Sentences with phrase «western as a genre»

It demands from its viewers not only an appreciation of the Western as a genre but a willingness to experience some difficult and unpleasant scenes.

It's a big year for the western as a genre.

The classic western had all but already faded away, so thinking about the Coen's version as being such a classic western (though I'd argue with enough of a darker tone and elegiac ending that it's edging toward revisionist in tone if not in content) after so many years of revisionist westerns is interesting in relation to the original True Grit being almost a throwback to earlier western styles itself, as 1969's westerns generally blew the lid off classic westerns as a genre.

1:00 pm — TCM — The Naked Spur One of several westerns that teamed director Anthony Mann and James Stewart in the 1950, this one is a fine example of the darker turn that both the western as a genre and Jimmy Stewartís roles took in the hands of Anthony Mann.

12:00 N — TCM — The Naked Spur One of several westerns that teamed director Anthony Mann and James Stewart in the 1950, this one is a fine example of the darker turn that both the western as a genre and Jimmy Stewart's roles took in the hands of Anthony Mann.

Not exact matches

Besançon first earned his reputation as a historian of Soviet politics and of Russian nationalism (toward both of which he entertains understandably dim views), and he thinks that the Russian nationalists of the nineteenth century, among their other sins, killed the genre of icon «painting when they began to praise the icon's superiority over Western art.

The genre of the book of Esther has been debated, but very few scholars would identify this as a strictly historical text, particularly based on our modern, Western understanding of history as a relatively objective recounting of facts.

The story is well crafted and it is a film that resonates well, as Jodorowsky crafts a film that is very unique in the Western genre, a film that displays certain ideas that are the director's trademark.

Moviemaking geek Quentin Tarantino continues his mission to apparently make at least one movie in every major genre with an expansive Western which can't really pass itself off as a Spaghetti Western despite having the typically bloated running time of one of Leone's epics.

It's ultimately clear, though, that Hajdu is looking to riff on the Western genre, as the film boasts many of the beats and developments one expects from such an endeavor.

While the film's reach exceeds its grasp when it comes to deconstructing the western genre and the real life history that it reflects, Hostiles nevertheless makes for a respectable mood piece, as well as an acting showcase for its main leads.

A new generation of brilliant filmmakers such as Quentin Tarantino and Robert Rodriguez have rediscovered and embraced this cutting edge genre; introducing story elements and developing a visual style influenced by the maestros from the Banned Western Channel.

As great as Clint Eastwood's Unforgiven is, it seems to have ruined the American western, a once - fluid genre now mired in brooding, speechifying, stick - figure characters, and smugly gruesome violencAs great as Clint Eastwood's Unforgiven is, it seems to have ruined the American western, a once - fluid genre now mired in brooding, speechifying, stick - figure characters, and smugly gruesome violencas Clint Eastwood's Unforgiven is, it seems to have ruined the American western, a once - fluid genre now mired in brooding, speechifying, stick - figure characters, and smugly gruesome violence.

Like most films in this overworked genre, it's as formulaic in its own way as a John Wayne western, and the characters and situations all have a gnawing predictability about them.

The show cymbal - claps the disparate genres of futurist sci - fi and nostalgic Western as it tells the story of a theme park (the titular...

How much research did you have to do in the period, and as a Scotsman, where you at all worried about taking on the MIGHTY western genre that is almost sacred to American movie culture?

Robert Totten / Don Siegel — «Death Of A Gunfighter «(1969) A flawed, but nevertheless interesting, minor Western that fits neatly into the revisionist movement in the genre at the end of the 1960s / beginning of the 1970s, «Death Of A Gunfighter» is best remembered as the film that birthed the name «Alan Smithee» (or here in its original spelling, «Allen Smithee»), which became the standard DGA pseudonym when a director took their name off a movie for the next thirty years.

For example, as the western genre has sought to eulogise the mission of white settlers, for a long time Native American characters were rarely, if ever, translated (when Native languages were used — often it was gibberish, or even English dialogue played backwards).

However, «Hostiles» finds its footing as it begins to reckon with the moral underpinnings of the Western genre.

Now that he's given us a talky, indoor Western, one wonders what other strange genre mashups Tarantino has in store — perhaps a black - and - white musical staged as a radio play?

Following the success of 1971's Dirty Harry (a role The Duke turned down), Wayne set out to make his own modern Police dramas as the Western genre's peak had come and gone.

Although not nearly the classic in the Western genre as Leone's other films, as an entity unto itself, especially when considering the works of a master director, its complexities make it more than worthwhile.

As For a Few Dollars More is sandwiched between the film that set the trend for Spaghetti Westerns, A Fistful of Dollars, and the one that would prove to be a masterpiece of the genre, The Good the Bad and the Ugly, its quality is often forgotten.

This theme was so effective that it led to many declaring the end of the Western as a movie genre.

But one of the most refreshing aspects of The Last Stand, despite its foreign inflection, is its acceptance of both western and action - film conventions on their own terms, refusing to regard itself as operating outside of or superior to the genre; it aspires instead to simply be a great example of classical genre filmmaking, a modest but nevertheless admirable goal.

It's almost as if a conscious effort has been made to make this mix of western, sci - fi and time travel genre elements as banal as possible.

