Most films about love deal with the initial rush of emotion, when cheeks and hearts burn hot, with that thing that has been termed, most horrendously, as «meet - cute.»
Not exact matches
I can't argue with his marketing savvy — a month after its release,
Love & Friendship had already become Stillman's
most successful
film — but I also can't help feeling that we Janeites were onto something when we wondered
about the aptness of the new title.
Tom Levenson writes books (
most recently Newton and the Counterfeiter) and makes
films about science, its history, and whatever else catches his magpie's
love of shiny bits.
How you feel
about Kahlil Gibran's The Prophet, one of the
most visually stimulating
films of this or any year, depends on 1) how much you
love animation and 2) what you think of Kahlil Gibran.
«Clean» might be a
film in code
about the
most infamous of all rock - and - roll widows, but I hope not, since Allison Anders» «Sugar Town» had already done a fine job of eviscerating (again, in code) this woman, who nevertheless,
love her or hate her, arguably served the important and underrated function of muse for the troubled drug - addled musician.
This modest, enormously likable
film,
about love and temptation and ties that bind, is
about brotherhood
most of all.
Most of the
film is
about a
love story between down and out Andrew and epileptic Sam, who is making her way through life while keeping her disability a secret and trying to connect to someone besides her
loving and yet embarrassing mother.
A
film about sex, friendship, intimacy and
most of all,
love, Keep the Lights On takes an honest look at the nature of relationships in our times.
And even though I made the people I
love most in this world do and say some of the stupidest shit ever put in a movie, I was still very particular
about who would shepherd our
film into the box office wild lands.
Loving, however, should not be dismissed as one of 2016's
most important
films, especially now that we're
about to enter the darkest period of recent American history.
It's a
film about what is not said; filled with painfully reserved people unable to express their feelings
about life,
love, right and wrong until it's too late; the sort of movie where the
most action - packed scene is a maid asking to borrow a book.
The
film is more
about the
love stories between Tim and Mary and Tim and his dad and how he can make the
most out of his time with both of them.
In fact, it so desperately wants to capture that beatnik - y place and tone where crime
films and swinging London met that it just seems to try too hard, slathering the movie with music, trippy visuals and other elements that just can't make up for the deficit of a weak and blandly told story
about a ex-con (Colin Farrell) hired to look after a reclusive young actress (Keira Knightley) who finds himself falling in
love, which of course puts himself in direct confrontation with one of London's
most vicious gangsters.
The documentary is mainly comprised of interviews, many with the director himself in his apartment, but the highlight for
most will be the scene of Tarantino and De Palma talking
about the similarities in their careers of having to deal with public attention regarding the violent content in their
films (this comes after an extended sequence featuring Tarantino explaining his
love for De Palma, which includes a personal scrapbook of printed interviews and a description of the influence that Casualties of War had on certain elements in Reservoir Dogs).
European titles include La Grande Bouffe, Marco Ferrerri's
most notorious
film which unsurprisingly never received a theatrical run in Ireland in 1973 (given that it's
about four friends who gather together one weekend to eat themselves to death), and Catherine Deneuve in Les Desmoiselles de Rochefort, Jacques Demy's exuberant
love letter to American musicals.
Gray speaks to us
about not directing Phoenix, his personal links to his
films, and what he
loves most about NYC.
Quentin Tarantino has, and will
most likely always be my biggest influence as an aspiring filmmaker, and his latest
film highlights everything I
love about his style.
What I
love most about Slant is that its
film critics are wrong on nearly every
film.
There are lots of other things I could say
about the
film —
most of the music seems incongruous and yet is utterly fitting, which I
love.
Tonkin charts Greene's
love for
film through the decades — from his years as a famed
film critic (during which he wrote, Tonkin says, «perhaps the
most notorious notice in the history of
film criticism»
about Shirley Temple) to his days as a movie insider and collaborator with such luminaries as Alexander Korda, Alberto Cavacanti, and, of course, Reed, with whom he made his
most lasting mark on the medium.
Most festivals try to program
films that bring celebrities to town, others try to program every last
film they can think of, but Fantastic Fest is all
about the people - the movie lovers with real grit, who
love to find great
films even if they're horror flicks from Spain or hip hop musicals from Japan.
Jesus Chris, I know Spike has never been the
most «tactful» or «low - key» presence in
film, and we
love him for it, but can he PLEASE shut the fuck up
about the Eastwood thing?
For their new
film @DisobedienceMov, Rachel McAdams and Rachel Weisz talk
about «the
most raw and vulnerable
love - making scene» they've ever done.
I also
loved the punk rock nihilism of Buzzard — another movie
about escalating disasters — and Spike Lee's heedlessly over-the-top Chi - Raq, a sex comedy
about gun violence that I'd argue is the
most vital
film of the year.
by Walter Chaw Alan Parker likes to use his platform as a
film director to preach
about all manner of society's more obvious ails, reserving the bulk of his ham - fisted proselytizing for the problems he himself identifies as endemic to the United States: hedonism and drug abuse (The Wall, Midnight Express); the price of a culture of fame (The Wall, Fame); the price of Vietnam and our broken social services system (Birdy); the rampant Yankee tragedy of divorce (Shoot the Moon); racism (Mississippi Burning, Come See the Paradise); our
love / hate / fear relationship with food (The Road to Wellville); and,
most recently (and egregiously), the death penalty (The Life of David Gale).
But what's fascinating
about the
film's premise is that it gives Tanne more character detail and topics of conversation to work with than
most filmmakers have when they're telling a
love story.
And now, with The Florida Project — one of the
most highly buzzed -
about films at the 2017 Cannes Film Festival, where it premiered in the Directors» Fortnight section — Baker's skill as a
loving humanist chronicler of America's garish forgotten places has ripened into something truly marvelous.
