Production
in sentence
6080 examples of Production in a sentence
"The Final Comedown" wants to "say something" about racism and inner-city violence; unfortunately, the message is invalidated by the nonsensical script, the amateurish production, and the heavy-handed polemics.
Lost is the exciting and unpredictable storyline, and instead, in its place, is bland predictability with the obvious attempts at audience manipulation by a superficial pretentious
production
and distribution team.
He is his usual self in this one, maybe a bit lighter hearted than in the others; the rest of the cast is good if your watching a movie of the week on T.V. - the whole film has the
production
value of a bad episode of the A-Team and I like the escapism fun of a show like the A-Team but not on the big screen, even if it is an action movie that doesn't claim to be anything to sophisticated.
This
production
is an insult to the Stooges, especially Moe.
But this whole movie felt like a sci-fi channel
production
or even a TV series.
But once I took the DVD home from BBuster, I was shocked at the awful
production
quality, acting, directing of this completely amateurish piece of garbage.
Finally, I must say that the DVD jacket was made with much higher
production
standards than the film itself, which felt like a rip-off, so beware of that when you rent other DVDs.
The lavish
production
values that you generally find in a Merchant/Ivory film are all here, but this is an exceedingly dull take on what could have been a very lively affair.
Sad that the sets and costumes are so good:
production
values, except for the writing, were obviously high.
The checkered history of this opulent film (and the grand, fanciful myth associated with it's
production
and many versions) belies its mediocrity on a narrative level.
The film lurches backward and forward in fits and starts, its central figures adrift and seemingly out of place surrounded by the ersatz decadence of towering sets, the minutia of
production
detail and the, by 1984, cliche'd but gorgeous cinematographic confection on offer to the audience.
The deadening pace is somewhat to blame, certain sequences drag along stagnantly for far too long, signifying very little, hinting at a director with so little restraint and narrative economy that he often feels obligated to usurp every iota of screen time possible in order to show off his production, fatal for a film that contains figures so sullen and aloof.
The
production
values were dark and the pacing was slow.
I'm sure at one time there was a good movie in here, but after the incredibly poor acting and "video game
" production
values, this ends up looking like Tron's retarded half-brother.
The acting in this four hour feature is uniformly bad, so bad to the point that I find it impossible to believe any of the actors in this
production
could possibly earn a living as an actor.
From the looks of this nasty little puff piece (note that his publishers, McClelland and Stewart were involved in the production), he didn't know how to live, either.
Never mind that nobody cared anymore, why give us such a shoddy production, filled with dim characters and miscast actors, only to trash the memory of your biggest hit?
The Jaws rip off is the trashiest of the all the Italian 'genres', and director Joe D'Amato is second only to the great Jess Franco in the trash film
production
stakes.
Be warned, the next time you see "Richard Kelly" involved in any production, run away.
This is a Hammer
Production
which means that whoever made this movie should be struck with a hammer, several times if possible - and where it most hurts.
The Left Elbow Index considers seven elements of film-making--acting, continuity, plot, character development, dialogue, artistry, and
production
sets--on a scale from a high of 10 to a low of 1, with 5 given as a average score.
Production
sets look to be below average--a 4. And, artistry is puzzling, with far too many close-ups, too rapid panning, and too many group scenes where the actors seem over rehearsed--a 3. To me, too much camera movement is disruptive.
The
production
values resemble those of a made-for-TV movie and the characters are forgettable and indistinguishable: in parts "II" and "III" you couldn't remember their names, here you can't even remember their faces.
I know this play backwards and forwards and I can honestly tell you that the acting was off, The
production
was cheesy.
Flesh Feast starts at Miami Airport, ace reporter Dan Carter (Harry Kerwin, he is also credited as
production
designer) phones his mate Ed Casey (Phil Philbin) to let him know that he has just returned from South America where he has been investigating Carl Schuman (Doug Foster) & that he was onto a big story but while still talking on the phone he is stabbed in the back & killed.
For those expecting the cover art and story outline to indicate another entertaining Bollywood Indian production, beware: no musical dance numbers or songs of
production
value exist to brighten the mood in this rather tired story of arranged marriages in the British Indian culture - with a few variations thrown in.
Rollin's movies are unimaginably boring, they all feature the same basic concept (lesbian vampires in various settings), the dialogs are incredibly absurd, the marvelous Gothic setting are always underused and the
production
values are cheaper than the price of a bus ticket.
I only voted it 2/10 mainly because Hitchcock agreed to direct it.He certainly had an off-day with predictable plot lines, stupid childish characters who are desperately trying to be funny.There were "twee" hygenic, sanitised, emasculated "sex" scenes at a time when the Hollywood
Production
code was in full force.Lazy male characters in the film who like "soap" characters never do a stroke of work for which they are paid.It always irritates me when food is usually never eaten by actors (one exception was in the eating scene in "Tom Jones" (1963); although copious amounts of drink are consumed - actors have to leave their mouths free for the next line!
HBO or Showtime or whatever must pay for the
production
company to go through the motions -- to hire someone who may or may not actually speak English to get high and hammer out something approaching a plot, to pay strippers with terrifying boob jobs to bounce up and down on grossly waxed dudes' torsos, to find people to design and light sets, to purchase the rights to cheesy techno music, etc.
Okay, if you discount the
production
value, the ugly outfits, and the big hair, this adaptation is still far inferior to the 90's version.
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