cloud on its horizon no bigger than a man's hand, as they say, but maybe getting bigger.

While it can be definitely said that Harding, both in the film and in real life, may play the victim and fails to take personal responsibility for being lazy at times when it came to her work ethic, it doesn't erase the fact that Harding did have to deal with biases against her because of her background.

The film, however, is a working - class melodrama with grand swathes of tragedy, intense scenes of destruction (the aftermath of a train wreck is an inferno suggested by bold silhouettes against burning orange tints), and devastating moments of loss and redemption directed with delicate grace.

Nathaniel Rich is the author of two novels, Odds Against Tomorrow and The Mayor's Tongue, and a work of film criticism, San Francisco Noir.

It is true that this is a Disney production and the film follows a tried - and - true template of slowly showing Travers compromise and work alongside — instead of against — the screenwriter and the songwriters who will be bringing her characters to light.