And even though I made the people I
love most in this world do and say some of the stupidest s — ever put in a movie, I was still very particular
about who would shepherd our
film into the box office wild lands.
What surprised me the
most about The Disaster Artist is the fact that the
film feels like a
love letter to dreamers while celebrating friendship, drive, and passion.
What I
love most though is how these two want to work, the projects they talk
about, and how those projects will not only change the conversation
about diversity in
film but also begin a new conversation
about black
film.
Here are a few of the
most interesting, entertaining and vibrant
films about aging folks who continue to live,
love, chase their dreams, fight for their independence, defy society's expectations and, when necessary, rage against the dying of the light.
I
love how this
film showed another story
about my two favorite cats Muta and Baron from the Whisper of the Heart movie; and how this movie stuck with that basic format used for
most Japanese
films.
Written and directed by filmmaker Richard Curtis (Notting Hill, Four Weddings and Funeral,
Love Actually) and Mat Whitecross (Spike Island, Road to Guantanamo) and created by The Rumpus Room, people around the world have the chance to co-star alongside some of the world's
most famous people to help «Tell Everyone»
about the Global Goals by adding their voice to the
film.
Having played supporting roles in
most of his previous
films, Domhnall found the chance to show off his potential as a leading man in Richard Curtis» romantic comedy
About Time with Rachel McAdams as his
love interest.
It's why I was curious
about Dorota Kobiela and Hugh Welchman's insane
Loving Vincent, a feature - length
film composed of over 65,000 hand - painted oil paintings, animating Van Gogh's
most famous paintings and making characters of his subjects.
Like
most films of its ilk, Walk Hard may go too over-the-top to prove itself, but there is something charming
about it, underscored by its genuine
love of music and affinity for musicians.
I think what turned me off the
most about the
film was the unwavering and blind
love of the Nolan fanboys.
The Newell
film Harry Potter 4
most resembles, however, is Four Weddings and a Funeral (his conduit to the big time and, consequently, the one he's
most likely to cannibalize when handed the golden ticket), in that this third sequel tries to worry itself
about the trials of youngsters falling in puppy
love, going to their first formals, and learning that there are such things in the world as death and taxes.
At its core, this is one of the
most incisive, penetrating, and empathetic
films ever made
about what it truly means to
love another person, audaciously disguised as salacious midnight - movie fare.
In his first lead role, Affleck plays a magnificent doofus, and a problematic story
about a Catholic guy who wants to date a lesbian shifts gradually into perhaps the
most honest
film made
about love in the 1990s.
Fisher, who was known
most for having played Princess Leia in the popular epic space - opera
film franchise, spoke to Ridley
about the way stardom would impact her search for
love and said that her personal life was set to become more complicated, reports mirror.co.uk.
But for all that, «Annie Hall» is hands down the
most hilarious
film ever made
about love, hysterically funny and packed with gags.
Perhaps the
most remarkable aspect of the movie is how current it manages to be, including references to «The Dark Knight» (well, to Batman, anyway) and just
about every
film to make back its budget in the last year — and then it kicks «Speed Racer» and «
Love Guru» while they're down, for good measure.
Charlotte Rampling and Tom Courtenay co-star as a married couple
about to celebrate their 45th wedding anniversary when news comes that the body of the husband's first
love has been discovered, frozen and preserved in the Swiss Alps... And if you want to see a
film directed by Alan Rickman, watch out for A Little Chaos starring Kate Winslet and Matthias Schoenaerts... And this week's
most stupid remake is the pointless «reboot» of Point Break to be directed by someone called Ericson Core, who seems to think that Gerard Butler can fill Patrick Swayze's shoes.
It's So Easy and Other Lies (Masa, Expansions, KEXP Blog) NEW Interview: «808» Producer Alex Noyer (Masa, Expansions, KEXP Blog) NEW Two Movies Co-Exist in «
Love Among the Ruins» (Tony Kaye, City Arts) NEW Rock Radio Royalty (Tony Kaye, City Arts) NEW SIFF interview: The creators of «The Automatic Hate» talk
about one of #SIFF2015's
most unforgettable
films (Chris Burlingame, The Sunbreak) NEW All Things Must Pass (Janice Headley, KEXP Blog) NEW The Glamour & The Squalor (Chris Estey, KEXP Blog) A Rock and Roll Beach Movie of the Mind (Tony Kaye, City Arts) Creative Control (Cat McCarrey, City Arts) SIFF Thriller «Circle» Isn't Spinning its Wheels (Tony Kaye, City Arts) PNW Filmmaker Ventures into the «Valley of the Sasquatch» (Tony Kaye, City Arts) «Uncertain» Sets the Bar for SIFF Documentaries (Tony Kaye, City Arts) 808 (Chris Estey, KEXP Blog) Itsi Bitsi (Chris Estey, KEXP Blog) Don't Think I've Forgotten: Cambodia's Lost Rock and Roll (Chris Estey, KEXP Blog) Beats of the Antonov (Janice Headley, KEXP Blog) Is There a Way Forward for Superhero Movies?
What Crowley and Hornby achieve is not only a compelling
love - story of the old - fashioned kind, but they choose, tellingly, to make the
film's
most pertinent points
about Eilis» self - discovery and journey.
A buoyant
film about deep sadness and political disquiet, and quite the
most fucked - up
love story out there.
Ultimately the men realize that sometimes our
most important experiences come later in this lush
film about life,
love, death and art.
What I
loved the
most about this
film is the unbiased look it takes at such a terrible situation.
Chattanooga Film Festival 400 River Street Chattanooga, TN 37405 Chattanooga Theatre Centre April 5 - 8th The Chattanooga Film Festival
loves everything
about cinema: the
films, filmmakers and audiences; the critics, collectors and curators; and
most especially the popcorn.