Sentences with phrase «presenting early film»

Presenting early film footage together with souvenirs created by the artist and workshop participants from Ousedale School and Milton Keynes Arts Centre, the exhibition serves as a make - shift souvenir shop, designed to encourage a nostalgic look back at the early development of The Point entertainment complex.

MARC FOXX is pleased to present EARLY FILMS, including works by ALESSANDRO PESSOLI, AMALIA PICA, GUIDO van der WERVE & JENNIFER WEST.

Not exact matches

Nature Video presents five short films on this summer's Lindau Nobel Laureate Meeting, which brought early - career physicists together with Nobel Prize - winners

Nature Video presents five short films on this summer's Lindau Nobel Laureate Meeting, which brought early - career chemists together with Nobel Prize — winners

Nature Video presents four short films and an overview trailer on this summer's Lindau Nobel Laureate Meeting, which brought early - career biologists together with Nobel Prize — winners

District 9 is partly presented as a faux documentary (rather than a mockumentary, which is what Roger Ebert wrongly labels the film... there is nothing funny about this movie), detailing how 20 years earlier, a huge alien spaceship (think Independence Day) parked itself over Johannesburg and... sat there.

There is also tremendous texture on display, particularly in the early part of the film... I could practically smell the inside of the Rivera family's shoe repair shop because it is presented so vividly.

The «East Meets West» issue from 2004, which presented eleven essays comparing a single film from East Asia with an American film, is an early example of this attempt to be both comprehensive and expansive.

In fact, Hudlin's film only presents a single obscure criminal case footnote from Marshall's early NAACP days, one 14 years before Brown vs. Board Education and 27 years before joining the Supreme Court.

I was a big fan of Eastwood's Unforgiven, because it was a gritty, violent film in which the actor effectively deconstructed the stylized superficiality present in much of his earlier Western filmography.

After the premiere screening at Sundance of his wonderful debut feature «Kings Of Summer,» director Jordan Vogt - Roberts — responsible for the short «Successful Alcoholics» and a veteran of «Funny Or Die Presents...» — told the audience his influences for his first feature included early Amblin films like «The Goonies» with «elements of [Terrence] Malick,» and most surprisingly, «Bad Boys II.»

Haneke: I think that in my earlier films, like 71 Fragments of a Chronology of Chance and Code Unknown, I presented cross-sections of society, so this isn't quite uncharted territory for me.

About two - thirds of the new scenes were presented in the deleted scenes section of the earlier edition of this film: «Battle Aftermath,» «Looking for Strength,» «Dye Market,» «Meeting at Gracchus» House,» «Father and Son,» «The Execution,» «Spies Close In,» «Another Enemy,» and «Fighting with Fire.»

As with the earlier edition, both films are presented in anamorphic widescreen at the original aspect ratio of 2.35:1.

While the more critically esteemed New Wave cinema of Walkabout (Nicolas Roeg, 1971), Picnic at Hanging Rock (Peter Weir, 1975) and My Brilliant Career (Gillian Armstrong, 1979) presented a refined image of Australia, early genre films like Stork (Tim Burstall, 1971), The Adventures of Barry McKenzie (Bruce Beresford, 1972) and The True Story of Eskimo Nell (Richard Franklin, 1975) were seen as portraying a more crude side of Australian society.

Presented as a «sort of sequel» to Apatow's 2007 sophomore feature, Knocked Up, This Is 40 gives center stage to the earlier film's supporting characters: Los Angeles record label executive Pete (Paul Rudd) and his wife Debbie (played by Apatow's real - life wife, Leslie Mann).

(The elderly Ventura's claim to be «19 years, 3 months old» when asked his age early in the film connects directly to a later scene in an abandoned factory; mentions of a revolution that at first seem like science fiction are eventually revealed to be memories of the mid-1970s intruding into the present.

Mike Leigh's 1990 comedy Life Is Sweet, showing at the Trylon microcinema as part of a monthlong retrospective of the director's early films, presents an intimate portrait of working - class life in Thatcher - era north London.

While the math doesn't quite work out, the film at least tries to explain it by identifying Brolin, who's 44, as a weathered 29 - year - old (which would believably put the wrinkled present - day Jones in his early seventies).

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

Her Hannah is done no favours by sketchy early dialogue that presents her as a husband - hunting career obsessive with a «PG - 13 life,» one of too many clumsy nods to the film's own rating.

Rise of the Planet of the Apes also evokes a few clever references to earlier films: present, but never so strong as to intrude upon the story.

Gary's list of credits ranges from the music documentaries early in his career, to Pretty in Pink, Back to School, Ghostbusters II, Benny and Joon, Dolores Claiborne and a host of major film credits through the 1980s, 1990s, 200s and on to the present day.

Starring the bandleader Paul Whiteman, then widely celebrated as the King of Jazz, the film drew from Broadway variety shows of the time to present a spectacular array of sketches, performances by such acts as the Rhythm Boys (featuring a young Bing Crosby), and orchestral numbers overseen by Whiteman himself (including a larger - than - life rendition of George Gershwin's «Rhapsody in Blue»)-- all lavishly staged by veteran theater director John Murray Anderson and beautifully shot in early Technicolor.

