How to use film's in a sentence

Looking for sentences and phrases with the word film's? Here are some examples.

Sentence Examples The film's magical, mythic undertones are combined with a gritty, sparse realism that means things always err on the right side of sentiment. For all of the deliberate twists and turns, the film's action is little more than aimless. The film's sometimes dreamy quality is underscored by a refrain of spirituality blended with myth mixed with fable. It's that two-sided nature of the script that is one of the film's great strengths. I'll say no more for fear of spoiling the fun, except that the twists don't alter the film's comic tone. The film also makes us focus on our social mores as we watch the film's tribe. The film's amiable but lackadaisical hero is blissfully unconcerned by his lack of money or prospects. Their elaborate dance of courtship, which cannot call itself by that name, is the film's central motif. The film's basically a non-stop bloodthirsty assault on humanity, and as such it's consistently unsettling. Sure, the low budget set designs betray the skid row mindset inherent in the film's creation. This exhilarating resistance to romanticism or psychologizing is balanced by the film's vast scope and its B-movie energy. The film's end is open and undecided not only narratively, but also with regard to its underlying vision of the universe. Their idea blossoms gradually into the film's central story, which has the womanly girls shedding their skivvies for the shoot. Thankfully, the other film's plentiful bare bodkins come to rescue us from anticipation frustration. The theme underpinning the film's murder investigation is the dire and inescapable consequences of circumstance and personal choice. The film's greatest strength is that it takes classic elements like perpetual rainfall and creepy subterranean settings and underplays them. It's his name in bold type above the film's title and his beatific image on the poster. Roxie's character had been cleaned up, but it was all done with a knowing wink that enabled audiences to relish the film's diverting sleaziness. This hideous pork product does nothing but evoke traumatic memories of the film's headache-inducing brand of sledgehammer slapstick. The hitherto unengaged viewer is lured or manipulated into the film's most salacious sequences. Show More Sentences What's worse is that the slow-motion fight sequence in which Peter fights a bully slides almost into a parody of that film's innovative effects. Robert Crumb he isn't, but that's too bad because watching this obnoxious bore becomes tedious long before the film's 77 minutes run out. The more cerebral cinemagoer, however, is left in a conundrum as he or she tries to unpick the film's slapdash symbolism and script. The identity of the film's voiceover narrator is never adequately established, and this proves distracting. It's a fine moment, and one that could have been looked at more closely, especially considering the film's rather narrow view of music history. I suggest that, given the film's 'call to humanity', the spectator obliges unreservedly. The film's authentic feel derives not from naturalism, nor even from realism in any ordinary sense. The direction, too, is smart and understated and is helped by the film's clear, naturalistic cinematography. The film's delight in gangland slang and its sharp eye for fashion and London locations made it an unexpected box-office success. Let's hope there will not be any form of backlash following this film's release i.e. people boycotting the comedians who were in it. The central character, a Woman who works in a convenience store is the the film's central focus. There's a newsreel on the film's premiere, which was, up to that point, one of the biggest in Hollywood history. Rounding out the disc is a brief newsreel of the film's Canadian premiere and the original theatrical trailer. By using little dialogue and less music, he lets the incidental sound support the film's atmosphere. The lush environments are inviting, but the characters' voices have been provided by soundalikes, rather than the film's stars. The film's soundtrack is similar, referencing Sergio Leone's spaghetti westerns with three Ennio Morricone songs. The film's brutally unromantic conception of religion is summed up in this one scene. What vexed me enough that all those details would matter, however, was the film's treatment of women. Winners of the contests will get the opportunity to video-chat with the film's celebrities. The centrepiece turns out to be Cruise bungeeing down a vent shaft in a retread of the first film's best scene. Show More Sentences A splatter film's charge is to keep upping the atrocity ante as it zooms into the murderer's soul. The film's strength is in its intricate intertwining of story and image, of dialogue, voice-over and music. The film has a voice-over narrator who carefully explains the film's meaning, thus sparing us the trouble of employing a single brain cell. The film's children are all non-professionals, however, and one wonders to what extent they themselves are products of Glasgow's mean streets. A still gallery with 34 production photos, the film's theatrical trailer, and a TV spot round out the extras. The full-frame transfer, representing the film's original aspect ratio, has been lovingly restored and is amazing in its spotlessness. Disc two is taken up entirely by the film's storyboards, synched to your choice of the English or Japanese soundtracks. His vulpine and aggressive disposition is responsible for much of the film's finest moments. In the film's madhouse passages, the