Sentences with phrase «other film front»

Other film front - runners include the coming - of - age story «Boyhood» and World War II code - cracking drama «The Imitation Game,» which have five nominations each, including best picture (drama).

Not exact matches

As Fury progressed, I began to think about war films like All Quiet on the Western Front and others that might be defined as anti-war war films.

And, without doubt, viewers will feel this film's big ideas piling on top of each other, in the heavy events that thrust racial quandaries front and center, and in the zippy - academia dialogue that implies Dawson's Creek was also an inspiration.

Despite some intermittent pacing issues and some horrendous sound quality problems during the first 30 minutes, the film delivers on all other fronts, with superb performances from its excellent ensemble cast (especially protagonist Cliff Curtis) and a nuanced script that tackles its complex story line on multiple levels.

A successful stage director in New York by the late 1920s, George Cukor began working in Hollywood as a dialogue director and filling other uncredited crew roles on such films as All Quiet on the Western Front.

It's not as fun as other comic book films, but we get a better sense of the man in front of the cape and an actual Superman movie throwdown that sets the stage for an exciting new chapter of DC films as we start the countdown for «Batman vs. Superman.»

Her speech was as powerful as Meryl Streep's was last year and watching her be elevated along with the other women and female - fronted films and shows that won made for a refreshing and progressive evening.

At times, the film is so raw and real that one wants to pause and call Child Protective Services, however, there is even empathy for trashy, tattooed mom Halley (Bria Vinaite) who might smoke in front of impressionable daughter Moonee (Brooklyn Kimberly Prince), among other awful things, but will do anything to keep a roof over her head and food in her stomach.

«The film forces the viewer to ask why others didn't try to do what Oskar Schindler managed,» the daily Frankfurter Allgemeine Zeitung observed in a front - page editorial.

The film operates chiefly as a character piece: on the one side is a group of left - wing radicals fronted by Brigitte Kuhlmann (Pike) and Wilfried Böse (Daniel Brühl); on the other sits Israel's top brass including Prime Minister Yitzhak Rabin (Lior Ashkenazi) and Defence Minister Shimon Peres (Eddie Marsan, late for his The Death of Stalin audition); and in the middle Nonso Anozie emphatically steals the show as Uganda's chuckly despot Idi Amin.

It will play in front of the other Kate Winslet film out this season — The Mountain Between Us.

He's one of the greats, so for me, it's a privilege to have him on the movie and to give him sequences, and like Daniel says, you're making four movies and every section of the film feels so distinct from the other, feels so alive, it kind of regenerates in front of your eyes really, the film.

He's a perfect Michael Mann hero, in other words — a master at what he does with a hidden romantic side, and Day - Lewis» the quietness of Day - Lewis» performance makes his few stirring speeches (his offered self - sacrifice, the famous «I will find you» to Cora in front of the waterfall) all the more potent because Day - Lewis» face and neck seem to be summoning up all of the energy he's kept conserved in his body throughout the rest of the film.

His dazzling film Dunkirk — a whirring, ticking, intricate product of his singular brain — has had a long journey from summertime front - runner to whatever it is now, and there was some concern that all his relatively cold technical acumen might be overshadowed by the more affective filmmaking of these other auteurs, laying their hearts on the line.

Lady Bird and Get Out were also snubbed in the best - film category, which instead includes other awards - season front - runners like C.M.B.Y.N., Darkest Hour, Dunkirk, The Shape of Water, and Three Billboards.

Sony Pictures Classics, who typically dabbles in foreign films and art house fare (and interestingly hides their usual branding from the front cover here), opened this wider than they have any other film, in over 1,000 theaters.

The other plot holes are so numerous I have no room to elaborate but I continue to be bewildered at how many people were so dazzled by the special effects and novelty of a new Jurassic Park film that they not only dismissed the absurdity happening in front of them but praised a film that pretty much spits on its source material.

Added to this, it's possible that the film's other female characters are in fact ladyboys, including Mai, who at one point is seen masturbating in front of Julian as he sits paralysed in a chair.

They'll get a chance to continue if the film is shut out in top categories, but for now, it's a «made film,» a legit contender with the other big boys and probably an early front - runner, alongside the aforementioned Coen brothers flick and Michael Clayton.

