Sentences with phrase «western film you've seen»

Not exact matches

EASTWOOD: I had seen... No I hadn't, I saw it at a theater down on Western Ave. that did foreign films and they were doing Yojimbo, a Kurosawa film with Toshiro Mifune as the lead and I thought well this picture's great but nobody had the nerve enough to make it as a Western.

Among the many important conversations this film brings to the fore, RELEVANT saw an opportunity to highlight in a satirical way some of the ways that colonialism has (and continues to some degree) to influence Western missions.

Most of the first movie was filmed in and around Western North Carolina, and I love seeing those lush forests and rolling hills again.

Anyone who has watched a Buffalo Bills game in Western New York has probably seen Schumer's commercial filmed at a tailgate party in front of the team's stadium.

But Persepolis, based on the graphic novel by Marjane Satrapi, manages what no other film has managed: to present Western audiences with a must - see tale of growing up in Iran, combined with an entertaining and accurate potted history of the country since the fall of the Shah.

Fans of Cooper's previous work will want to give this one a look at some point, as will those cinephiles interested in seeing what this film has to add to the larger trend of revisionist westerns released over the past decade.

It is a welcome surprise to see a lighthearted Western that places its importance more on the characters than on the famous real gunfight depicted - and the deep - focus shots are beautiful -, but still the film has trouble with maintaining the focus and pacing in the second act.

Aside from «Rio Bravo,» there aren't many obvious Western references in Tarantino's script, but in seeing it performed Sergio Corbucci's 1968 film «The Great Silence» seems an apt spiritual companion.

The demand for a revival is perhaps not so surprising given the fact that Dominik's beautiful and languorous western is both one of the most critically praised films of this century and also one of the least seen.

The directors deep admiration for the great American master John Ford is seen within the film, and though the film is not a western, like Ford, Spielberg captures the stunning majesty of the horse.

The film opens on Christmas 1947 at a party where affluent Palestinian woman Hind Husseini (Hiam Abbass, best known to Western viewers from The Visitor, though she also appeared briefly in Munich) interacts genially with everyone from the English hostess (a briefly seen Vanessa Redgrave) to an American soldier (slightly less brief Willem Dafoe).

Elizabeth Olsen has joined the cast of RatPac Entertainment and Bron Studios» I Saw The Light, the film about the life of country western singer Hank Williams.

This film is where it all begins, and a must see for any Western fan.

For example, Spike Lee said of Django Unchained that slavery was «not a Spaghetti Western» and he wouldn't «disrespect his ancestors» by seeing the film; Denzel Washington had a long feud with Tarantino over what he also felt were the director's racists sensibilities.

The film certainly pushes a fairly bleak outlook on life, like most westerns, and is definitely not the kind of story you'd go along to see for «fun».

Of the more than 40 films he's directed this century, I've only seen a handful, but Yakuza Apocalypse is firmly in the tradition of earlier films like Sukiyaki Western Django, 13 Assassins and his remake of the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narratives.

I remember cheering loudly the many wins for «Amadeus,» «Out of Africa» and «Platoon» three years in a row, and though I believe «Goodfellas» is a better film, I was pleased to see a western, «Dances with Wolves,» win seven Oscars.

Prepare yourself for the most tension - filled Western film you've seen in a very long time.

«When Western culture came in, it was like a tsunami because we'd been closed off for so long,» Zhao says, rattling off the titles of films she remembers seeing: «True Lies,» «Sister Act,» «Aliens,» «Indecent Proposal,» «Pretty Woman.»

And before this year's sudden glut of Costner fare, the actor hadn't been ubiquitous since the 1990s, a decade that often saw him star in up to three films per year, and one that kicked off with Dances with Wolves, a western that nabbed seven Oscars, including Best Picture and Best Director for Costner.

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.

Lynne Ramsay is a tremendously talented director, as anyone who has seen her films We Need to Talk About Kevin and Ratcatcher can tell you, which makes the latest ripple in her career quite a bummer: When production began Monday on her latest film, the Natalie Portman - fronted Western Jane Got a Gun, Ramsay was nowhere to be found.

S Craig Zahler's first film, Bone Tomahawk, was an idiosyncratic western the likes of which had never been seen before.

I thought it was a very iconic western film and role for Wayne but no one has seen it.

sees Laurentz exasperated to discover Western film star Hobie Doyle cast as Merrily We Dance's romantic lead; resulting in the film's standout comedic bit, in which Laurentz tries in vain to teach Doyle the elegance of the Mid-Atlantic accent.

Another interesting aspect of See No Evil is that it is one of those films that came out in the late 60s / early 70s which expressed a serious concern about the level of sex and violence in Western society and whether it was a sign of the End Times.

Then there's Hitchcock's Dial M for Murder on Thursday, which I can't believe we haven't seen in this feature before, and Sam Peckinpah's Ride the High Country on Friday — a film which sits, like many of Peckinpah's films, right on the cusp between traditional and revisionist westerns — and Jean Cocteau's poetic Orpheus late on Sunday.

Well mommy and daddy probably will not if they see this highly amusing Red - Band teaser for the film that proves that Quentin Tarantino isn't the only director who can re-purpose Japanese school - girls and severed limbs into something distinctly Western - Hemisphere.

And a month or so before Star Wars is finally unveiled, we'll see him in The Revenant, a snowbound western from Birdman director Iñárritu, which Gleeson is currently in the midst of filming up a freezing Canadian mountain with Leonardo DiCaprio and Tom Hardy.

