Sentences with phrase «american film i've seen»

Not exact matches

«So whoever initiated this — and was very proud of themselves to see that little dip in Iran's centrifuge numbers — should look back now and acknowledge it was a major mistake,» Emad Kiyaei, executive director American Iranian Council, says in the film.

Cross over appeal: The biggest mistake some analysts may have made was seeing the film's audience as exclusively young, African - American and male.

The film is also clear that JPII did not see the Cold War in terms of Evil Empire A v. Evil Empire B; instead, he sided with the Americans over the Soviets.

So Pseudoplotinus (aka not THAT Michael Davis) deftly sums up the long and intricately detailed film American Hustle: «Just saw American Hustle.

On the other hand, will increasingly secular young Americans flock to see films that look and sound like sermons?

The Legion would expand its ratings to make them more responsive to the range of film content and viewership, but its effectiveness diminished in the 1960s (the era's various «liberation» movements saw to that), and it merged into the American bishops» office dealing with movies.

See, Ricki Lake made a movie about her choice, and the ACOG and AMA aren't too happy about it: ACOG released a statement, which was in turn supported in a resolution Tuesday by the American Medical Association, which said «There has been much attention in the media by celebrities having home deliveries» and which singles out Ricki Lake's film «The Business of Being Born» as part of the problem.

Scientific American -LSB-'s] editor in chief, John Rennie, and I saw the film Expelled and we'll share our thoughts; and then we'll hear from Eugenie Scott, the director of the National Center for Science Education, who is actually in the movie.

Don't bother to see this film unless you expect to be tested in film class about the Coens» serial dissertation on American cinema.

Now comes The American, a European - set film from photographer - turned - director Anton Corbijn (he made Control, about Joy Division's Ian Curtis), a thriller based on a 1990 Martin Booth novel that promises some high - toned excitement, and a chance to see the dark side of George Clooney - that is, the side that isn't being a handsome scamp or earnest humanitarian.

In fact, the film starts off with one of the more moving images I have seen in American cinema in which during an unveiling of a statue celebrating America's peace and prosperity, a crowd is stunned to find a homeless man, our tramp, sleeping on the monument.

We now have the distance to see just how close to a flawless and utterly timeless a film Steven Spielberg and his collaborators crafted — one that transcended genres (sci - fi and kids» movies) to become of one of the greatest and most durable of American movies.

There is also the not unimportant matter of the need to communicate to people all over the globe the complexities of American life, thus contradicting the deliberate «pro-American» falsifications spread by the US film and music industries, media and government (see the delusional State of the Union address), as well as its «anti-American» counterpart abroad (which portrays a contented, prosperous population solidly backing official chauvinism and militarism).

While the film is admittedly imperfect, it nonetheless deserves to be seen by all Americans to provide a clear understanding of what kind of a country we are currently at war within.

In film, Rossum will next be seen in the Netflix original film A FUTILE & STUPID GESTURE, directed by David Wain (WET HOT AMERICAN SUMMER).

Scott Cooper's new film sees Christian Bale, Rosamund Pike, and Wes Studi battling through the American West in the 1890s.

It's easy to see why this is so often considered among people as one of the best films ever; definitely one of the best American films.

[/ size][img] http://cdn.channel.aol.com/pmms/productpagemovies/04/05/2171640 [/ img][size = 3] It has some extra value as one of the rare American films about Latinos, and for this reason I think an effort should be made to see it.

When we go into a film of this sort, we expect to see White People Behaving Badly, but to view an African - American who shows such antagonism toward his own people, it becomes a more startling sight — and it must be tougher for an actor to take on such a part.

Despite compromises imposed upon German director Wim Wenders (in his American debut), it's still worth seeing this stylish film due to Forrest's performance in the lead.

Well - intentioned, competently shot and put together, solidly acted, especially by tomorrow's superstar Jacob Lofland (who we'd call a revelation if he hadn't already impressed us so much as Neckbone in Jeff Nichols» «Mud»), and unafraid to swim in the traditionally shark - infested thematic waters of the American class system, the film nonetheless can't quite slip the «seen it before» noose.

Shot on location in real West Virginia coal - mining towns, the film does carry the American Gothic grit you expect to see in such places.

Meanwhile spend your money instead on a book about Darwin and let's see the Americans work themselves into a tizz about this daft film.

She will next be seen in the Semi Chellas - helmed film American Woman, a film about the women who cared for Patty Hearst.

Alas, my heart sank when I realized that the film I was about to see was not a remake of the 1995 forgotten Cindy Crawford - William Baldwin classic but a in fact change of pace low - key political drama from the go to high concept action film - maker of the past decade, Doug Liman (The Bourne Identity, Mr & Mrs Smith) focusing on the Plame Affair, one of the key scandals in recent American political history.

Because the film sticks so closely to Megan's perspective, we see the Iraqis, whose lives the U.S. military upended through their invasion of the country, as little more than Others, giving off the feeling that they're merely supporting players in this one American woman's emotional journey.

The last film I need to mention is one that American audiences will finally get the chance to see in April.

Our in - depth Iron Man 3 spoiler podcast - featuring interviews with director Shane Black and co-writer Drew Pearce - will arrive next Friday, April 26, so that our American friends (who see the film a week later than us) have a chance to see it.