grim mise en scene contrasts starkly with the warm glow of nightclubs and cabarets. And both agreed it was best not to have a single note of music for that lengthy stretch of the film's narrative. Audiences, on the other hand, seem perplexed that their response differs so markedly to those reflected in the film's notices. The film's ending is both justified and satisfying, a moment of grace in a cauldron of anger and hopelessness. Daena may be a half-baked character, but she isn't the film's weakest link. Interestingly, it's Hopkins who gets one of the film's few standout moments. Ironically, it's Heston, in a small cameo role as an aging ape, who has the film's best moment. Scenes and camerawork are beautifully choreographed and immerse the viewer in the film's world. He constitutes the third side of the film's dramatic triangle, occupying a vital position. The film's genuine oddness derives mostly from the presence and performance of Glover, eccentric actor extraordinaire. It is an approach that gains steam as the movie moves forward and gives the film's climax a powerful sense of the inevitable. The film's dialogue is minimal and often earthy but it accurately captures the rebellious mood of the youth. Show More Sentences The film is divided by its opening credits sequence, which breaks the film's hard-won mood with a brash pop-song. I was too pleased with my own hard-won epiphany that the film's title is a palindrome to even notice that the credits had started rolling. The film's lasting power lies in its omnifariousness, which enables it to withstand any number of readings. Finally, the film's conclusion contains a note of hope for the future as Lou and Grace amble together, money in pocket and hand-in-hand. Some traditional rabbis and religious pundits have taken issue with what they see as the film's one-sidedness. Otherwise, it's a great track that, even despite the film's 3-hour running time, never becomes stodgy or boring. Pirates have been cashing in on the time lag in the film's release by showing illegal copies of the movies in small towns. The film's other characters are secondary, and often serve little purpose beyond acting as catalysts. Likewise Tomu came to think of a film's plot in terms of a series of oppositions or conflicts. In the end, the fear of ideas strangles the drama, because it renders the film's protagonists' struggle to survive devoid of larger meaning. And in fact, the film's potential strength lies in its undermining of such bravado. The only other extras of note here are a pair of Movietone Newsreels, which show clips from the film's New York and World Premieres. As the film's Orphean tale unfolds, a young writer-poet-musician descends into the absinthe-soaked, decadent underworld in search of ideal love. Of course, the film's digital color processing and photographic strobing gives many scenes an oddly pixilated quality. Did the film's failure at the box office and at the Oscars and even in most critics groups make me right? He mentions in his audio commentary that the vampire's death groans were long lost, cut by censors during the film's original theatrical run. She's utterly convincing as a wallflower in the film's opening scenes, but equally impressive as a strong-willed woman as the film progresses. The film's success enabled him to establish his own studio, which attracted many animators keen to embrace Williams' perfectionist approach. The film's wildly uneven, but there's no disputing Argento's bravura or flair for stunt casting. Dated references inadvertently betray the film's prolonged hibernation in development limbo. Show More Sentences That sort of insight makes the film's occasional overindulgence forgivable. A similar need to divert the audience at every instant seems to motivate the film's incessant stream of chatter. A sparse script and real sensitivity from the actors, none of whom overplay their role, only adds further to the film's power. The court hopes that this film's quality will eventually overshadow its bizarre notoriety. The double entendres are all back, from the film's title right down to multiple cheeseball one-liners. Ironically, this very overtness of the film's concern with such questions is often held to be the source of its problems. The crowd hooted, hollered and roared their approval at the film's critique. Slow fades and dissolve shots are also used to complement the film's unhurried, unforced pace. Though the film's homophobia, bullying and brutality are fictional, they resonate with truth. The film's biggest dose of reality comes from the live, honest-to-goodness sharks that surrounded Travis and Ryan for two days during shooting. Admittedly the film's premise is barely enough to sustain its 100-minute running time, but this film is as much brains as it is heart. The film's hosannas to the UN most clearly establish the politics of the filmmakers and Hollywood liberalism in general. To this day, cineastes talk admiringly of the film's car chase and the thrilling climactic gun battle. Not only was he the film's director and producer, but he was also responsible for the cinematography. I have to admit the cinematography is stunning, and it's the film's only asset. Only at the end did either character become humanized, and it was too late for the film's success. None of the characters are very sympathetic or warm, with the only real charm being shown by the film's villain, Kay Walsh. You can sympathize with all of the film's intentions while wishing for more objective, nuanced arguments. The film's claustrophobic interiors also betray its stage origins and there are no real aerial sequences to