The otherwise humourless Young Guns begins with a hilarious sepia - toned introduction — evocative less of western serials than of a MAD MAGAZINE spoof of them — to the film's six main stars (Estevez, Kiefer Sutherland, Lou Diamond Phillips, Charlie Sheen, Casey Siemaszko, Dermot Mulroney) via close - ups of each in which they invariably sneer, spit tobacco, lower their bandanna, and tip their hat — you half expect the screen to go wavy and see Ralphie from A Christmas Story transfixed in reverie.

The Magnificent Seven isn't only a great western, it's also the best action film I've seen this year.

It's oddly romantic for a western, lost love being the driver of the action, and incredibly well performed, especially breakout Caren Pistorious who I genuinely hope to see in more films soon.

Kim Jee - woon is a Korean director who has been able to make dark and gruesome films («I Saw the Devil»), chilling tales («A Tale of Two Sisters») and of course, a couple of fun ones, including his Western - style flick «The Good, The Bad, The Weird,» and the Arnold Schwarzenegger comeback film «The Last Stand.»

These companies obviously see the potential of growth and likely are putting systems in place to make it a lot easier for well - made Chinese films to possibly enter the western markets again.

Eastwood's film is dark and brutal, leavened by some deadpan comedy, a tour de force performance from Gene Hackman, and a sly encapsulation of the history of the Western genre, as seen through the eyes of a pulp writer played by Saul Rubinek.

To a western audience, Riyadh might feel almost as alien as the Bathtub, and Al - Mansour shoots the city, and the world, with both the back - of - the - hand expertise of an insider, and the careful eye of an outsider (she went to film school in the U.S, and had to direct mostly from the back of a van, lest she be seen doing the job in public).

The resulting film is both minimalist and evocative, a must - see for anyone who thinks the Western is dead.

However, once you get past the fact that Ted Post, who directed Eastwood in the spaghetti Western wanna - be Hang Em High, has chosen to mostly ignore the first film's visual appearance, it's easy to enjoy Magnum Force as a straight - forward action vehicle, with a tongue - in - cheek premise of the dirtiest cop on the force coming to terms with his own feelings as far as seeing known criminals get away with murder.

She has seen only two westerns in her life — an NYU film school requirement.

The prospect of seeing Tarantino present his latest Western in the large format is an unbelievably exciting thought, but alas, it appears that we may have to wait some time to see The Hateful Eight — if Tarantino even circles back to the film at all.

My list of didn't - see - yet shame includes: Eskil Vogt's Blind that everyone raved about, Brendan Gleeson's Calvary which Fox Searchlight picked up, German drama Wetlands, Jake Paltrow's sci - fi western Young Ones, Jim Mickle's Cold in July, bedtime horror The Babadook that some said is the best of the fest, Mark Duplass & Elisabeth Moss in The One I Love, Jenny Slate in Obvious Child, A.J. Edwards» Lincoln film The Better Angels, plus the highly praised closing night film They Came Together, not to mention the Audience Award winning doc Alive Inside: A Story of Music & Memory.

Disneyana fans will also enjoy seeing that the Native Americans actors who were all recognizable from other Disney «western» films such as Davy Crockett: King of the Wild Frontier and The Light in the Forest.

It is the type of film that might not appeal to fans of Westerns, but those who have even a little appreciation for the old frontier that have never seen this feature need to.

His latest film, the Western Django Unchained, is set to debut Dec. 25, but that's still a long way off for people waiting to see if this new film lives up to the director's Inglourious Basterds.

They're marketing the film the right way, though — taking it to the people who will want to see it: the country / western crowd.

It's a charmingly entertaining film that gives us a Western that doesn't feel rehashed (even though it... is), and it became the highlight of my movie viewing week to see.

Whether it's nostalgia, or just a childish attachment to the first film I saw that really made me appreciate how a good western didn't have to be a 4 - colour black / hat white hat, men - falling - off - buildings, staged - gunfight yawnfest, but Tombstone has been, is, and probably always will be my favourite Western film of alwestern didn't have to be a 4 - colour black / hat white hat, men - falling - off - buildings, staged - gunfight yawnfest, but Tombstone has been, is, and probably always will be my favourite Western film of alWestern film of all time.

After the playful, urban and contemporary humour of the Oscar - winning «Birdman», this bleak - faced 1820s - set frontier western sees Mexican filmmaker Alejandro González Iñárritu return to the darker worldview of his earlier films like «Babel» and «21 Grams».

12 or so «old» films, in the order in which I saw them: Night and the City (UK version, Jules Dassin, 1950): on 35 mm nitrate (May, Rochester) Until They Get Me (Frank Borzage, 1917): an incredibly advanced Western, on 35 mm (June, Bologna); Secrets (Frank Borzage, 1924) was also notable, DCP West Indies (Med Hondo, 1979): 35 mm, anamorphic color print (Bologna) Furcht (Fear, Robert Wiene, 1917): German «impressionism» before «expressionism,» 35 mm (Bologna) Mit hem är Copacabana (My Home is Copacabana, Arne Sucksdorff, 1965): A Swedish documentarian meets Brazilian Cinema Novo, DCP (July, Bologna) El rebozo de Soledad (Soledad's Shawl, Roberto Gavaldón, 1952), DCP (Bologna) Where would the Mexican Cine de Oro have been without Gabriel Figueroa's cinematography?

Among the many films / digital works from 2017 that I have, as yet, not been able to see, but really want to, are Zama (Lucrecia Martel, 2017), Western (Valeska Grisebach, 2017)(and Grisebach's earlier work), The Day After (Hong Sang - soo, 2017)(and Hong Sang - soo's other two new features), and 24 Frames (Abbas Kiarostami, 2017), all of which, I anticipate could be «great.»