Sentences with phrase «american cinema audiences»

No doubt the last thing American cinema audiences wanted a decade after WWII were a movie which incessantly whined on about this.

Not exact matches

After «Reservoir Dogs» in 1991 and «Pulp Fiction» in 1994, Quentin Tarantino was hailed as the new wunderkind of contemporary American cinema with his triumphant originality and seemingly effortless ability to excite audiences.

While not containing any nudity, Bonnie and Clyde jumps out of the gates by showing audiences that a new era was about to kick off in American cinema.

This does not end with the credits, as Wallace continues keeping a balance — albeit a skewed one, this is a movie meant mainly for American audiences — by showing the mental mêlée played between the leaders of the two armies and the fact that the dead Vietnamese soldiers were just as unfortunate losses as the Americans, just that they are on the side that normally gets the shaft in Hollywood cinema.

Dedicated to showcasing the finest American and international cinema the world has to offer, its mission is to bridge the gap between independent film audiences and filmmakers, as well as to connect emerging filmmakers with established industry professionals.

As Joon - ho Bong's (The Host, Mother) first English language film (and comic book adaptation), Snowpiercer brought the visual language of Korean cinema to a wider American audience before becoming a global hit.

Producer - director Sydney Pollack makes the mistake his best peers in the decade's American cinema dodged: he mistrusts the audience, believing we can't absorb backstory through performance and suggestion.

The film also serves as the perfect introductory bridge to British cinema, because even though the script's dialogue is deeply rooted in cockney slang, the humor is still very relevant to American audiences.

It is certainly one of the most courageous and passionate portraits of the American underbelly ever put on film, a movie bathed in blood as much as in light, and revisiting the film on its Blu - ray debut, mastered from the brand new digital restoration currently making the rounds on the festival and repertory cinema circuit, only confirms the power of the film to, after all these years, sink the audience into the mind and filthy, fetid world of Travis Bickle.

American audiences take the Tarantino - ization of genre cinema for granted, but not so the French, who adore the director (who won the Palme d'Or for «Pulp Fiction») but never went so far as to imitate him outright, until now.

Audiences will undoubtedly drone over the obvious comparisons to «Crouching Tiger, Hidden Dragon» with its similar gravity - bending rules and ballet - like fight scenes, but what most Americans don't realize is that this particular genre (Wuxia, which typically incorporates fantastic abilities like flying) has been at the core of Chinese cinema for decades.

The same weekend the shameless product placement vehicle The Internship hits North American cinemas, discerning audiences will also be able to seek out Syrup, an adaptation of the brilliantly satirical Max Barry novel of the same...

After its absorption into the American mainstream, Hong Kong cinema may have fallen somewhat out of fashion, but websites like Mobius Asian Film Discussion Board show that much of its rabid Western cult audience remains.

If Andrew Haigh, the director of Weekend, the earnest, prosaic, and mostly unsurprising British drama that won an Emerging Visions Audience Award at South by Southwest last night, is considered a fresh new voice in cinema, then what about Matt D'Elia, who shows more breathtaking audacity in his debut feature, American Animal, than Haigh shows in his Richard Linklater - ish romantic talkfest?

The film is perfectly paced and doesn't mind spending 20 minutes to develop the main characters, especially when the audience is introduced to such rich personalities as Shaun and Ed, characters you won't find in American cinema.

The American cinema owes the French cinema — which is to say French critics and audiences as well as French filmmakers — an enormous debt.

Haneke, whose eclectic output includes Funny Games (both the original Austrian version and the 2007 American remake), Code Unknown, Caché and The White Ribbon, has proven time and again that he loves using the tools of cinema to implicate the audience — as participatory voyeurs — in the turbulent lives of his characters.