provide relief. The claymation technique required a two-year time frame for the film's production-a definite task of teamwork and perseverance. Show More Sentences He's not the clean-cut bloke pictured in the film's ad art but rather someone at the end of their tether. His scenes with Ruth, whom he's patiently helping to work through her own traumas, are the film's best. These last shots betray a sentimentality and patronizing attitude inherent in the film's setting. This goal is achieved in the film's narrative by transforming Billie Holiday into a hysteric. This oversimplification feels sloppy, and even if it does provide greater emotional closure, it reduces the ambiguity of the film's final shot. The purpose of a film's score is often to complement the visual imagery and emotional delineation at play. What makes it so phenomenally stunning, then, is the film's visual imagery. There's enough manic imbecility, though, to maintain the film's screwball tone. So much of the film's success lies on the shoulders of the two leads, and they never make a false step in their characterizations. The film's reception in the USA will no doubt be assisted by the inarguably talented cast who made themselves available to the project. The principals are all effective in their roles, but the key to the film's success is Dorothy Dandridge's incandescent performance as Carmen. This film's characters don't develop and, in a crystal meth haze, they never quite come down from their high. There are also two short featurettes produced at the time of the film's original release and they are pretty much a waste of time. But the film's authentic feel is undermined by a series of political compromises. They criticize the film's lack of realism and its failure to portray comprehensively the true brutality of the death camps. The film's landscape of urban desolation must have taken some ingenuity to achieve. The film's lead character sports an outfit seemingly custom-designed to send fetishists into apoplexies. The film's fetishistic approach to auto racing is uncomfortably like the current NASCAR craze. And all the while, as you're occupied with these little conceits, the film's geologic strata are shifting into place. Neil Diamond himself joins in for the film's happy conclusion and ushers out the closing credits with a concert performance. Show More Sentences Also included is an alternate ending that isn't quite as good as the final film's conclusion. Within the film's confined internal spaces the human body takes on a territorial presence of its own. Given the film's widespread distribution, he suggests the con man works at a level of crime that intrigues the honest individual the world over. She is pretty, and a fine actress, but as a femme-fatale figure, she seems too sweet, and the film's themes are too thin. The film's subject isn't restricted to music, but embraces his ideas about creativity, interactivity, and spirituality. By now, one of the film's main themes, consequentiality, has certainly been launched. The film's long interior dialogue scenes, shot on traditional sets, are less convincing. The relationship between Bob and Charlotte remains at the film's core, and remains platonic despite strong sexual undercurrents. To what extent does film's latest technology give us pause as we contemplate film's images of the technological? It's a fascinating track that goes into extensive detail about the film's lack of continuity. Within 24 hours, the fivesome meet in an even more unlikely twist of fate and trundle towards the film's forgettable denouement. The film's characters are so inwardly focused that they only rarely emerge from a neurotic bubble. While the film's story is told in flashback, it is certainly a look forward, into the future, for its director. My favorite scenes come when the film's comic energy is allowed to outrun its carefully maintained arty flatness. Thankfully, they don't find resolution, and the film's touching final ambiguity, regarding the irretrievability of the past, is truly haunting. The trailer is also a nice, atmospheric flimflam, selling the film's terror while, surprisingly, avoiding all its tedium. He fares well enough during his flirty scenes with Maureen O'Hara and never gets in the way of the film's energetic spirit. The staff called Cheshire to complain because of the film's portrayal of President Bush. The film's web site is remarkably preachy, posturing the movie as a landmark in the battle against sexual harassment. For a brief time, the film's success will encourage studios to shop around for cheaper, newer, or even, God forefend, Japanese talent. Show More Sentences Though the film's focus is on character and the structure appears loose, even formless at times, this is deceptive. When they open their programmes, the film's credits are revealed, printed inside. Relying primarily on percussive instruments, the composer can take the credit for at least half the film's creepiness. But my really harsh criticisms of the film are kept for the film's attempts at meaning. The film's light, frothy tone and the fact that it won the Genie in this category and an award at Cannes definitely works in its favour. Despite the full-frontal nudity and frank eroticism in the film's early scenes, the answer was no. The film's final scene, a post-apocalyptic custard-pie battle in the presidential bunker, was deleted before it went on general release. The second flaw has to do with the film's conclusion, which kind of subverts the film's entire premise and makes it way too cutesy. The utter lack of chemistry between the leads is magnified by the film's reliance on