Sentences with phrase «modern film audiences»

For a modern film audience, Cool Hand Luke is the perfect way to (re) discover both a brilliant actor and a beautiful man.

Not exact matches

In their latest film The Farrelly Brothers have decided to provide a modern audience with an updated take on The Stooges, played spot - on by Will Sasso, Sean Hayes and Chris Diamantopoulos.

Following the lead of 2012's underrated «At Any Price» in matching the socially conscious topicality of Bahrani's early films to the demands of broader - brush melodrama, this dynamically acted, unapologetically contrived pic reps the filmmaker's best chance to date of connecting with a wider audience — one likely to share the helmer's bristling anger over corruptly maintained class divides in modern - day America.

Birdman or (The Unexpected Virtue of Ignorance) is a brilliant directed film by Alejandro González Iñárritu, who manipulates the camera to give the illusion that the film is one continuous long take (which can get dizzying at times) giving a film that is resonate to a modern day audience as it examins these fictitious characters and their commentary on what it means to stay relevant.

Modern audiences know Cooper best as the apoplectic Perry White in the Christopher Reeve Superman films.

A remake of the 1974 film of the same name, Death Wish pairs aging action icon Bruce Willis with director Eli Roth (Hostel, The Green Inferno) to bring the classic tale of vigilante justice to modern audiences.

Haynes also commented on how a modern audience views all of Carol's female relationships versus how people within that time period in the film would have seen it:

The latter remains a special film not just for a lot of viewers, but its maker too; speaking with Collider, Proyas gave his thoughts on the idea of remaking it for modern audiences when questioned on the current efforts.

His last decade of films «W.» (too soon), «World Trade Center» (way too soon), «Alexander» (a disaster) and the sequel to his 1987 «Wall Street» proved he is completely out of touch with what modern audiences want in a cinematic experience.

Few of his silent films survive; though through the rediscovery of Delicious Little Devil (1919)-- one of his early titles with Mae Murray — modern audiences may note a high standard of quality filmmaking Leonard observed even then.

Directed by Steven Spielberg, one of America's most accomplished modern - era directors, the film is both technically and emotionally powerful, rudely propelling its audience into the sheer nightmare of the war arena in order to shock it out of its customarily passive role and engender some level of emotional identification with its key characters.

These films have been chosen (and ranked) based on how many laughs we think they are likely to generate for the modern audience.

Directors Jonathan Dayton and Valerie Faris have leaned upon the modern resonance of the film to engage with audiences.

The discussion, led by Film Comment Digital Editor Violet Lucca, touches on modern audiences» emotional distance from older works, the enduring power of the film medium, and the particular experience of younger generations of cinephiles.

Sena, who is known for making contemporary films that appeal to today's audiences, wanted to incorporate a modern twist into the historical backdrop of the movie.

Greeted by a rapturous standing ovation at its Sundance premiere — which precipitated it becoming one of the highest - selling acquisitions in the history of the festival, and the third consecutive film to win both the Grand Jury Prize and the Audience Award — this slick, funny and bruising high - school saga transcends its YA trappings by dropping the full weight of film history on a thoroughly modern milieu.

Willard aspires for an artsy intellectualism, in other words, in the belief that the modern horror audience is still hungry, seven years after Scream, for post-modernism in their horror films.

Forbidden Planet is one of the few «historically important» movies which are not deathly dull for modern audiences today and rather enjoyable on its own terms and not as a film school lecture.

These films connect with the modern audience because they depict resolve in the face of seeming hopelessness.

While it is difficult to condense a long Victorian novel into a modern two - hour film with wide audience appeal, Vinterberg pulls it off brilliantly with the aid of a fine screenplay by David Nicholls («One Day») and a great performance by Carey Mulligan.

The idea that a silent, black and white film could charm modern audiences seemed far - fetched until The Artist came along.

While this was also the case with many of the big films from those glory days (and perhaps is part of this production's mocking of that era), I'm not sure modern audiences will be bamboozled enough to overlook that deficiency.

But even so, it's not a film that plays particularly well to a modern audience.

As previously announced, the inaugural LFF Connects will feature British filmmaker Christopher Nolan, internationally acclaimed for some of the most original, compelling and successful films in contemporary cinema (Interstellar, Inception, The Dark Knight, Memento), and Tacita Dean, lauded for her art work in film (and whose grand - scale Tate Modern exhibition FILM transfixed audiencfilm (and whose grand - scale Tate Modern exhibition FILM transfixed audiencFILM transfixed audiences).

Rosenbaum took the time to praise DVDs for giving modern audiences a first chance as it were to experience a wide variety of films, but Dave Kehr counter-argued in the comments on Kevin's blog, as well as at his own site.

