Sentences with phrase «wrong film with»

Not exact matches

«Don't get me wrong, he does incredible experimental films, but I think that f — ed around with Dennis» head.

I haven't seen this film, and so can not comment on it - but to all who lump atheists with communists, nazis, hedonists, and every other debased human quality, you are wrong.

Stone's sympathies going into the film were perhaps with that expedition, rooting for it, trying to pinpoint where things went wrong so as to pick up the gauntlet; but whether he knew it initially or not, he found that the subject matter forced him to present the myth's failure.

In film or on stage, in reflecting life through art, an actor has a second take or another day with his or her performance if something goes wrong.

«If I throw an interception here, Bill Walsh, our quarterback coach, goes over the play with me in the film and points out exactly why it went wrong.

If it was a video broadcast to the party at the conference than I could agree with that point but you can't use a short film like this as a party political broadcast and then accuse people of assuming a meaning that's wrong.

In summary, the ice core data in no way contradict our understanding of the relationship between CO2 and temperature, and there is nothing fundamentally wrong with what Gore says in the film.

Don't get me wrong, Yes Man is a hilarious film with a great message but when it comes to online dating burnout, sometimes less is more.

On the contrary, the seven popular novels and eight films have more likely resonated with millions of adults and children around the world for the reason that people have realized, intuitively, that something is wrong with the present state of things — that social and artistic life, as they are, are unsatisfactory.

The Sleepwalker has plenty of traits in common with Durkin's film: a similar plot, precise cinematography, the Haneke - inspired chilly remove, and that feeling of something oh so wrong lurking underneath the surface.

It becomes very clear through viewing the film and selected extra features later on that Fincher had a very specific vision with this film, and it seems he's taken the opportunity given by this special re-release to go back and right the wrongs of the past.

So I was gonna watch the JCVD thriller called «Derailed» but after the first five minutes I realised I had the wrong film haha so I stuck with this despite Aniston being involved.

Since the film already knows that Damien is the devil's offspring, the montage of the boy's infancy is probably accompanied with the wrong music.

There is a lot wrong with this film.

Hvam and Christensen created it, and starred in all sixty episodes, and so they arrive at Norgaard's film with their interplay — their effortless capacity to send each other on the wrong track — refined to a catastrophic T.

There's nothing wrong with reworking the score of Annie — as this film does — but too often, the movie seems a little embarrassed to be a musical at all, making it seem as if it's having a crisis of confidence.

There's nothing wrong with history, in fact this film is a celebration of its nuances, of the occasional mundanity of big things, but we're too often left intellectually stirred but emotionally cold.

However, soon after arriving things began to go wrong for her with an abortive attempt to cast her in Message To Garcia with Wallace Beery, during the filming of which she was hospitalized.

The film - which follows a trio of friends (Bradley Cooper's Phil, Ed Helms» Stu, and Zach Galifianakis» Alan) as they attempt to piece together just what transpired during a pal's drunken bachelor party (where it inevitably becomes clear that said pal has mysteriously vanished)- strikes all of the wrong notes virtually from the get - go, as screenwriters Jon Lucas and Scott Moore offer up a series of broadly - portrayed caricatures that could only exist within just such a low - rent comedy (with Galifianakis» aggressively off - the - wall turn as Alan undoubtedly the most apt example of this).

Hanks» solid yet stiff performance is, in the end, emblematic of everything that's wrong with Inferno, as the film's overly serious feel is completely at odds with the fun, fast - paced tone of Brown's page - turner - with, especially, the dull third act ensuring that the movie ends on as anti-climactic a note as one could envision.

Nothing wrong with that, however considering that the plot revolves around a haunted house and Hearse, the film could have been much better than it is.

Ultimately, there's little wrong with You Don't Know Jack and the performances alone make it worth seeing, but it's a good film that never quite rises to great.

Perhaps the most chilling «what's wrong with this picture» moment in films occurs when Frank Poole's pod pivots to attack him.

as a kid i grew up with transformers for toys, but didn't watch the actual show (aside from beast wars) until last year, so i wouldn't consider myself a fan boy, but when a tv show based around toys from the 80's has better dialog, humor, character development, and plot than a high budget Hollywood film, you know something is wrong with the film industry.