The Assassination of Jesse James by the Coward Robert Ford is a work of great majesty; The Proposition is as searing as anything that came before it; while Tarantino fused his love of the genre and contempt for the slave trade in Django Unchained, which managed to be both incendiary and huge amounts of fun; The Homesman and Meek's Cutoff gave the western a stirring feminist spin; and last week's Jauja (a similarly Danish - American mash - up, this time South American) played with genre tropes to produce something surreal and unforgettable.

He'd better hope they're not the types who dig westerns (films about the law of the gun, machismo, etc), as his new one is a riff on this most American of genres.

Korean filmmaker Kim played with the Western genre before in his wacky 2008 pastiche The Good the Bad the Weird, and this film is just as chaotically uneven, mixing cartoon - style silliness with grisly violence.

An underappreciated heavy in twenty years of Hollywood westerns, his incredible breakthrough in an incredible milepost of the genre arrived with the western's last breath — as Harmonica, likewise a stoic avenger, in Sergio Leone's Once Upon a Time in the West.

Wholly derivative, as most modern Westerns tend to be, this manages to be entertaining due to its likeable cast, and some wonderfully quirky writing, which was co-written by none other than John Carpenter, director of other genre - busting B - movies like Big Trouble in Little China and Assault on Precinct 13.

Young auteurs took the western, the detective movie, the sci - fi flick, the gangster film, and even the «inspirational teacher» genre, and turned them into films as smart and subversive as those below.

When The Assassination of Jesse James by the Coward Robert Ford came out in 2007, a lot of people believed a new golden age of the Western genre began, with both financially and critically successful movies such as James Mangold's 3:10 to Yuma, John Hillcoat's The Proposition or the Coen brothers» No Country for Old Men.

by Walter Chaw From John Ford to Akira Kurosawa to Sergio Leone then back to the United States with Sam Peckinpah's The Wild Bunch, trace the odd, international lineage of the American western genre as the seeds of its own completion are sown by Ford, only to be harvested a few decades down the line with a singular bloodbath south of the proverbial border.

The legend of the Western genre made an anti-Western that can be interpreted as a beautiful, moving eulogy to the Man with No Name character that made him immortal.

Well, if we look at other Korean genre films such as Kim Jee Woon's western THE GOOD, THE BAD, THE WEIRD, and Bong Joon Ho's creature feature THE HOST, South Korea certainly has a way of injecting a fresh voice into a tired and familiar genre.

Dead Man Year: 1995 Director: Jim Jarmusch Jim Jarmusch directed this post-modern examination of the western film genre as American pop culture finally began to veer away from the expected western films.

Whilst playing Call of Juarez I couldn't help but think of Clint Eastwood classic «The Good, the Bad and the Ugly», not only as a good representative of the western genre but also at how appropriate the title seemed.

Tarantino once again shows his unparalleled love of cinema as he personifies the spaghetti western genre in the same regards and respect as he accomplished with Death Proof for grindhouse films.

The martial arts plus movie, like the Spaghetti Western, the neo-noir and the collected works of Martin Scorsese, Quentin Tarantino and the Coen Brothers exists as not as a genre in itself but as a response to, subversion of or homage to a previously established genre.

Now we see a western that takes one of the stars of the latter, Kurt Russell, and puts him in a genre mash - up film as the western goes horror.

Billed as the first Iranian vampire Western, writer - director Armipour's film certainly borrows heavily from the tropes of that genre, featuring as it does a lone stranger dolling out bloody vigilante justice to those deemed deserving.

The movie is constantly surprising, offering twists here and there on the Western genre as a whole while also shining a light on a topic that has rarely been explored: the role of women in the mid 19th century.

It's the only viable approach to the Captain John Smith / Pocahontas story in a minefield of debris strewn by not only our Western genre tradition, but also our newer guilt at how American Indians have been (and continue to be) portrayed in our culture: the most bestial, savage notions of the Natural have come around to their personification as an unsullied, Edenic embodiment of an impossibly harmonious nature.

And it does seem that in Hombre, the entire western genre is «going bad»: the costumes aren't quite as clean, the colour of the hats not so sharply delineated, the lone hero archetype is marred (though not irrevocably) by the assassination of JFK (the «irrevocably» part will come with the assassinations of RFK and Martin Luther King, Jr.), and the manifest morality of incursions against indigenous peoples shaded with uncertainty now two years after the Gulf of Tonkin Resolution.

Seeing as the Western is going through a small but notable revival, it's only logical that some total swill should come along, lest anyone get to thinking that the genre only ever produced interesting movies.

Revisiting and reworking the Western genre for a second time, after 2012's Django Unchained, Tarantino's latest communiqué from the American frontier ensues in the years following the Civil War where race relations run reprehensible as eight rogues diverge together at Minnie's Haberdashery — a stagecoach chalet in the Wyoming mountains — just as a blizzard touches down.

Contemporary cinema may be deep into a phase of emphasising western - like aspects in everything from horror to action movies, and fashioning revisionist takes as well; however, at the heart of this fascination sits the timelessness of the genre's core elements.

Today marks the birthday of legendary Italian director Mario Bava, who is undoubtedly best known for his major achievements in the «giallo» horror genre (although he created works ranging from spaghetti westerns to science fiction films as well).

Phedon Papamichel re-invented the western genre as a modern actioner in «3:10 to Yuma.»