Sentences with phrase «worst kind of film»

Overall, BACHELORETTE is the worst kind of film there is.

Unfortunately, this also calls to mind just how bad these kinds of films have become when looking at Van Wilder as the current state of sophomoric college comedies.

Not exact matches

It's the kind of reaction that gets scientists a bad rap, and Olson — himself a scientist and film - maker — suggests it pays to skip the pedantry...

It's a throwback to that more innocent kind of film, where you know who's good and who's bad, where you boo the villain and cheer the hero... The movie makes fun of those clichés, but director George Lucas must love them too, because he makes them work.

The first half of the film builds suspense by putting the group through a number of classic hunting situations — from the perspective of the prey — being flushed out by dogs [though these alien «dogs» have all kinds of horns, spine razors and bad attitudes]; a booby - trapped companion; wandering into deadfalls, and the like.

The production spent time creating scenes for a trailer they had no intention of ever being in the finished film, scenes that badly characterized what kind of movie it would be.

There's plenty of bad hair and cheesy rock hits, which may explain why reviewers have not been kind to the film, though anyone dreaming of seeing Cruise sing «Pour Some Sugar on Me» or Brand and Baldwin duet on «Can't Fight This Feeling» may still have reason to visit their local cineplex.

Admiring how bad this film is intended to be, is easy, but accepting the circumstances under which is was made is kind of upsetting.

I didn't particularly mind it myself; it's about as melodramatic, formulaic, and uninteresting as most films of its kind that I've seen, but at the same time, not as bad as, say, half of the lot.

The kind of film that gives GLBT cinema a bad name, 200 American is an amateurish, dreadfully scripted and laughably acted «comedy - drama» that is neither intentionally funny nor dramatically impacting.

At the end of the day, when we measure the worst films of the year, shouldn't we focus on things we thought were going to be good that were all kinds of memorably awful?

Too bad it's not longer, as this is the kind of film that would benefit from a nice long 90 - minute or two - hour documentary that covers its creation from start to finish.

And while you can admire, in theory, a movie about that kind of stasis — about a real - life situation in which things are bad and can only, maybe, get ever - so - slightly better — in actual practice, this is a film as depressed as its characters.

From the moment it was announced Rian Johnson would be directing «Star Wars: Episode VIII,» fans have been excitedly wondering what kind of special sauce the director of genre - bending films like «Looper» and «Brick» (not to mention a few of the best episodes of «Breaking Bad») will bring to the universe George Lucas created.

Grant, as mentioned, seems to have only agreed to play half of this role, and his Martin Tweed, written presumably to have a kind of world - weary charm, is the worst example of this film's missed opportunities.

As for exactly where those homes might be, Ronan described the setting as «a burnt - out world where everyone has left, kind of like a much worse Detroit [where the film will indeed shoot].»

Sad to see that a quality, amazing, awesome, well - acted, well - made film that every aspect of it is perfect is getting bumbed out by three bad to decent films that are kind of forgettable.

Indeed, Bad Blake is seen through the movie working his way toward a number, «The Weary Kind» (the film's theme), whose lyrics point toward the possibility of renewal: «This ain't no place for the weary kind / This ain't no place to lose your mind.&raKind» (the film's theme), whose lyrics point toward the possibility of renewal: «This ain't no place for the weary kind / This ain't no place to lose your mind.&rakind / This ain't no place to lose your mind.»

The gang discussed the usual — their roles, appealing to the book's fanbase, etc. — and then introduced the film's new trailer, which wrapped with «all kinds of action, including giant flamethrowers» and «werewolves crashing through a window and attacking a bunch of bad looking dudes.»

As much flack as Bay regularly takes and as downright bad at the Transformers films got, it's nice to see him get back on track with the kind of material that is right in his wheelhouse.

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...

Thankfully, there's no big, glowing, CGI deus ex machina waiting as Black Panther's ultimate big bad, but the film's penultimate major battle is chock full of just enough explosions to scratch your itch if you're into that kind of thing.

WHY: «The Other Woman» is one of the worst movies you'll see this year — the kind of film that gives female - centric comedies such a bad name that it's no wonder Hollywood doesn't make them more often.

Good sci - fi has to have some kind of subtext, which this film lacks, aside from «Explosions are bad.»

It's a stupid idea, in other words, one exacerbated by the casting of the usual suspects of beautiful young things who here find themselves trapped in a bad rave by some twisted games master (Lance Henriksen, in the kind of performance you praise for his knowing how wretched the film is — let's think on that for a moment).

Enter Jane Chase (Shue, playing a character apparently named after Tarzan's commonlaw wife and for her function in the film's second half), a student at the college where Dr. Phillip teaches who's there through some kind of ill - fated scholarship program rewarding legendarily bad test scores.

Fans of the real thing will probably like this imitation, but at the same time, Down with Loveis the same kind of artless, airless studio product as the Hudson / Day films and will no doubt age just as badly.

Like, really bad; the kind of movie where the blooper reel attached to the end credits is funnier than the film itself.

