Sentences with phrase «worst film dealing»

Not exact matches

What's the Deal: More character study than action movie, this adaptation of Martin Booth's 1990 novel «A Very Private Gentleman» is instead concerned with the inner workings of its amoral antihero, whom we witness do very bad things at film's start that haunt him until the very end.

Not bad medical drama hampered by the fact that for a great deal of the film Spader's character behaves like an idiot.

For her to even consider a deal, the film will have to be made to her specific instructions, with none of Disney's magical flourishes, or worse yet — animation.

My worst film of the festival was Marie - Castille Mention - Schaar's Le Ciel attendra (Heaven Will Wait), which deals with the contemporary phenomenon of European teenage girls being seduced by the ideology of Islamic extremism.

Its conclusion an ejaculation of complicated genre reversals and confirmations, Death Proof is a film about courtship, untimely intoxication, bad decisions, and testosterone as a literal elixir taken like a shot of Jaeger when you need to seal a deal.

We started with one of this year's Razzie firsts, THE EMOJI MOVIE being the first animated film to vie for the worst picture award before moving on to the industry's love - hate relationship with Rotten Tomatoes; Adam Sandler's opinion of his fans; how Wilson has dealt with a steady diet of bad films for the last 38 years; the odd timing of FIFTY SHADES FREED's release; and who the Razzies consider to be fair game.

Bad, bad sweet young thing, or so the film says as she is rewarded by not being able to deal with one of those rock slides that are inherent in the canyoBad, bad sweet young thing, or so the film says as she is rewarded by not being able to deal with one of those rock slides that are inherent in the canyobad sweet young thing, or so the film says as she is rewarded by not being able to deal with one of those rock slides that are inherent in the canyons.

Not bad at all.this film keeps you guessing in ways you never do a lot in horror films.Rob Zombie directs theses actors like I've never seen a horror director do before.this movie is truly amazing, people are calling it «terrible» I call it «good» it's the kind of horror film that actually deals with characters and not just pointless blood and guts.I felt like all these characters really did go through something, and this movie is truly just about them overcoming it.I don't consider this a horror film, I consider this a drama / horror film, cause that is what it is, and I love it.this mvie isn't just about a killer killing people, it actually deals with the people he's after anf even deals with himself at times, which I truly loved.Rob Zombie has proved to me again that he could direct.perfect seq...

In the end, I was defeated by the prospect of dealing with Frankenheimer's later films — not because they were all as bad as Prophecy (or that any of the others are near as bad as Prophecy, or that anything could be), but because many of them are really, really good in really, really difficult ways to quantify.

In some of his worst moments, he raises an awkward and ill - timed toast to the recently deceased, brings up a business deal while visiting for a funeral, takes a picture of father and daughter in a tender moment just to finish off the roll of film, and, to top it all off, he has a mullet.

Muppets Most Wanted's overused plot is the typical heist film, which is too familiar to be thrilled by, and worse, it means the final half hour is going to deal with whether or not Constantine is able to pull of his scheme.

But the big bad bosses of the film are also a disappointment, including the evil - but - conflicted black - magic witch in a good human's body, Enchantress, and the superfluous inclusion of her hulking demonic brother at her side, Incubus, whose abilities are thinly defined and whose motivations other than perhaps family loyalty are not at all dealt with.

It's too bad he's dealing with a distribution nightmare at ThinkFilm, because the more people who see his film the better.

The shop - worn idea of man being man's own worst enemy is played with and cannily discarded as Dawn of the Dead settles into an excellent action film and a consistently entertaining B - movie that reminds a great deal of what worked about Tremors.

As entertainment goes, the latest Bond works a great deal like Jason X — the tenth Friday the 13th film — except that Die Another Day has more implied sex, a higher body count, and a pace so deadening that it didn't even occur to me until well after the credits had finished to wonder why Epcot Center was in Iceland and why the bad guys were headquartered there.

It's too bad that none of the debate around the film wants to try to deal with those questions, instead choosing to focus on what the film, and the Coens, are not.

They're less keen, but are a uniquely unpleasant trio themselves: quack to the stars Dr Stafford Weiss (a nicely nasty John Cusack, clearly enjoying his new villainous groove), pushy parent Christina (Olivia Williams - brilliantly brittle, as ever) and, the object of Christina's ruthless deal - making, 13 - year - old teen idol Benjie (Evan Bird), the spoilt star of a horrible film franchise called «Bad Babysitter».

However, I like Jackie in this film a great deal, and I even enjoy some of the bad jokes, oddball side jaunts, and the simplistic confrontations.

And there's a great deal to say about Black Panther and its cultural impact and context, because the fact of the matter is no matter how good or bad the film may be, it is important.

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.

The film Free Fire is set in Boston in 1978 and revolves around a gun deal gone bad.

Miramax and Broad Street Pictures are finally getting the ball rolling on Bad Santa 2, as the studios have just found the film's director and finalized deals with two original cast members from 2003's Bad Santa.

It's not a bad deal for a relatively low cost and the film has never looked or sounded better.

While the other superhero films of 2016 dealt with apocalyptic threats and bad guys with grand, dastardly schemes, Deadpool kept things simple and restrained, and it was all the better for it.

It's not a bad conversation to have, actually, in a film that finds a great deal of depth in Cate Blanchett's Barbara Stanwyck take on Lady Tremaine, the evil stepmother.

The rest of the film — most of it — deals with the various characters getting the lay of the land, figuring out which monsters are bad, which are worse, and which are only sort of bad.

With THE VISIT, Shyamalan returns, and with some success, to the smaller scale of his first films, including the perfectly wonderful WIDE AWAKE, but with a savage disquietude about the disruption of the nuclear family, and a message about not hanging on to anger that might just be Shyamalan talking to himself about how to deal with the spate of viciously bad reviews into which his career careened.

But the film resolves itself in no time into something a good deal more mundane: a twisty crime drama complete with gauzy Guy Maddin visuals that cements Norton as the gravitas - heavy young actor most likely to be cast as Heathcliff in a badly - considered community theatre adaptation of Wuthering Heights.

Of the other competition buzz films leaving Sundance with distribution deals that guarantee their release: Peter Hedges's Pieces of April is a silly sitcom with a Guess Who's Coming to Dinner twist; Tom McCarthy's The Station Agent is little more than a three - character, metaphorically burdened off - Broadway play, but Peter Dinklage's understated performance gives it a bit of substance; Catherine Hardwicke's thirteen captures the hysteria of teenage girls, and its depiction of how a good girl can go bad overnight will give parents nightmares, but the script, co-written by Hardwicke and Nikki Reed (who also plays one of the two teen leads), is as overexcited as the girls themselves, and its affirmative ending is unearned.

Determining which of Prinze's performances and films is the worst is an exercise both diverting and daunting; to that end, I'd have to say that Summer Catch falls squarely in the middle: it's physically impossible to sit through the whole thing without a lengthy break or some sort of medium - bore narcotic, thus making it inferior to the stolid water - torture of I Know What You Did Last Summer (that film's relative enjoyability no doubt owing a great deal to Jennifer Love Hewitt's oft - invoked bustline).

Whenever films deal with children as the primary characters they run the risk of treating the kids too precociously, or worse, portraying the children as mini-adults.

I suppose the truth is a film like this doesn't need central bad guys that need to be deal with and so there fleeting and forgettable presence isn't a huge problem, but the film could have done better by taking them out and using the time for something else, or by giving them more time to become actual people.

For new customers only, but possibly not a bad deal if you want to watch a few films over christmas.