ill-designed slapstick cutesiness. Nary a moment goes by without some sort of ear candy peppering the film's audio. Betty is at the center of the film's assembly of cynical, contemptuous characterizations. The film's racial stereotype gags might be offensive if they weren't so shamelessly dumb and done to death. The film's earthy language meant it had problems attracting an American distributor. The film's celebration of sheer human daffiness never descends into whimsy. This dire, occasionally damnable predictability undermines the painterly finesse with which the film's director arranges his ravishing images. Gaston Monescu's refined taste, elegant dress, high British accent, and droll charm denote his dandyism from the film's beginning. And the story's darkness and moral ambiguity increase the film's power and appeal. The film's biggest problem is the preposterousness of the script, which throws one unbelievable scenario after another at the audience. When the characters are not screaming at each other, televisions blare in the background, or the film's soundtrack deafens you. This version is razor sharp, virtually flawless, preserving the film's extraordinary clarity and textured darkness. Show More Sentences Ever-present cigarettes create the disturbing impression that the film's characters are possessed by a collective death wish. McDowell is riveting in his screen debut, and the film's social observation and build-up of tension is quite compelling. But, when we do feel a slight bit dazed, it seems as though this dementedness is part of the film's charm. And she knows the film's box-office prospects are likely to be modest by Hollywood standards. She's especially lucky in regards to the film's provocative treatment of sexuality. The film's narrative can best be described as a boy's adventure story turned tragic. Though purists may lament the film's deviations from the comic book, the mood and most of the characters remain the same. As the grande dame of French film, it's easy to appreciate why Baye was a little disconcerted by the film's title. In the film, this was translated into a chronology of the years, eclectically soundtracking the film's events. The film's sudden violent finale graphically depicts what had been suggested all along. There is a sequence with a real live tiger, but that's about the extent of the film's visual effects. Several reviews have not been kind to the film's effects, particularly the creatures summoned by the game. By the film's violent climax, we are grimly aware of how immature exploits can quickly escalate to tragedy. The film's sheer quirkiness allows it to mercifully bypass any dime-store moralizing. Rather than act as a detraction, the film's deliberate elusiveness is precisely what makes it boldly unique. Besides, much of the film's charm emanates from its setting rather than its kitsch value. The film's grainy, bleak look is joined to suffocating dramatic situations in which the actors emote without restraint. The key to unlocking the film's enchantment is to uncover the unforced romance. Although the end is enigmatic like a short story, the film's strength is in its dialogues full of irony. The film's artistic power lies in its appeal for enlightened, loving and spiritually satisfying relationships between human beings. Show More Sentences From these interviews, it is Morris who distills the 11 lessons of the film's subtitle. A small amount of hiss and distortion shows up from time to time, though this is to be expected due in part to the film's budget. When the sound mix also exceeds one's expectations based on the film's content, you start to wonder what's going on. Many of America's great cathedrals of racing date from the Depression era of the film's setting. The film's pseudo-values might be false, but the sincerity of the director's faith in their fantastical power effectively dynamises them. The film's abounding action sequences are banging, but they're not enough to overlook its plot holes and confusing story. This leads the story abruptly to a truncated finale that sidesteps the more harrowing nature of the film's first half. The film's approach to its cast is a textbook example of how to waste actors. For a guy who has jealously guarded his privacy, the film's frankness is surprising. Raymont says his own opinion of the explorer wavered during the film's production. Fortunately, they aren't serious enough to lower the film's broad-based appeal or to diminish its quotient of feel-good moments. And none of these pieces of acting struggles against the film's plot demands or the narrow sensibilities of the actioner. Paint peeling, blistering and flaking occurs when moisture under a non-breathing film finish destroys the film's adhesion to the wood. The nod to commerciality is most obvious in the film's ending, one that is typical of hundreds of Hollywood westerns. Others may well be shocked or slightly sickened by the film's determination to be as filthy rude as possible on the way to raising a laugh. Slick dramatic lighting and a varied, enjoyable color design smooth out the film's disjointing plot jump-cuts and occasional coincidences. The film's goal is to encourage youngsters across the district to ditch junk food and eat more fruit and vegetables. This remarkable reversal of roles is the film's strongest dynamic and occurs between virtually all the characters. Unlike most cut sequences, these are presented in anamorphic widescreen and look just as good as the final film's transfer. The pastoral Khoisan instrumentation is also a dominating presence, effectively reflecting the film's South African setting. Show More Sentences