Sentences with phrase «as filmed musicals»

As filmed musicals go, it's no Singin» in the Rain, but then, you wouldn't expect an elephant to do a dainty pirouette.

Not exact matches

Part of musical performance involves narcissism, just as some part of writing or acting or painting or sculpting or making film is deeply self - absorbed, but we don't condemn musicians or artists for daring to put their creations out in public for people to see.

Already moving on from La La Land, the romantic musical which is picking up nominations and awards left right and centre this year, Emma needed to prepare for her role as tennis player Billie Jean King in Fox Searchlight's up - coming film Battle of the Sexes.

London About Blog There Ought to be Clowns is a brilliant place to find reviews of plays, musical theatre, TV and film, describing itself as a «theatrical diary» which actually turns out to be a very accurate description.

Members of the public should always remain alert to the danger of terrorism and report any suspicious activity to the police on 999 or the anti-terrorist You Were Meant for Me is a 1948 musical film, released by 20th Century Fox, directed by Lloyd Bacon, starring Dan Dailey and Jeanne Crain as a bandleader

You Were Meant for Me is a 1948 musical film, released by 20th Century Fox, directed by Lloyd Bacon, starring Dan Dailey and Jeanne Crain as a bandleader Dotard definition, a person, especially an old person, exhibiting a decline in mental faculties; a weak - minded or foolish old person.

Once the fear has passed, just in time for nap, visual and musical style are sometimes played in an immersive fashion by highlights in a directorial performance by Nicolas Winding Refn that bring some life to the film, though not as much as John Turturro's inspired lead performance, which does about as much as anything in bring the final product to the brink of decency, which is ultimately defied by the serious underdevelopment, overambition, monotonously unfocused dragging and near - punishingly dull atmospheric dryness that back a questionable drawn non-plot concept, and drive «Fear X» into mediocrity, in spite of highlights than can't quite obscure the many shortcomings.

The filmmakers went into this project insisting that all the actors do their own singing, and while «crooners» like Pierce Brosnan and Colin Firth (let alone Stellan Skarsgård, who is very, very brave to have done his own singing) are not going to go down in history as much more than barely competent, star Meryl Streep, who has already proven her musical chops theatrically and previously in such films as Postcards from the Edge, is marvelous, if a bit too country - yodelish for this patently pop score.

Steele was popular in England during the time this film was released, and the movie is mainly a showcase for its star's musical talents, with songs including the title tune and others such as Little White Bull.

There's nothing wrong with reworking the score of Annie — as this film does — but too often, the movie seems a little embarrassed to be a musical at all, making it seem as if it's having a crisis of confidence.

Needless to say, this film is hardly as driven by its musical aspects as its 1969 counterpart, and makes sure to remind you by underusing Richard Addinsell's score, which, upon actually being used, is typically not fleshed out to the fullest, and is all too often tainted by a degree of conventionalism that further disengages, but ultimately does only so much damage to Addinsell's efforts, which are still spirited enough and recurring enough to play something of a hefty part in breathing some liveliness into this generally dry project.

Great songs, great musical direction, great dance numbers all highlight this film, often touted as the best of the Astaire / Rogers collaborations.

The hard - to - characterize film (which blends comedy, musical, political drama and more) follows Halla (Halldóra Geirharðsdóttir, in a highly praised performance) as she battles the local aluminum industry in order to protect her beloved Icelandic Highlands.

Filmed live with celebrities, call - ins and musical guests, Andy Dick Live is the only weekly television show that can be as crazy as it wants to be.

Find out in this fantastic, rousing film - but remove all fears of the typical teen - pop covered high school musicals from your minds, as the songs in this film are from legendary artists like David Bowie, The Beach Boys, ELO, and The Byrds.

The wacky «Un Poco Loco» serves as the basis for the film's most purely joyful sequence, a show - stopping musical performance featuring Héctor whisking his bones around like a deranged marionette.

Judged as a film, as it has to be, this $ 61 - million adaptation is not without its flaws and probably won't change the predetermined minds of musical non-fans.

I was quite impressed with the musical soundtrack (which as a collector of soundtracks, I immediately went out and bought a copy), but the film's structure and character development totally escaped me.

The cartoon sound effects pop, as does the musical score; though I again didn't feel the film was at its best.

After studying acting with Ned Wayburn and appearing as a chorus dancer in a George M. Cohan musical, Jobyna began showing up in extra roles in films.

After a false start at Fox Studios, Shaw's film career got under way at Warner Bros. in 1934, where she played secondary parts in such musicals as Sweet Adeline (1934) and Ready, Willing and Able (1937).

Best known as a big - band leader, Leighton Noble also occassionally acted in feature films, beginning with a small role as an orchestra leader in the musical Gift of Gab (1934).

Elvis Presley's second film, based on his own rise to stardom, casts the King as Deke Rivers, a Southern boy who becomes an overnight sensation thanks to his vast musical gifts.

The slow, strange rhythm is very unsettling and takes some getting used to, but it's an altogether amazing, sunsuous film; it even has an element of science fiction and some creepy musical numbers, and the soundtrack is as original and peculiar as the imagery.

Every film Mel Brooks has directed or written has hinted at a musical, but never fully realized itself as one.

