Sentences with phrase «anti-expressive styles of film»

From the chapter based storyline to the quirky yet sophisticated characters and the general art style of the film.

I didn't like the style of the film.

A darkly funny and fast - paced style of filming has the underbelly of a drug story involving a group of friends as they combat drug addiction, sexual partners and tragic circumstances of drug - induced decisions.

With that said, a lot of it is over the top, yet it somehow fits right in with the style of film.

It is a style of filming that was no mistake (nor easy) as Zemeckis purposefully had the characters move around as the camera panned 360 degrees; giving an ultimate sense of reality and bringing the characters to life.

Sean Penn (I Am Sam, Sweet and Lowdown) narrates, and he's fine, although a bit lackadaisical for the flashiness of the visual style of the film.

The visual style of the film impresses, it's just that the jokes never quite catch fire like they should — they are more funny in the mind than in the gut.

He didn't exactly choose an easy project for a first film, as black comedy is a very difficult style of film to pull off, and with a cast of very seasoned actors to have to tell precisely what to do, Guthe very well could have lost control and focus on the project and turned in a disaster.

This is of course helped by the shaky, documentary style of film making that Peter Landesman has employed to bring this fifty year old tale to life (again).

Being a Tarantino regular, he understands the style of the film better than the British actors do.

I have made a possible commitment to watching his The Sacrement sometime soon, but I keep getting put off by the occasional rant review over his style of filming.

For starters, the overall style of the film is just way too busy.

As if that's not aggravating enough, on top of being uneven, the style of the film is already pretty problematic by its own right, because beyond pacing and focal consistency, there are such questionable structuring moves as the awkward placement of a text prologue before each segment, or overly thematic imagery, or ostensibly somewhat disjointed characterization, whose experimental tastes distance one's investment almost as much as experimental direction which relies too heavily on artistry and atmosphere to dramatically thrive.

It's not that style of film, where we're watching found video.

The style of the film is its substance, and Kobiela and Welchman seem to recognize how oppressive and backward it is to impose logic on an artist whose so vividly defied it, even if that knowledge couldn't stop them from tilting at windmills.

It's got one of the best credit sequences ever, and it's style nicely echos that 70s modern style of the film itself.

Whilst Winterbottom's partnerships with Eaton and Cottrell Boyce have been the most highly publicised, he has also established relationships with several other regular collaborators whose recurrent input has contributed to the distinctive style of the films they have made together.

Maybe I just needed to adjust to the style of the film, but soon I was blown away.

High - concept in the basest definition of the term, the film would fall apart with a sigh if it weren't held together, however tenuously, by jump - cuts, zooms, slo - mo — the whole kitchen sink of obfuscating choices courtesy an artist trying way too hard to be au courant by imitating a style of film that hasn't been fresh since around the time that Tarantino hit the scene.

Visually, it looks great — the hairstyles & fashions of the 80's shown in the sort of small town where big bucks and high fashion are never going to reside are brilliantly depicted and the «mockumentary» style of film - making shown makes it easy to step into the lives of these people although frankly, all are so vile you'll soon be looking round wondering how quickly you can step back out again.

«By correcting so - called flaws, one can lost the style of a film altogether,» he writes in the liner notes.

Thorne's hiring indicates rewrites for the film, which is in keeping with Disney's style of film production.

The first person style of filming is also problematic as it renders almost all of Frank's victims as inessential nobodies whose only purpose is to be killed.

The style of the film is captivating and perfectly executed, especially on the small budget they had to work with, but what is most memorable, for me, is the relationship between Dredd and Anderson.

Director David Gordon Green is a hot commodity right now in Hollywood after moving from the world of indie dramas to mainstream comedies, but he seems to be doing a good job of riding the momentum from Pineapple Express while also avoiding being pigeon - holed into any one specific genre or style of film.

With a solid cast of character actors to work with, Mamet avoids the usually stiff and static styles of films past with the energy and life needed to make this lighthearted comedy work.

Decent acting, for the style of film and it's a sweet, funny film.

Writer / director Neil Burger has chosen to give the overall style of the film a very period look, as the movie looks as if it were hand - cranked.

Over-the-top is also the style of the film's more unnerving periods, such as when super pig - boyfriend Alfonso appears and the lining up for the slaughter, which see Bong delivering anti-consumerism and anti-carnivorism themes with all the weight in his hands.

The style of the film, lush and traditional, is nothing special (that Jay - Z song in the trailer was a fake out), but the takeaway, a daily struggle for dignity, is impossibly moving.

The DTS Master Audio 5.1 Mix is mostly centered, keeping in the spirit of the docu - style of the film.

I guess Cianfrance's style of film - making isn't for everyone.

Bordwell points out that the Japanese influence is only one factor in the style of the films, so although they were often shot with the same Tohoscope anamorphic lenses that Akira Kurosawa was using in Japan, Shawscope films don't look exactly the same as their Japanese counterparts.

Like Crosby, Bordwell proposes that the distinctive style of Shawscope films is a result of the rich interaction of domestic and international technological, industrial, and economic influences, which makes it hard to argue that the style of the films is culturally pure.

The rough, direct style of the film proved that Oliveira wasn't really interested in «entertaining» his audiences in the classical sense of the word; in reality, he was really making the film for himself, by his own rules, and the public used to being catered to, dismissed the film as harsh and uncompromising.

While the home movie style of the film's footage and assembly draws upon the DIY aesthetic that one might associate with P - Orridge's work as artist and musician, I found myself wishing that Losier had something more to offer.

Supremely at home in Assayas's singular and graceful style of his films slowly revealing themselves, Shopper is deceptively slight while being fully loaded.

Can you talk a little about the visual style of the film?

I heard about its production, what the style of the film would be like, and when the first trailer premiered I was on board.

The style of this film allows its spaciousness to take the forefront, while its simplicity leaves room for the most human type of tension to grab hold of the audience.

Cinematography is strong for the most part, although a few shots break with the overall style of the film.

I love the visual style of the film and it is well represented here.

And while slapstick violence is often on screen, the style of this film is similar to 1950's Warner Brothers animations.

It helps to be a fan of Jarmusch's style of film and characters, as these are Jarmusch archetypes to the hilt, but there is more than enough intrigue for those who do not count themselves devotees to the director, who once again finds himself at the top of his game.

If you are aware of the writer / director Shane Black, you know his zippy style of film has become something of his own.

Fincher's actual directorial work has slackened a bit since the Fight Club days, but despite the straightforward directorial style of films like Zodiac and The Social Network, he's still managing to outlive his reputation as a visual specialist and music video bred guy into a solid as a rock film director that will capably shoot anything that he is given, and get the best possible performances from his actors.

This feeling is further accentuated by the editing style of the film.

As I sit here in the process of writing this sentence, I realize that I may be perceived as attempting to write one of those clever pieces that tries to imitate the style of the film at hand.

Nic Cage and Alfred Molina didn't seem to take the movie very seriously yet their hammed up performances fit the style of the film so well!

McCarthy has a knack for «the bomb not going off» style of film - making, and the half - a-dozen set - pieces are superb.