The film's title refers to a wish list that two terminally ill men try to fulfill before each kicks the bucket. Duplicities and red herrings pile up, augmented by the film's reinforcing structures of uncertainty, making for a daunting epistemological game. It is debatable how far the certificate affected the film's box office takings. Under his direction, the film's expert pacing builds quickly as the movie enters its second half. The filmmaker keeps a tight rein on her direction and storyline, and the film's strength lies in its view of war through the eyes of women. Within the film's inescapable overarching lameness, in fact, there are actually several strong elements. Zwick laid down this track just days after the film's initial U.S. release. Also available, however, is a remastered stereo track that further enlivens the film's audio. The ravenous creatures themselves are perhaps the film's only remotely redeeming feature. I think that happened because the film's copyright accidentally lapsed, putting it into the public domain. More precisely, the film's fiction has nature running amuck as a result of toxic waste, dumped out of corporate greed. Piccadilly, recently restored and too-long unseen, premiered its newly composed score as part of the film's re-release. One of the film's funniest jokes is a running gag involving a car radio stuck on a 1980s soft rock revival station. One of the film's running jokes has his three children growing fat because of their love of junk food. Much of the film's historical credibility can be sheeted home to the influence of its resident consultant, a British history writer. The film's most emotionally resonant moment occurs early on, when Drew confronts her parents with her pregnancy. In one of the film's most powerful scenes, Rose angrily hits him on the forehead with a hairbrush. To the film's credit, it certainly makes the best of a small medium, doing the best it can within the limited time restraints. A bunch of usually reliable comedians are dragged down to the film's level. That film's jaw-dropping ending would get its own retcon in the sixth film. Show More Sentences Even jazz legend Louis Armstrong makes a cameo appearance as the Harmonia Gardens' bandleader, singing the film's title track. The film's main character and driving force has no obvious antecedents in movie history and didn't exactly spawn a new genre. One of the reasons for the film's authenticity is its almost complete avoidance of recognizable actors. And when the film's final scene fades to black, you will be even more eager to see how Batman Continues. In fact, the dialogue moves so fast that at one point the film's subtitles actually begin to flash too quickly to read. One of the awol elements is the first film's sense of breezy, light-hearted fun. There was at times a giddy lightness to the film's direction that gave its dialogue an unexpected truth. The rightness of the choice of director is apparent from the film's opening sequences at the shadow-enshrouded beach house. During the film's climactic plane crash sequence, you can feel the bass rumble and the rear speakers roar to life. For a moment the film's ominous underlying theme, parental panic, roars to the surface with great immediacy and clarity. The film's basic story is appealing, and despite the critical roasting, Chaplin tells his story well. As we discover near the film's conclusion, he has apparently developed an ability to create the robots based on pre-existing human forms. Joe, an aging thief, serves as the film's charming rogue, desperate for money and a clean getaway. The actor gambled on playing one of the film's rogues' gallery of supporting players. Linney and Aykroyd serve as the film's villains and do quite a lot with small roles. Many of my comrades rolled their eyes when I complained about the film's glaring lack of substance. This film almost certainly paints a truer picture of day-to-day borstal life than the earlier film's rosily optimistic outlook. Orafai gives the most fully rounded of the film's performances, displaying a weary dignity and grace under pressure that is moving. Since the film's art house release five years ago, and subsequent turns on home video, the joke's been lost on about half the audience. The film's musical score mostly consists of someone sawing away loudly on a cello. Show More Sentences With so many different characters and plot elements stuffed into the film's lean 85-minute runtime, there's a danger of losing viewers. During the film's occasional lulls in pacing, I kept myself occupied by wishing his character would die. Set in a tightly wound labyrinth, this is where the film's insights about human endeavour are finally brought to light under a luminous moon. Aside from the film's aesthetic attractiveness, it also had an original rockin' soundtrack. The chance to audition actors from both Canada and the U.K. was another bonus of the film's co-production status. The film's grounding in a believable urban situation and its identifiable Australianness obviously contributed to its local success. The film's target audience is teenagers, who, to one degree or another, will relate to the concept of high school cliques. Some pointed out the film's emotional power, others its use of irony and satire to criticize fascism. Yet somehow the film's many parts never manage to cohere into a satisfying whole. His lack of charisma plays against the film's attempts to portray him as a babe magnet for young hotties. The film's perspective of how things work in today's boardrooms is savagely accurate. The film's few saving graces are its lavish costumes and the