Sentences with phrase «worse than the first film»

I'm really unsure whether or not people will feel that this sequel is better or worse than the first film, but I'm scoring it less for the simple reason of tedium induced by the combined ill - spirited momentum of both films.

Not exact matches

Saudi Arabia publicly screened its first movie in more than 30 years over the weekend, but moviegoers were subjected to one of 2017's worst films.

Final Verdict: Thunderdome gets a bad rap, but it is far more than the first two films intelligent in places.

But feel - bad films reigned supreme for the fest's first week: By the time Cannes hit the halfway point, audiences had been subjected to beaucoup examples of horrific violence, human - rights violations, pedophilia and more exploitation of women than you could shake a rape whistle at.

The first sequence in The Darjeeling Limited suggests a far worse film than Anderson actually delivers.

How was it even possible to make a film that was even worse than the first two embarassing Fantastic Four films?

The film's most successful elements felt cribbed from the first film and the pacing left me more than a little bit sleepy; I also felt legitimately bad for Rose Byrne, who is basically given nothing to do aside from trip over baby toys and get smacked in the head a lot.

At the end, some vastly overreaching tripe posing as a moral backbone is unleashed, making an already excruciating film downright intolerable, It does answer the question on many people's minds about whether Schneider (Deuce Bigalow: European Gigolo, 50 First Dates) or Spade could actually make worse films than they already have.

Roberts first feature as writer / director is no better or worse than Ryan Gosling's, just films on a different scale, but both have a talented eye (and ear) for filmmaking and I think their second features will be even stronger.

Though it's unclear if the men framing Mills in this movie are connected to the bad guys from the first two films, the real draw of «Taken 3» (other than the action, of course) is its «Fugitive» - like storyline, which finally gives Liam Neeson a worthy co-star in Forest Whitaker.

Call it The Hollywood Law of Diminishing Returns, but the theory suggests that the first film in a series is always its best, with each successive release being worse than the former.

That's not a bad thing, the picture is far more substantive than most teen relationship films, but it could probably use just a smidgeon of levity here and there after the first act.

Any movie like this made for the most part since the 1980s would talk the talk about showing the changes, but not show it, show it badly and / or be more sexually oppressed than not, but Russell has zero trouble from this first film he had control over himself dealing with all kinds of human sexuality, yet that freedom is incidental to character study, capturing the story and bringing it to life as he does so well here.

And still it comes, the annual Woody Allen film, and the debate starts again (at least among the few people who still watch them) as to whether the latest is worse than the previous, or slightly better, or merely the same depressing evidence of a director who seems to have forgotten why he made films in the first place.

While the first film was surprisingly warm and endearing, the sequel did nothing more than badly rehash the events and themes of the original but it omits most of the elements that allowed Pie to succeed.

The Buzz: Not too terribly excited about this one, but it does look better than what promises to be Leonardo DiCaprio's first bad film since The Man in the Iron Mask.

It's bigger, badder and bloodier than the first film, with action that puts American blockbusters to shame.

Unlike Sean Baker, who found great success in his 2015 street drama Tangerine, interestingly among the first few feature films to dabble in Apple, Soderbergh's implementation tends to draw attention to style and like the worst of found - footage (which this film mercifully isn't), ends up more as a gimmick than the product of creative budgeting.