There's nothing wrong with erotic literature — or film — for women.

There's nothing wrong with that — mainly because of how the film is constructed — but when a character is as bold and unique as Tommy Wiseau, you're given meaty clues as to his origins and half the characters give voice to their own curiosities, you naturally want to solve the mystery behind him.

Some of the idiocy that is being poked at for laughs doesn't seem so strange when you look at YouTube comments and E! Many of the things that are wrong with this film stem from the fact that it is very low budgeted and didn't get much financing from its studio.

With some films, you can tell where one or two things went wrong — perhaps a decision in script, or a performance that's off base — but The Snowman is the rare movie where for every choice, there was a better way to go.

Burdened with a bewilderingly wrong - headed pair of subplots, British director Richard Loncraine's film makes only partial use of the off - the - charts amiability and ease of leading players Diane Keaton and Morgan Freeman.

The film try's to go into what's right and wrong among many other themes but ultimately all of them go nowhere with the last scene of the film being spacey burrying his dead dog.

There is something wrong with the editing in this film.

The sad and bitter truth is that there is nothing wrong with the film.

There is so much wrong with the film Friends with Kids that it's actually hard to choose just one thing.

Put together, REBEL IN THE RYE feels more like an HBO film that a real, big - screen feature - not that there's anything particularly wrong with that.

I love the idea of Robohamlet and I had a good chuckle at how you told me off for apparently claiming to tell the «ultimate truth» and then you say, «The sad and bitter truth is that there is nothing wrong with the film.»

Adapting hit stage musicals for film is always a risky business, with far more getting it wrong than right (witness Evita, The Phantom of the Opera, Rent, Nine, etc.), so give Mackintosh (the producer here), director Tom Hooper (The King's Speech) and the cast full credit for commitment to the cause.

Honestly, this film is about an experiment that went wrong that produced oversized bacteria WITH TEETH that look more like worms actually than bacteria and whose purpose is obviously to eat people.

But up there it is, a bit like a rambling party guest who's figured out what's wrong with the country and doesn't mind telling you - a guest, in fact, not unlike Jay Billington Bulworth himself, the California politician whose drug and alcohol - fueled pre-election odyssey is at the heart of this extravagantly un-summery film.

Most of these films are made to just «entertain», and there's nothing wrong with that.

Instead we are presented with an absolute turd of a film with shockingly bad «action» set pieces (despite not actually requiring major action set pieces for the plot), dreadful visuals that might as well be that «Gladiators» TV show complete with glitter and sparkles, a god awful thrash / heavy metal soundtrack just in case you forgot this film was suppose to be tough and your obligatory dire big name cast hot of the heels of other poor major blockbusters (yeah stick him / her in it, big name, can't go wrong, doesn't matter if they actually fit the role or not pfft!).

If you had to pick two from the film, you can't go wrong with Spencer and Davis.

I'm not even of the school that thinks the Zimmer approach is fundamentally wrong for a film like this — it's just that in this instance, he (assuming he actually had anything to do with it) certainly did get it wrong.

Don't get me wrong, I loved Haley as Rorschach in Watchmen, and maybe he did the best with what he had to work with for this film.

Out of the box, new televisions can make many films and TV shows look wrong, with settings that can often make the...

But, much like that doomed vessel, nearly everything that could go wrong with this film does.

There was very little wrong with this film, it just wasn't as good as it should have been.

There's nothing wrong with directors slowing down a film in order to develop characters or give focus to a particular scene.

His next project is once again a collaboration with Michael B Jordan on a film called Wrong Answer from a script written by Ta - Nehisi Coates.

The loosely episodic film follows the trajectories of five teenagers looking for meaning, connection, or just oblivion as they struggle with bad influences, wrong moves, and inarticulate yearnings.

The problem with this Richard LaGravenese adaptation of Jason Robert Brown's 2002 stage show is that the asynchrony that exists between its characters extends to the actors playing them, making the film feel uneven for the wrong reasons.