sporadic funny moments, usually delivered by one of the marginal characters. At the film's climax, the malefic priest responsible for all this mischief sets his sights on the last woman in Hong Kong. One of the film's chief flaws is its reliance on gadgets and technobabble over real action. The piano pieces during the film's second half sound a little thin even though they serve more as background than anything else. The film's cast is relatively subdued, and manages to generally avoid chewing the scenery. In the end, the film's moderately optimistic stance is tempered with a standard commentary on war and the nature of human aggression. Fortunately, the film's centerpieces, the two mano-a-mano confrontations between Tommy Lee Jones and Benicio Del Toro, are stunning. Epitomizing Sokurov's ambivalence, the narrator scoffs at the film's climactic ballroom dance yet expresses regret at having to leave. Thus, as diegetic music returns in the film's original score, it links scenes together, and adds to the film's unity. Show More Sentences The film's quieter, scoreless moments are the ones that resonate most truthfully. Hip Hop and Jazz tunes were superbly mixed with turntable scratch and an infectious piano line that dictate the film's progression. The image is crystal clear, and the disc includes the original score by Gottfried Huppertz that was used in the film's premiere screenings. It's a pleasure to hear the film's theme music and Nat King Cole's efforts so well presented. In the film's opening sequence, they carry out a successful bank robbery, from which they make their getaway on roller-blades. This film's release to DVD is unwarranted, and it should be scuttled and returned to the hidden film vault beneath the Nevada salt mines. Part of his dilemma is being a victim of his first hit film's massive success. Densely plotted and vividly acted, the film's abundance of ideas and intrigue wind up stretched perilously thin. Weekend box office numbers have become the barometer by which a film's success is determined. The film's title is a reference to the sheet of nine rare postage stamps, which they see as their ticket to the top. Scotland was chosen as the film's setting because of its fundamentalist religious sects and remote communities. Arthur Dong, who worked with her on his documentary about gay bashing, Licensed to Kill, credits her with changing the film's whole thrust. In adherence with the film's title Mamet has filled his thriller not with characters but with faces. While the film's form is remarkably self-effacing, its content and visual style resemble the best of Hollywood westerns. Perhaps more surprising than its efficiency as propaganda is the film's excellence as narrative cinema. The film's only major misstep comes in what appears to be a misguided attempt at humorous self-reference. Several film noir techniques are used to enhance the film's melancholic bleakness. The film's portrayal of a powerless woman dragged along by the tide of events doesn't lend itself to edge of the seat plot twists. One of the film's many strengths is that it never descends into melodrama or sentimentality. The film's stylistic time-lapse photography and multi-layered narrative isn't always successful. Show More Sentences The film's punchline is also a beaut, all the more so because it's tactfully handled, and you never see it coming. The film's titles appear on screen as if they were written with a word processor, replete with mistakes that need to be corrected. Also, the special effects and action scenes are quite superb, particularly the monorail sequences at the film's climax. And film's action sequences all too frequently consist of little more than men running down city streets. With the unparalleled realism of the film's opening sequences barely moments behind, the scene shifts to one of patriotic transcendence. The film's final sequence shows a poor Kenyan woman selling bananas to the passengers on the stopped train. In some ways, the film's political messages are subservient to its desire to undermine the big-budget formula. The film's opening scene finds her on her psychologist's couch, tonelessly reciting her recipe for braised pigeon in thyme sauce with truffles. But he sets the film's first act here, and it's obvious where his sympathies lie. By now, were all tuned in to the film's peculiar brand of black humour and laugh heartily at the doomed toons plight. It seemed like he attempted to address it in Minority Report, but there was something overwhelming in that film's set pieces. The film's resolution doesn't necessarily endorse a conviction in a specific belief system, but, rather, belief in general. Critical to the film's success is accepting that David is an impassioned believer in the immorality of the Death Penalty. In a sense, since I still can't watch with ironic or benumbed remove, my fright speaks well of a film's potency. The film's attitude towards death movingly, but objectively, strikes the right note. Happily, the spy flick trappings are a mere smokescreen for the film's clever satire of Middle American society and Cold War paranoia. He loses the plot like a shaker of salt, vaguely wrapping up the con in the film's final moments. It sounds fine for a mono track, but there is some hissing that indicates the film's age. As one might guess, the double-nature of this film's title bespeaks the double-nature of its narrative, its theme, and its major characters. Scott is the Roger Dodger of the film's title, a shark, a venomous, unpleasant, conniving, self-consciously chauvinistic pig. Find more words! 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