He kicked off the most successful decade of his film career with a performance as Wimpy in the much - maligned Robert Altman musical comedy Popeye (1980).

Though Nashville won just a single Oscar and a single Golden Globe, each for Best Original Song (for «I'm Easy», written and performed by Carradine), it was nominated for five of the former and eleven of the latter, which even bestowed two nominations each on Tomlin and Blakley, actresses making their film debuts, while classifying the film as a drama (back when true musicals weren't so rare).

Damien Chazelle's romantic musical has been announced as the centerpiece film and will screen on Saturday night with Chazelle in attendance.

Greta Gerwig who wrote and directed «Lady Bird,» which won Best Motion Picture - Musical or Comedy, noted that «it's been such an incredible year for women in film both as actors and also writers and directors and producers and people who are really coming to the forefront to tell their stories about the world as they know it from where they are standing, and I think that the response to these projects and the support that these projects have gotten and the way that audiences are going to see them or watching them in their homes, I think all of this just makes it so much easier for the next crop of filmmakers who want to tell stories about women.»

Unlike other recent Disney adaptation, Beauty and The Beast is rumored to keep the original film's musical numbers as well as add some new songs.

The story of a young boy trying to impress a girl with his musical talents may seem old - hat in 2016, but Carney's ability to engage his audience with every bar of a song found within one of his films is ever - present and, as always, impressive.

Okamoto's boundary - pushing film can also be seen as the progenitor of further experimental musical films featured in the series.

For as good as Isaac is in the role, however, it wouldn't be nearly as effective without T - Bone Burnett's excellent soundtrack, especially when such a large chunk of the film is dedicated to the musical performances.

Along these lines, the film is only half successful, as, like most musicals, the highlights are the musical numbers, but the story in between just doesn't give enough support to lend any weight or momentum to the pop numbers when they begin.

Through this series, programmed by film scholar Michael Raine, American audiences may be surprised to discover that the roots of the movie musical in Japan are nearly as intertwined with the rest of the country's film history as they are in the U.S.

In the time that has followed she has made at least two more feature film appearances a year, playing a variety of roles such as the trophy wife in the comedy Potiche (Ozon, 2010), a mother who rekindles a thirty year old romance in the musical, Les bien - aimé / Beloved (Honoré, 2011) and Queen Cordelia in the most recent instalment of Astérix and Obélix: Au service de sa majesté / God Save Britannia (Tirard, 2012).

The cover story, «Grade B — But Choice,» is devoted to an obscure 1934 musical called «Young and Beautiful,» featuring «budding starlets, grade - A character actors, grade - B musical numbers, a pair of vaudevillians, a look behind the scenes of Hollywood, bogus appearances by Charlie Chaplin and Buster Keaton and a script by Dore Schary» [later famous as a producer of films such as «Crossfire,» «Mr. Blandings Builds His Dream House,» «They Live By Night» and «The Red Badge of Courage»].

Postscript: While Tarantino sadly never provided any hints as to his musical selection for the film (and disregard any reports saying they do), he did select Claude King's 1962 hit, «Wolverton Mountain» as the intermission music.

She also made a brief foray into Hollywood, appearing in such films as 1938's «The Rage of Paris» opposite Douglas Fairbanks Jr., the 1951 MGM musical «Rich, Young and Pretty,» 1952's «5 Fingers» opposite James Mason and the 1956 epic «Alexander the Great» opposite Richard Burton.

You don't even have to be familiar with The Band to enjoy the film, as special appearances by some musical heavyweights abound.

As a film, Rob Marshall's musical was a bit of a non-entity.

At the film's start, the songsters, whose backgrounds are as varied as is their musical training, are receiving seven new titles to rehearse.

Plus, the consistent reference to the film as being a car chase movie musical has me the most excited.

In hindsight, the 1984 hit Footloose — starring Kevin Bacon and directed by Herbert Ross — along with its contemporary Flashdance, can be seen as the link between the old Hollywood model of a let's - put - on - a-show musical, based on original songs brought to life in elaborate choreographed numbers, and the later Hollywood model of youth films, perfected in the»80s by John Hughes and terminally calcified over the decades to follow, in which a contemporary pop music soundtrack serves as both a structural backbone to the film itself and an ancillary product that can outgross and outlive the film that spawned it.

Fans of the tender Irish indie film Once — described by some as a «musical for people who don't like musicals» — can rest easy.

Emma Watson, best known as Hermione in the Harry Potter films, plays Belle, introduced in the opening musical number as a bit of an outsider in her small «provincial» French village.

This morning, the Washington D.C. Area Film Critics Association (of which I am a member) proudly named their picks for their year - end awards, naming Damien Chazelle's outstanding musical «La La Land» as the best film of 2016.

IFMCA member James Southall said that «The Shape of Water» was «yet another from the top drawer of Desplat,» and went on to describe him as «one of the most consistently impressive film composers of the last couple of decades,» who has «managed to be so successful without having to water down his highly - distinctive musical voice at all».

Loosely adapted from a Neil Gaiman short story (and co-starring Nicole Kidman as a punk queen impresario called Boadicea), the film revels in its own shambolic style, turning the England of 1977 into a sort of queer - friendly fringe musical fantasia where anything goes.

As with most films nowadays, there are two distinct musical elements, the film's score and the film's soundtrack.