Dr Martha Shearer, a musicals expert at King's College London, takes issue with the critics: «There's some kind of implication that the audience for this film is either too stupid to pick up on how bad it is.

However, we don't know what specific bad guy Bruhl will play in the film, as Deadline (who added that little tidbit about what kind of character he's playing) didn't have that information.

This weekend, the film went to 375 locations from 180 the week before, with its average declining 47 %, from $ 6,472 to $ 3,413 — not a bad drop at all for a documentary of its kind.

Setting it evocatively in George W Bush's America of the early 2000s, hardly a rosy age for American politics or mass nostalgia, courts a kind of bittersweet nostalgia that's hitting many right in the tear ducts: soft but sober, it's a film about how bad things were before we knew how bad they were going to get.

Alonso Duralde writes: 2015 was just one of those things, just one of those crazy flings: It was the kind of year in which Quentin Tarantino could go through the effort and expense of 70 mm just to make a locked - room mystery, Tom McCarthy could make both the best and worst films of his career, and «Mad Max: Fury Road» and «Creed» could make the long - delayed sequel seem like not such a bad idea.

If not for Punch - Drunk Love, I would probably feel much more pessimistic about Sandler's future after two of his worst films being released this year (Mr. Deeds is the other,) and the choice is now up to him as to what kind of entertainer he wants to be in the future.

I do wish that it didn't seem so inconsequential when all's said and done, because, in truth, everyone does such a nice job (Breslin, in particular, is fast becoming a reason to see a film by herself) with what they're given that I felt kind of badly that they weren't given something less threadbare and obvious.

This is a film only for those who enjoy the most ridiculously offbeat of bad films, the kind that can only be enjoyed for how over-the-top the level of weirdness will go.

Any of these films would be worthy of an Oscar win, but I'm personally rooting for the race documentary «13th» (a must - see for anyone, the kind of film they should show in schools) and «O.J.: Made in America,» which is a marathon at nearly eight hours in length (it was shown in parts on ESPN earlier this year), but a completely fascinating look at race, media and society as it was in the 1990s and today, and just happens to be a tragic portrait of the worst fall from grace for a sports star in the history of our country.

The spoofy nature of the film kind of softens the edges a bit, but it's still pretty bad, and it proves that Asians are still one of the last frontiers of Hollywood racist stereotypes.

Sion Sono's Tokyo Tribe is one of those films, the kind that is really bad in every way, but also insanely awesome in every way.

I feel like the ethics within AI has kind of been done to death in dozens of other (better and worse) films.

Movies that it beat that you should watch instead: Doctor Zhivago is the kind of old - fashioned epic that doesn't get made anymore, for reasons both good and bad, but you should really watch it to see that kind of film at its apex.

One is that this is all incidental and happens to give them some kind of moral background to stop the killer (but they could / do have morality coming from other sources) or Two, a propaganda film (the way most critics took it, making it one of the worst - reviewed films of Eastwood's career) that says because «God was on their side» and the like, they were ready and even protected just enough to «defeat evil» because of U.S. «moral exceptionalism» or the like.

It is not the fault of black movies and black actors that their success and failure can feel so collectively important — but I am wondering if, in cases like Proud Mary, it might serve the movie best to measure it against the kind of goals that white action films have been aiming at for years: that is, a genre where even a bad one can be good if it manages to be entertaining.

A scene in which Milo's vaguely hilarious food allergy comes into play is curiously never resolved, two of Milo's hacker pals from the old days are so similar in appearance and voice to one another that I was abstractedly surprised to see them on the screen together at the end of the film, the reveal of a secret molestation is abused in an insulting and clumsy way, and a stock blue - collar cop character is introduced as the worst kind of deus ex machina: the late - in - the - game triumph of a heretofore marginalized comic foil (see: Barnard Hughes in The Lost Boys).

Sexual Predator is a giant shrug of a bad idea of a film, a «what the heck, let's get drunk» kind of movie in which plot is abandoned almost instantly in favour of gratuitous sex scenes and inexplicable trips to the local hoochie - coochie sex club.

The first trailer for Ana Lily Amipour's highly - anticipated new film, The Bad Batch, has finally been released — and, to put it bluntly, it's all kinds of fucked up.

Mainly only of interest for blaxploitation fans and lovers of bad movies, but there's something kind of endearing about a film that tries so hard to entertain despite there being not an ounce of talent among any of the participants.

Worst - case scenario: Harvey Weinstein has pulled a Weinstein, either acquiring the kind of middlebrow pap he buys in bulk or dicing up an interesting film into a less interesting one.

Every Thing Will Be Fine is a critic's worst nightmare, which is to say that it's really goddamn boring — the kind of boring that is tough to write about, and which inevitably threatens to bring out everyone's inner hack, cycling through synonyms to keep the prose lively («dull,» «tedious,» «stultifying,» etc.), all the while fighting the urge to just start nitpicking things that might be endearing in a better film.

Neither particularly good nor particularly bad, «Survivor» is the kind of film that one can safely put on the television while other stuff is going on without worry that important plot points will be missed along the way.