Sentences with phrase «about every genre out»

He has been in just about every genre out there.

Not exact matches

But for Gunn, if studios simply chase trends — in this case, a movie that boasts about having a «hard R» rating — the genre will suffer: «After every movie smashes records people here in Hollywood love to throw out the definitive reasons why the movie was a hit.»

In a beef that's both much more polite and much more ideologically driven, artists from multiple camps are now battling it out on songs, interviews and in social media about what the genre is, and who it's for.

In this model, in other words, the arrangement of points would be fractal (a term also tossed out as an answer to the shape - of - the - world question), meaning that the distribution is the same whether you're talking about the macro level (the top online publishers) or the micro level (the handful of blogs and Twitter feeds about some obscure film genre).

I may or may not post about this in a separate post, but I put out a new DJ mixtape focusing on hip - hop and R&B, two genres I've come to love even more since I started DJing.

Born out of passion for music, it is a call to arms for other metal maniacs that want to reminisce about the genre's early days while remaining hungry for the new blood keeping the scene alive.

«There's so much praise I want to ramble on about, but I'll leave it at this: Gunslugs is a game you must get your hands on» — Gamezebo «Fans of the run»n gun genre need to check this out.»

Yet if you forget, for just a moment, about genre pedigree, what is it, really, that makes «The Shape of Water» a «richer» film — or a better one — than «Get Out»?

Now liberated from financial problems, Refn has been turning out sharp, violent, innovative genre fare at a prolific clip, including the 2008 biopic Bronson, about the world's most notorious inmate, and 2009's Valhalla Rising, which follows the mythic adventures of a one - eyed mute warrior during The Crusades.

There has been a lot of talk about genre with «Get Out.»

That may be a crushingly pretentious thing to say about a filmmaker who shuffles moods, genres and visual palettes with enviable ease, and who can leap from the sun - streaked LAPD noir of «Rampart» (2011) to the gloomy Manhattan neorealism of «Time Out of Mind» (2014) without breaking a sweat.

If you're curious about one iteration of the genre that produced filmmakers like Takashi Miike, Kiyoshi Kurosawa and Shinji Aoyama, Amazon Prime Video has several titles in its catalog to check out.

S. Craig Zahler's Bone Tomahawk is an unassuming genre hybrid, and the impact of its finale is magnified by the fact that, for most of its 132 - minute runtime, it plays out like a lackadaisical The Searchers - inspired Western throwback about a group of noble frontiersmen (Kurt Russell, Patrick Wilson, Matthew Fox, Richard Jenkins) on a mission to rescue a maiden kidnapped by unholy savages.

The Strangers In about as simple a horror film premise as a high school screenwriting student might come up with, this night out with Scott Speedman («Felicity,» «Anamorph») and Liv Tyler («The Lord of the Rings» series) hits the standard horror buttons to ensure a spectrum of shocks so that inveterate genre fans won't won't be demanding their money back.

Instead, they make a legitimate contribution to the genre without ever losing sight that this is a comedy about refreshingly fleshed - out characters.

When it comes to most major movie franchises (especially within the sci - fi and action genre), there's always an argument after the film's release about who the break - out star of the film may be.

Jordan Peele's much - quoted comment that «Get Out is a documentary» was a good joke about genre, in addition to being a bitterly truthful joke about racism in America.

: I realize I'm going to take some heat for putting this widely loathed film on my best list, especially since I was less than enthused by the overrated critic faves «Three Billboards Outside Ebbing, Missouri» and «Call Me by Your Name,» but Darren Aronofsky's fantasia about a self - infatuated poet (Javier Bardem) and his suffering muse of a wife (Jennifer Lawrence) is, like «Get Out,» both horrific and satiric in ways that move beyond the easy confines of genre.

Language: English Genre: Drama MPAA rating: R Director: Sam Mendes Actors: Kevin Spacey, Mena Suvari, Annette Bening Plot: A suburban family, that centers around the aging, battles him while he goes after his daughters sexual friend while the rest of his family carries out a life he seems not to care about (especially his wife and job).

The picture might be the most overt iteration of film noir as a genre about emasculation ever put to celluloid, and trying to puzzle out whether Waldo's for real and chief gumshoe McPherson (Andrews) buys any of his honeyed hooey constitutes a good portion of what's fun and maddening in equal measure about it.

Not too many films, particularly in this genre, delve into the mature topics we get here, such as a child's feelings about family, security and the fear of daring to break out of one's own box and become somebody.

Above: a 1983 interview with Michael Mann about filmmaking and The Keep, from The Electric Theatre Show: «Mann talked about the power of dreams, and moving The Keep story out of the horror genre of the novel and into a dream reality.

How the film's compelling star Jennifer Lawrence may feel about this sentiment is another matter, but this is a tale that, like any number of fanciful genre outings, both pulls you in with its intriguing central dramatic situation and pushes you out with some mightily far - fetched plot contrivances.

The genre flick about a family of cannibals apparently played to some good word, has potential to be a crossover hit, but now word yet when it will roll out.

As the Steven Spielberg - produced, Joe Dante - directed movie nears its 30th anniversary, its star Zach Galligan has returned to the big screen and the horror genre, and he sits down with ETonline for an extended, exclusive interview about all things Gremlins, from working with the stunning Phoebe Cates and those unpredictable animatronic creatures to the controversy surrounding the film's MPAA rating and the unexpected celebrities who have since outed themselves as fans!