American audiences will have to wait until 30 December to see Michael Haneke's Palme d'Or winner «The White Ribbon,» but today marks the film's UK release — and critically, at least, it's off to a flying start.

The directors deep admiration for the great American master John Ford is seen within the film, and though the film is not a western, like Ford, Spielberg captures the stunning majesty of the horse.

The film opens on Christmas 1947 at a party where affluent Palestinian woman Hind Husseini (Hiam Abbass, best known to Western viewers from The Visitor, though she also appeared briefly in Munich) interacts genially with everyone from the English hostess (a briefly seen Vanessa Redgrave) to an American soldier (slightly less brief Willem Dafoe).

With echoes of Don McKellar's Last Night (a brilliant little film if you've never seen it) blending with a Steve Carell comedy and American indie sensibilities, Seeking A Friend For The End Of The World promises two things: a road trip with Keira Knightley and a title that most cinemas will have trouble fitting on their marquees.

James Schamus» excellent Indignation, which is a film everyone must see, and now, Ewan McGregor's feature debut, American Pastoral.

There were no African Americans among the 51 film actors recognized by the guild — a sharp contrast from last year, which saw black - led films like «12 Years a Slave» and «Lee Daniels» The Butler» score numerous nominations.

Seventy years later the film is seen as controversial due to its portrayal of African Americans, but Dumbo is much more than a controversial film.

Audiences who go to see The American expecting a conventional Hollywood spy thriller will no doubt be disappointed to find out they've stumbled into an art - house film — and an unrelentingly grim one at that — but those seeking relief from the inanity and bombast of the summer movie season will be pleasantly surprised.

Scarface Rated R Available on Blu - ray It's easy to appreciate the influence this Cuban American gangster film has had on world cinema, but after watching it again, I just don't see what all the fuss is about.

by Walter Chaw Arriving right smack dab in the latter half of a decade in American cinema that saw digital «reality» supplant filmic «reality» (and appearing the same year as James Cameron's Forrest Gump: Titanic), Hong Kong legend John Woo's high - camp Face / Off directly (and presciently) addresses issues of identity theft, terrorism, and the digital corruption of reality and indirectly addresses Woo's émigré influence on the modern action film.

For example, prior to digital distribution, horror films from filmmakers working in countries like Japan, Spain, and Italy were traded on VHS and DVDs by American fans of the genre, including movies that never saw an official theatrical release in the United States.

The film starts off with some awkward, painfully lame flashback scenes of Kyle's childhood and transitions into an opening act that is loaded with full - on patriotism that sees him go to war to get back at the people who brought suffering to our doorstep in the events of 9/11 (he was already enlisted, but if we believe the film that decision was also motivated by seeing news footage of American lives being taken), but one of the most interesting surprises is how balanced it eventually becomes and how we see the way that Kyle's actions negatively impact others and how even he begins to question his commitment to the cause, despite the fact that he would never vocalize it.

Have just seen, and think it a very average film, and not one of Clooney's best performances either, as the The American for example.

To wit: Sidney Lumet and Naomi Foner put the Sixties on the lam in Running on Empty, and tell Gavin Smith and Anne Thompson why Paul Kerr dopes out the Sixties effect on Brit - cinema Andreas Kilb sacks German film Philippe J. Maarek routs the French Peter Wollen checks out Film Theory country Marcia Pally roasts the American rewrite of the era but sees signs of life in some quarters Marlaine Glicksman finds the perfect Sixties Woman: Sylvia Miles -LRB-!)

Set in a time no one knows... Abattoir is directed by American horror filmmaker Darren Lynn Bousman, of the films Saw II, Saw III, Saw IV, Repo!

You can also see American Ultra, an Eisenberg film that skews much further towards the opposite end of the spectrum.

The festival will give world premieres to a number of other films (see list below) and the North American premier to Brad Silberling's An Ordinary Man starring Ben Kingsley.

American audiences will see the film on November 16, while UK cinemagoers will have to wait until January 25.

Slightly similar to The Longest Day in one respect, like that film it told the story of an infamous day from the perspectives of the different sides — the build - up to the Japanese attack on Pearl Harbour is seen from both their perspective and the Americans», with an almost documentary - like approach aided by a lack of genuine movie stars producing a very fine, compelling picture.

As the American Film Market goes on, we see a lot of synopsis and sales art releases for upcoming films.

Home Video Notes: The Breakfast Club Release Date: 2 January 2018 Criterion releases The Breakfast Club on home video (Blu - ray) with the following extras: - Audio commentary from 2015 featuring actors Anthony Michael Hall and Judd Nelson - New interviews with actors Molly Ringwald and Ally Sheedy - New video essay featuring director John Hughes's production notes, read by Nelson - Documentary from 2015 featuring interviews with cast and crew - 50 minutes of never - before - seen deleted and extended scenes - Rare promotional and archival interviews and footage - Excerpts from a 1985 American Film Institute seminar with Hughes 1999 radio interview with Hughes - Segment from a 1985 episode of NBC's Today show featuring the film's cast - Audio interview with Molly Ringwald from a 2014 episode of This American Life - Trailer - PLUS: An essay by critic David Kamp

Even with the flaws, the fact that we've seen this sort of film already, whether in the Japanese form or in similar American vehicles, makes Dark Water seem stale and boring without something new to add to the genre.