Portions of this presentation were used in the earlier Blu - ray releases of «Pulp Fiction» and «Jackie Brown» but this disc presents an extended cut of the conversation, which you can watch straight through or access film by film.

Factory's «Roger Corman's Cult Classics» line of drive - in classics and exploitation items presents a pair of standouts that are both superb examples of their respective genres and early works by major American film artists.

And it invests Mowgli with a touch of optimistic environmentalist fantasy: where human mastery of fire and tools was presented in earlier films as a threat, and Mowgli's fated exit from the jungle as an unfortunate necessity, in this film the boy is shown using his ingrained ingenuity to solve problems beyond the capabilities of his animal pals, as when he builds a rappel and pulley system to help Baloo claim honey from a cliffside beehive he's been coveting.

Based on two earlier productions in the 1950's (one made for televison, the other for film), this remake of 12 Angry Men presents an even more colorful depiction of the responsibility of jury duty.

But the energy levels are low, not helped by the early stages of the film being anchored by the mumbling, laconic mess that Phoenix presents.

Subsequently it appeared when and where opportunity presented — including one year in the early 2000s when our host was the spiffy German film mag Steadycam.

That anecdote not only presents a fairly amusing mental image, but also suggests that Trank and company were looking to cast Mikkelsen as Miles Teller's Reed Richards, and not Doctor Doom, which should have been an early sign that the critically drubbed film was already headed off the rails.

Early in the film, the «Father» (each member is either referred to as a «Father» or «Mother) of the convent questions the church's place in present day Western Europe.

Vulture Festival presents an exclusive early screening of the film, I, Tonya, followed by a conversation with the film's director, Craig Gillespie, and screenwriter Steven Rogers.

If Amélie was the chic French import of the early» 00s, then Blue is the Warmest Color is the film du jour of our present day.

I immediately identified with the film's protagonist, solid A student Leigh Ann Watson (Katie Holmes), who, in an early scene, presents a much - worked - on project in her history class, only to have her presentation abruptly cut short by vicious barbs hurled by the class's instructor, Mrs. Eve Tingle (Helen Mirren).

Instead, Mickey, Donald, Goofy, and Pete comment on just one 5 - minute sequence from early in the film, presented in non-anamorphic widescreen.

By comparison, Diana's efforts to stop the Great War provide a sense of hope not present in films like Man of Steel or Batman v Superman, while also taking the superhero genre out of an urban environment and contrasting Diana's supernatural powers against early 20th century firepower and chemical weapons.

While making a stop at the Variety Studio presented by AT&T earlier in the day, Christian opened up about his heavier figure, which is for his role as former Vice President Dick Cheney in an upcoming film.

The only one of his films set in the present day, Safe stars Julianne Moore in one of her earliest upper - class California housewife roles.

Scott's early montages explaining Getty's accumulation of wealth and power (thanks to Saudi oil, among other things), intercut with the present - day (1973) kidnapping and family drama, give the first half of the film an energy that promises great rewards, a promise thereafter unfulfilled.

The film, the story of a lawyer's internal ethical dilemma and consequences of action also starred Colin Farrell, who was absent, despite having been present for The Killing of a Sacred Deer earlier in the festival.

Army of One is so bad and so thoroughly without merit that it actually made me like Charles» earlier movies less in retrospect, because it feels like the ugly, snide arrogance tainting every frame of Army of One is present in those earlier, better films, albeit in smaller, less toxic doses.

«Salinger & Whitman - Extended Scene» (11:23, HD) is a salvaged chunk out of an earlier cut of the film, nicely presented in HD.

A cult classic from an earlier time, Downey's wildly irreverent underground breakout film presents hilarious vignettes of an ad agency takeover by black nationalists.

In advance of the American premiere of the fully restored edition of Abel Gance's 1927 Napoleon in Oakland on March 24, Turner Classic Movies presents two of the auteur's earlier films: J'Accuse (1919), which appropriates the cry leveled by Emile Zola during the Dreyfus affair to decry the horrors of World War I, and La Roue (1923).

The script's lulls rarely go on for a full minute, a good example being when Hill interrupts a soccer game to tell Michael Cera their plans for the evening (and setting the present action limits for the film) and Hill calls a bothersome soccer player (Cera's in the middle of a game) a bed - wetter, recalling a bladder incident from eight years earlier.

So it's no shock that Lanthimos» latest film, titled The Lobster, combines elements of both those earlier movies to present us with yet another eerie black comedy that takes place in a sealed - off existence and places a higher affirmation on living unhappily with someone rather than being happy and alone.

Early word of mouth is that the film rounds out the «trilogy» that Spielberg began with Lincoln in 2012 and continued with Bridge of Spies in 2015 - movies that reflect on important moments in U.S. history and hold a mirror up to present - day political concerns and issues.

An early air - raid sequence is terrifically handled, cleverly presenting the open air and sunshine of the French countryside as a source of terror, while brief glimpses of executions and interrogations stand out starkly against the curiously cosy tone of the film.

So of course it's a risk for them to present a film very early in the year if it does not come out right away — a risk all the greater as the critical expectations at Cannes are maximum.»