Chris took out some time to chat with Media Mikes about his work on these films and his love for the genre.

What works best about Insidious, which is about as adoring a love letter to Tobe Hooper's Poltergeist as a good film can get, is how it takes horror flick concepts both old and relatively new and mixes them up, blender - style, and the result is a 95 - minute fun - time ass - kicker that has as much love for the genre as it does in making you pounce out of your seat.

Most recently, I was given the opportunity to check out some of the films from the 15th edition of the Calgary Underground Film Festival * one of the top rated Genre Festivals in Canada * which I'm really excited to talk about.

I mean, to think that a movie like Get Out — not only a genre movie, not only a February release, but an excoriatingly political and inescapably black satire, to boot — is being talked about as an Oscar front - runner... That's wild to me.

The director, who last tried his hand at genre filmmaking with the low - key quasi-whodunit Cold Weather, goes all out with the stylized, Los Angeles - set thriller Gemini, his biggest project to date — something about a young movie star (Zoë Kravitz), her protective personal assistant (Lola Kirke), and a homicide detective (John Cho).

A genre film is more about how the film works within the rules of the genre, how it inverts them, and how the plot and style and overall human bits and pieces splash out onto the screen (more a more succinct Ebert quote, «It's not what the film is about, but how it is about it») and by that test, Kick - Ass is pretty damn successful in my book.

For those with open minds about the material, Almodovar keeps us riveted to the proceedings with gusto, and while it may not be his best work, it is still quite evident that a true master of his own genre is at play, causing us to think about what roles and identity actually are, and then he pulls the rug out and we rethink them again.

Yet Justin Benson and Aaron Moorhead have still managed to carve out their own little niche in the market with this film, a daring fusion of grindhouse genre fiction with indie romance that somehow uses those seemingly opposed elements to transcend and forge a tale about the power and uniting force of love, no matter how star - crossed and unlikely its subjects may be.

Mainstream audiences finally understand what comic nerds have been geeking out over for the past half a century, but this new understanding also lends itself to new questions about genre conventions.

Get Out — Writer / director Jordan Peele made a genre horror film into the most potent statement on screen this year about race, cannily playing the conventions of the genre and the discomfort and hostility about race off of each other.

3 «Get Out»: The woefully discredited horror genre is known to make damned good statements about our cultural ills.

The self - reflexive humor about the buddy - cop genre is far too thin; instead of being a clever parody of the form, Cop Out is what it eats: another flaccid buddy - cop picture.

Her face had become synonymous with the genre of scrappy, meandering stories about young people figuring out their lives dubbed «mumblecore» (that term may have dubious value today, but unquestionably elevated several filmmakers» profiles at the time).

I feel like the genre is at a turning point where it's about to be reinvigorated, I've already seen a few of the films coming out next year (ones that simultaneously fit the definitions of the genre while taking it to new places) and I think 2013 will represent a turning point.

The implications about the current state of online culture in the film is disturbing, perhaps even a bit hyperbolic, but what better than a B movie cheapie to spell out the ugliness of social media in both the genre and the social platform's gruesome, unforgiving terms?

Everything about it screams «niche,» from the budget ($ 4.5 million, which is what its studio, Universal, spent to make approximately two - and - a-half minutes of The Fate of the Furious), to the first - time director - writer, Jordan Peele, a cable - TV star whose show ended and who was looking to branch out, to the complete lack of movie stars (although now, Daniel Kaluuya and Allison Williams are nicely on their way), to the genre: horror cut with more than a dash of comedy and of pointed sociopolitical commentary.

: For all of the body parts that Stephen King has torn asunder in his numerous books and film adaptations, it's ironic that two of the most beloved movies ever about male bonding come from his book «Different Seasons» — a «Body» that spawned the CSI Our Gang of «Stand By Me,» and the prison breakout that lay behind «Rita Hayworth and the Shawshank Redemption,» Wisely shortened to the last three titles by writer - filmmaker Frank Darabont, this 1994 classic of an unbreakable man slowly chiseling his way out of a Maine hellhole over the course of decades stands as not only the most soulful film in an understandably macho prison break genre, but also as a film that many rightfully consider to be one of the best movies ever made.

There are people out there that care about this genre and want nothing more than for it to thrive and flourish.

Language: English Genre: Comedy / Romance MPAA rating: PG Director: George Cukor Actors: Cary Grant, James Stewart, John Howard Plot: A women who is about to remarry encounters her rich ex-husband and a reporter who try and woo her as she finds out her true self.

It's about a guy who figures out at some point exactly what the Italians were saying all along in this genre: Fall in love at your own peril, because sooner or later, one of you is going to eat the other.

Going out with a bang It's become customary to talk about Sam Peckinpah's classic as the tombstone of the Western genre, the moment when Hollywood's already - tired tradition of white - hat heroics was plunged irrevocably into nihilism, apocalypse and zero - sum catharsis.

One thing I hate about the app store is when a dev is original and introduces an iPhone genre with his game, about a week later 10 more very similar games will come out, the devs being copy - cats.

He can handle just about any genre, and gets the most out of his actors every time.

Enter the infographic, the twenty - first century text / structure / genre / design that blows my earlier beliefs about «better = longer» right out of the water.

As she leads discussions about a variety of genres in children's literature, a software program sends, in real time, her voice, her typed words, and her prepared graphics out to as many as 37 students, some of whom live several states away.