Watching a young teen parade around her house in front of family and Joe practically nude, along with other scenes I can't describe, made me question why this film was made and who would watch it.

There's no single path that leads to directing a film — some dive right behind the camera as their first job, others work up to it after years of toiling as assistant directors, and then others get the gig because of their work in front of the camera coupled with the right amount of curiosity.

The DD 5.1 remix of the previous edition is ported over, on the other hand, and remains front - heavy and unimaginative, much like the film itself.

A film in which Daniel Radcliffe plays a talking corpse and the fact that Paul Dano's character can't fart in front of other people is a major plot turning point is going to engender divisive responses.

The list of icons making appearances was truly unprecedented: Superman soars twice — once in the «return» and the other as Ben Affleck; Crockett and Tubbs exude cool; Ethan Hunt falls short; Captain Jack Sparrow sets the stage for the finale; Jack Black sometimes wears stretchy pants; Huey Long is resurrected and somehow over-played by Sean Penn; the mass appeal of the DaVinci Code novel fizzled onscreen; Robert Altman's amazing career ended with an excellent adaptation of a radio series starring Garrison Keillor's made for radio face; Johnny Depp tried to untrack his career with The Libertine; Nicolas Cage was front and center in the disastrous remake of The Wicker Man, but if the preview is any indication, his sleep - walk was merely a tune - up for this year's Ghost Rider; Woody Allen (with Scarlett Johansson as his muse) re-emerged with his best comedy since Crimes and Misdemeanors; amazingly, Jen and Vince's real life break - up was more entertaining than the film version; and while on - set hook - ups seem to the norm, how could the dreadful You, Me and Dupree have been an aphrodisiac for Kate and Owen?

The film, directed by «Atonement» and «Anna Karenina» helmer Joe Wright, also includes some other familiar faces, including Rooney Mara as Tiger Lilly, Amanda Seyfried in an unknown role, and Adeel Akhtar as Smee, but the big headliner is Hugh Jackman as fearsome pirate Blackbeard, and the star's front - and - centre in the first images from the film, which just debuted on EW today.

Meryl Streep got to her feet, and when the others did, too, all throughout the auditorium — from the stars out front to the short film nominees way in the back — McDormand said, «We all have stories to tell and projects we need financed.»

Like the other remixes, it's not consistently active in the rear channels, mostly staying in the front for the endurance of the film.

The magic of their relationship carries over to the film as a whole, making it easy to accept the more unlikely love stories that linger in the background: one between an English teacher (Wong Kar - Wai cinematographer Christopher Doyle, taking a turn in front of the camera) and a prostitute; and Xiaojun's aunt's fond remembrance of a romance with none other than William Holden.

«It was really cool because it's really rare to have something in front of you like that and with so many other films there's so much CGI while a guy is holding a tennis ball and waving it around and you have to look at it and imagine that it's something big and crazy.

Later that day the children filmed each other in front of a map of the UK giving the weather report after watching some weather reports in the local news by using the ideas from the sheet and other ideas of what the weather type was to suggest activities to do that day.

Regarding film rights to your book (or translation rights, or any other rights), with a traditional publisher, your agent would negotiate these rights up front and the details would be covered in your book contract.

Every car has its own unique persona inspired by the Cars films such as Lightning McQueen exclaiming that «Lightning is about to strike», while expressing in true Cars style as the windscreen contains two eyes and the front grill is the mouth of the car which moves as the cars are talking to each other, smiling or looking determined to win the upcoming race.

In Rä di Martino's (1975, Italy) video Petite histoire des plateaux abandonnés (2012), two children recite lines from the 1962 film Lawrence of Arabia in front of the abandoned backdrops of this and many other films that have been shot against the surrounding Moroccan terrain.

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.

In the installation «The Other» (2007), strips of film, presented hanging in front of light boxes, document an action photographed by Jan Mancuska in which a woman applies paint to all those parts of a man's body that he can not see himself.

This fallacy is promoted by other notable non-experts, such as oil billionaire David Koch and junk scientist Craig Idso, who produced propaganda films for the Greening Earth Society (a coal industry front group).

But instead of choosing something logical to criticize in the film, Swier's review turns into an unveiling of his own delusions because he quickly likens the Na «vi tribe to the Earth Liberation Front, Animal Liberation Front and other groups and claims it's «perfect eco-terrorism recruiting tool.»