It will certainly be a most demanding test of a modern audience to not make a peep while watching a horror film.

The question is, do these films offer much to modern audiences, now that the revolutionary aspects are secondhand?

But it speaks to this still nascent anti-spoiler culture of cinema - going that is part of the modern undermining of film criticism, which, when done right, opens the minds of the audience to films that don't necessarily fit audience expectations.

Though modern audiences might notice that The Texas Chain Saw Massacre isn't as polished as its later imitators, that low - budget aesthetic adds to the film's grindhouse appeal and is part of why it's considered one of the most influential horror films ever made.

But for all of those problems with translating the film to a modern, and presumably newer, audience, not much else would actually need to change to retain the impact of the humor and what pathos the film tries to create.

Who Framed Roger Rabbit helped bring animation back to the masses with its huge success paving the way for modern animated films such as The Little Mermaid and Aladdin to be accepted by adult audiences as much as they are by children, just as Walt Disney intended for his animated films such as Snow White and the Seven Dwarfs, Alice in Wonderland and Pinocchio.

THE STORY OF THE GREATEST FAN FILM EVER MADE tracks how the film made it in front of an audience, and the filmmakers modern day struggles to complete one final elaborate and expensive sequeFILM EVER MADE tracks how the film made it in front of an audience, and the filmmakers modern day struggles to complete one final elaborate and expensive sequefilm made it in front of an audience, and the filmmakers modern day struggles to complete one final elaborate and expensive sequence.

The film A decade before «Basic Instinct» launched the era of the mainstream erotic thriller, Lawrence Kasdan reinvented film noir for a sophisticated modern audience with this sweaty tale of scheming femmes fatales.

We are a keen to develop a film version next as there's so much in the writing and concept that can work for a modern audience.

Even relatively straight modern spy films, like Kingsman: The Secret Service and The Man From U.N.C.L.E., knowingly wink at their audiences.

Never mind that the film is bookended with shots of the ash - preserved victims, they nonetheless leave very little to be preserved in the name of satisfying modern audiences» demand for disaster porn.

It's the modern day equivalent to 80s action films where the audience cheered on the heroes for beating bad guys heroes take down the unstoppable bully.

They also talk about making the film in general, from their desire to make Captain America relevant to modern audiences to their decision to keep the relationship between Black Widow and Cap platonic.

In this talk from legendary movie critic Leonard Maltin, audiences will be taken on a journey tracing the image of the Jew in films, from early stereotypes to cultural breakthroughs, from closeted stardom (Issur Demsky became Kirk Douglas, Betty Perske became Lauren Bacall) to modern - day box - office names like Ben Stiller and Adam Sandler.

Sure, to»70s audiences raised on the creaky likes of «Planet of the Apes» and TV's «Star Trek», that may have seemed like a lot, but why do modern movie lovers return so regularly and enthusiastically to this particular film?

The four two - minute documentary - style films, created by BBC StoryWorks, BBC Advertising's commercial content production arm, challenge the perceptions of traditional Britain, offering a modern take on the stunning landscapes, fashion, culture and history, and will air on BBC's commercial, international news channel, BBC World News, to an American audience between October 2017 to March 2018.

It's like modern horror films where the audience complain if they don't get to see the monster clearly, whereas a oldschool fan still holds that more often than not it's what you don't see that's more effective.

The comparison between film and video games comes from the way in which modern audiences consume stories.

Watch the artist perform a new work created especially for an online audience and filmed at Tate Modern

In combination with a film series, and live and artist - driven programming, Field Guide introduces the framework through which Remai Modern enters into dialogue with its local, national and international audiences.

«We are pleased to bring these pioneering film and video works to our audiences as a way to learn about the development of this media over the past 50 years and the impact it has had on modern culture.»

Sir Nicholas Serota, overall director of Tate, said Mr Dercon was helping to open Tate Modern «to a wider world and more diverse audiences» by staging a more international programme with photography, live performance and film.

In a statement he said: «Chris Dercon is helping to open Tate Modern to a wider world and more diverse audiences through his support for a more international program, photography, live performance and film.

In the spirit of multimedia editions of the past such as Andy Warhol's Index and the mid-sixties journal Aspen, The Sleepwalkers Box is designed to encourage audiences to create their own multisensory experiences as they explore a kaleidoscopic universe of printed images, motion pictures, and audio recordings drawn from Doug Aitken's groundbreaking 2007 Museum of Modern Art public film installation.

Serota said: «Chris Dercon is helping to open Tate Modern to a wider world and more diverse audiences through his support for a more international programme, photography, live performance and film.