Sentences with phrase «american romance films»
It does this in far more intelligent and far subtler ways that most American romance films even consider doing.
http://www.combustiblecelluloid.com/ Not exact matches
One of the great American films: a romance about the tug between savagery and civilization that continues to define this country.
Other film credits include TRUE ROMANCE, GOODFELLAS, THE DEPARTED, PINEAPPLE EXPRESS, AMERICAN GANGSTER, and SUPERBAD.
The narrative twists and turns are mostly unremarkable teen romance stuff, but it all serves a greater purpose certainly less trod in mainstream American film, illustrating the essentially destructive nature of the closet.
Kilmer played other American icons in his next two films - gunslinger Doc Holliday in Tombstone and the spirit of Elvis in True Romance; both did remarkable business at the box office.
Also in contention must be Fremon Craig's script, which plays to the teen audience with recognisable moments of anguish and glee (the romance subplot involving Hayden Szeto's American / Korean student feels both fresh and warmly familiar) while exploring some very adult emotions; as with the best of the genre, it is a film about teenagers but not just for teenagers.
Romance is the prism through which identity and normalcy are redefined — a certain celluloid co-dependency that made 2002 (and 2001) the best years for film, and American film in particular, since the heyday of American cinema in the 1970s.
That film co-starred Spike Jonze who won Best Original Screenplay for his wonderful sci - fi romance, «Her», beating out his «Three Kings» director, David O. Russell for co-writing «American Hustle».
Other films featuring gay interracial romance include «Chutney Popcorn,» about an Indian - American lesbian surrogate mother and her white girlfriend; «The Wedding Banquet,» about a closeted Chinese man involved with a white American man; and «Brother to Brother,» a Harlem Renaissance drama featuring a young black man and his white male lover.
by Walter Chaw Walking a fine line between nostalgia and regret, irony and earnestness, Philip Noyce's The Quiet American, adapted from the novel by Graham Greene, is a lovely film that captures, like Hemingway's A Farewell to Arms, the delicate balance between romance in the immediate foreground and the backdrop of war and politics.
The film, a heart - wrenching romance adapted from the 2007 novel by André Aciman, follows 17 - year - old Elio as he falls in love with Oliver (Armie Hammer), the older, taller and blonder American student living with his family for the summer.
But the longer they stay waiting for Harry's call, the more surreal their experience becomes, as they find themselves in weird encounters with locals, tourists, violent medieval art, a dwarf American actor (Jordan Prentice) shooting a European art film, Dutch prostitutes, and a potential romance for Ray in the form of Chloë (Clémence Poésy), who may have some dark secrets of her own.
Competing alongside them are such notable talents as Spike Lee, whose new comedy, «BlacKkKlansman,» tells the true story of an African - American police officer who infiltrates the KKK; Jean - Luc Godard, here with «The Picture Book»; and Pawel Pawlikowski, whose Oscar - winning «Ida» played at Ebertfest, and whose latest film, «Cold War,» centers on a mismatched romance.
The film has a distinctive Latin American blend of comedy, romance, fantasy and adventure — a combination that the music perfectly captures.
Set during the turn of the 20th century, the film stars Mia Wasikowska as young American heiress Edith Cushing, an aspiring author who has no interest in romance, whether in real life or her stories, despite the fact that childhood friend - turned - physician Alan McMichael (Charlie Hunnam) clearly fancies her.
To celebrate the release of Luca Guadagnino's Call Me by Your Name, his Italy - set film about the summer romance between 17 - year - old Elio (Timothée Chalamet) and older American grad student Oliver (Armie Hammer), we are dedicating a full week to essays on the film.
The tropical island setting, lifted from Jacques Tourneur's astonishing I Walked with a Zombie (astonishing mainly because it's an American horror film that understands it's a romance), is appropriately muggy and diseased; the gore effects (particularly a signature eye - pulping and inexplicable shark fight) are creative and protracted.
Their heroes, such as they are, end up locked in an ideological opposition that somehow echoes a deeper, more pervasive tension in American life: the parasitic rivalry between Daniel Day - Lewis's monomaniacal capitalist and Paul Dano's maliciously self - denying man of the cloth in the 19th - century California landscape of There Will Be Blood (07); the uneasy mentorship that Philip Seymour Hoffman's charismatic cult leader develops with Joaquin Phoenix's broken - down vet as they move through the strange, suspended vision of Fifties America in The Master (12); and now, in Anderson's newest film Inherent Vice, the antagonistic buddy romance that emerges between a pothead PI and a shell - shocked, crew - cut detective as each navigates the splintered world of Los Angeles in the early, paranoid Seventies.
His new film is «Crimson Peak,» a Gothic romance about a young American woman (Mia Wasikowska) who marries a mysterious Brit (Tom Hiddleston) and moves to his imposing mansion in the English countryside.
Film noir imagery is taken out of context in order to connect viewers specifically to the romance, and occasional heroism found in American film noir, and to let them reflect on contemporary ideas of romance and heroism.