Sentences with phrase «american cinema classics»

Paul is a director who, like many of the movie brats, has a reputation that precedes him — whether it be writing American cinema classics like Taxi Driver or Raging Bull, directing the popular and canonized films American Gigolo and Mishima: A Life in Four Chapters, or the lore surrounding the era, popularized by Peter Biskind's book Easy Riders, Raging Bulls.

Not exact matches

This is an enjoyable, violent, well acted film that is a classic of American cinema.

I love American cinema from the 70's and I'm a fan of Peter Yates» classic cop thriller Bulllitt, so it was a no - brainer for me to accept an offer to review Yates» 1973 crime drama The Friends of Eddie Coyle.

If you're looking for something different to watch or want to reflect on a classic piece of American cinema, you can't go wrong with The Last Picture Show.

In John Frankenheimer's classic 1962 movie thriller «The Manchurian Candidate,» we will be plunged into one of the greatest nightmare sequences in American cinema.

«Director Craig Gillespie, and writer Steven Rogers and the incredible ensemble have created an uncompromising, poignant and instantly classic piece of American cinema,» commented Neon Founder and CEO Tom Quinn.

Add Nicholson at his most essential, along with a young Faye Dunaway and an aging John Huston, and this is truly one of the classics of American cinema.).

by H.G. Lewis; «Two Thousand Maniacs Can't be Wrong» filmmaker Tim Sullivan on H.G. Lewis» gore classic; «Hickspoitation: Confidential» visual essay on the depiction of the American South in exploitation cinema; «David Friedman: The Gentlemen's Smut Peddler» tribute to legendary producer David F. Friedman featuring interviews with H.G. Lewis, filmmakers Fred Olen Ray and Tim Sullivan and editor Bob Murawski; «Herschell's Art of Advertising» in which Lewis shares his expert opinion on the art of selling movies; «Two Thousand Maniacs!»

An African American director casting one of the greatest African American movie stars as a «classic» western hero, just as President Obama prepares to ride off into the sunset (while mainstream cinema struggles to catch up with the racial diversity of the US) is a recipe for bold imagery.

This little gem features American treasure and all - around genre cinema maestro John Carpenter discussing his 1988 sci - fi / action / horror cult classic They Live, going into detail about such things as the conceptual ideas behind the movie's premise, his casting of professional wrestler «Rowdy» Roddy Piper as the protagonist, and the rebellious inspiration for the film's infamous fight scene between Piper and the great Keith David.

The Long Hair of Death (Raro, Blu - ray, DVD)-- Raro Video, the American arm of an Italian home video company, is one of only a couple of disc labels with a tightly - defined mission, in this case a focus on classics of Italian cinema that ranges from auteur masterworks to genre landmarks and cult items.

After briefly hearing of this film in January, They Came Together looks to be a homage of the romantic comedies of classic American cinema.

It's the classic hardboiled private - eye movie; the nervy maiden offering of its celebrated director, John Huston; the first glamorous star vehicle for Humphrey Bogart, an icon of American cinema and the 20th century's definition of existential cool; and still the most triumphantly well - cast movie from Hollywood's golden age (rivaled only by Casablanca).

From Scorsese's inventive direction, his symbolism, use of music and the great performances, there's no doubt in my mind that it's one of the classics of American cinema!

Fox Searchlight Pictures will be screening its awards season favorite «The Wrestler» in tandem with two classics of American cinema next week: Elia Kazan's «On the Waterfront» and Martin Scorsese's «Raging Bull.»

This low - budget arthouse crime thriller draws on the classic American cinema of the 1970s — films such as Dog Day Afternoon and Taxi Driver — when a new mood of pessimism was taking over politics and culture, but comes to articulate its own strange sweetness and hope.

An ambitious, over-budget love letter to both the Big Apple and the classic Hollywood cinema of Scorsese's childhood (its lavish sets were built on the old MGM soundstages), New York, New York is a heady tribute to the outmoded school of filmmaking that gave way to the New Hollywood class who came to dominate American cinema between the late»60s and early»80s.

Although Kiarostami rejects the notion of paying homage to other movies and laments the patness of American cinema, he admits to wanting to give Like Someone in Love a classic Hollywood finish by writing «The End» on screen in English over the closing shot.

With Lifeforce, Hooper parodies the sexual panic that informs the classic vampire tale, which is often famously preoccupied with the fear that giving in to what truly turns you on could upset your carefully governed symbiosis with the rest of society — a subtext that Hooper immediately elevates to text with a series of opening moments that follow Tom's crew as they enter a collection of alien chambers that must surely constitute some of the most vaginally symbolic imagery in all of American cinema.

Christened «the future of American cinema» by Werner Herzog, Korine first garnered critical acclaim at 18 years old for writing the screenplay for Kids, Larry Clark's 1995 cult classic about mischievous New York City youth.

This, combined with constant inspiration drawn from classical comic book imagery, pop art and American cinema (especially the horror genre), as well as the aesthetic of classic prints (Durer, Goya, Daumier, Kathe Kollwitz, etc.), creates Hancock's unique approach to collaged painting.