Sentences with phrase «as a feature film about»

This is a true story — or as true as a feature film about anyone's life can be — and it's one that's worth telling, with an angle on World War II that movies don't offer very often.

Not exact matches

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

Walker's inspiration for the film came as he watched a CBS News Sunday Morning show feature about Thomas's upbringing on Chicago's mean West Side.

This one was from Kate, who identified herself as an API member from New Hampshire, USA, and the woman about whom the article featured in the film for maybe a couple seconds is about.

Today it continues to feature independent and classic cinema, as well as offer opportunities to learn about the art, science, and business of film.

Eric's first journalistic forays were as an arts critic, covering film and music for the Stanford Daily; his first feature was about artists - in - residence at the San Francisco dump.

As part of the «Future Research Leader» program of which Thijs is part of, a short feature film was made about the ongoing research in the Ettema - lab.

WATCH: Some of the best romantic movies are set in London (think Notting Hill, Love Actually, and About Time), but popular feature films such as Skyfall or Sherlock Holmes offer action - packed alternatives.

A good way to think about your profile is to imagine it as a trailer to a feature film.

The film feels a little less amateur than «Pusher», - a cheap debut feature for some underexperienced Dane trying to make abstract art - and it's that which brings the final product closer to decency, because many of the missteps that ruined «Pusher» feel more considerable in this superior, but still misguided effort, which has a good bit to commend, but even more to complain about as questionable «story «telling notes that ultimately send the final product crashing into mediocrity.

But as an ideological jukebox movie about 20th century art, this film should interest festivals and spaces in the art world that haven't yet featured the 13 - screen version.

If you've ever seen «The Room,» a 2003 feature that's been called one of the worst films of the 21st century, you probably had some burning questions about its leading man, such as: How old is that guy, really?

As it chugs towards its conclusion, the film suffers from a common case of too many endings, including a fitting one that features Pope Francis offering up a final sermon about his own philosophy with advice that's characteristically timely and universal.

Of the world premieres, the major gets for Toronto include Freeheld, Peter Sollett's LGBT drama starring Julianne Moore and Ellen Page; Stonewall, Roland Emmerich's drama about the birth of the gay rights movement; Alan Bennett's The Lady in the Van, which is rumored to feature an awards - worthy performance from Maggie Smith; Jay Roach's film Trumbo, starring Bryan Cranston as the famed Hollywood screenwriter Dalton Trumbo, who was blacklisted in the 1940s; Terence Davies's anticipated follow - up to The Deep Blue Sea, Sunset Song; Charlie Kaufman's first stop - motion film, Anomalisa; and Eye in the Sky, Gavin Hood's thriller about piloted aircraft warfare, starring Aaron Paul and Helen Mirren.

As for The Danish Girl, his timely period drama about the first known trans person, Focus Features — the company distributing the film — has by all accounts made the surprising decision to debut the film in Venice (it's listed as making a North American premiere in TorontoAs for The Danish Girl, his timely period drama about the first known trans person, Focus Features — the company distributing the film — has by all accounts made the surprising decision to debut the film in Venice (it's listed as making a North American premiere in Torontoas making a North American premiere in Toronto).

Love, which reunites Haneke with Piano Teacher star Isabelle Huppert, is about a retired music teacher who has a stroke, while Rust and Bone, Audiard's first film since A Prophet, features Marion Cotillard as an aqua park employee who loses her legs in an accident involving an orca.

Now, as Garcia pointed out, she's biased about that Star Wars project because it features Alden Ehrenreich, who starred in the film adaptation of her book, Beautiful Creatures.

(remix) music video by Danger Mouse and Jemini; deleted scenes and alternative takes, five in total, including an alternative ending (9 min) with a less subtle conversation between Richard and Mark, but a haunting final image of Richard with Anthony; images from Anjan Sarkars graphic novel animation matched to actual dialogue from the films soundtrack (the scene where Herbie first sees the elephant); In Shanes Shoes (24 min) documentary featuring the premiere at the 2004 Edinburgh Film Festival, interviews with Shane Meadows about run - ins with violent gangs in his youth, and on - location clowning; Northern Soul (26 min) also made by Meadows in 2004, and starring Toby Kebbell as an aspiring wrestler with no actual wrestling experience or talent - this comic short is as amateurish as its protagonist, and serves only to show how much better Dead Mans Shoes is.

In spite of several lines about how romantic comedies have given people seriously messed - up expectations about the way the world works, it's unsurprising that Tropper is already working on adapting the book as a feature film.

It's a story I know backward and forward, as does just about everyone, so there was no reason to anticipate that I'd find myself so invested in the proceedings, but Branagh delivered a lovely film that looked gorgeous, had a strong script from Chris Weitz, and featured a wonderful cast, starting with Lily James as Cinderella and including top - notch performances from Cate Blanchett, Stellan Skarsgård, Richard Madden, Hayley Atwell, Ben Chaplin, Rob Brydon, Derek Jacobi, and Helena Bonham Carter as Cinderella's Fairy Godmother.

While I doubt that this film will be heralded as the funniest lesbian feature ever (perhaps fans of Jamie Babbit's But I'm a Cheerleader or Angela Robinson's D.E.B.S might have something to say about that), it was most definitely the highlight of the lesbian features.

There's a lot to like about Leon Ford's debut feature film as writer and director.

The score for the film is worth taking note of as well, and you can learn more about it in the special features section with an audio interview with the composer Robert Bellon.

It's interesting to see a film about a space alien that doesn't resemble anything we've ever seen before, as most others have some sort of humanoid appearance, (or reptilian, etc.) Indeed, it's a much more plausible depiction of an alien threat than most other sci - fi efforts have featured, almost the opposite in terms of story as The War of the Worlds which featured aliens defeated from exposures to germs and viruses of our own.

He's delivered seven films in as many years and they've covered areas as wide as a biographical rugby drama with Nelson Mandela as one of the leads to a supernatural fantasy about the afterlife which featured a stunning tsunami sequence.

Another surprise: the animated «Loving Vincent,» about Vincent Van Gogh, advertised as «the first fully painted feature film,» and when I think, hmmm, Walt Disney might take exception to that, I see «first OIL painted film.»

Mysterious, smart, and full of surprises, Ex Machina is about as awesome a feature debut a director could have, and we had the privilege of speaking with Mr. Garland in a roundtable interview during his visit to San Francisco to promote the film.

Rolling Stone recently spoke with Black Panther star Chadwick Boseman, portraying T'Challa (Black Panther), as he covers the publication's March 2018 issue, as well as director Ryan Coogler — as both detail more about the highly - acclaimed film and its impact, with it being the first Marvel Studios movie to put a person of color in the lead role and to feature a mostly black cast.

In addition to running original fiction by major authors (Stephen King was a regular), the magazine contained features about older writers such as Lovecraft and Machen along with book reviews by Thomas Disch, film reviews by Gahan Wilson, interviews and more.»

The first clear action taken in Haim Tabakman's quietly striking debut feature, Eyes Wide Open, is about as on - the - nose as this small film gets.

The DVD features deleted scenes, about 18 minutes worth of footage, much of with the gods intoning their lines and most of it just as stilted as what's left in the film.

But it is Muriel's deft combination of high modernism and leftist critique — bearing out Gilles Deleuze's comment that Resnais and Straub - Huillet are the most political filmmakers — that has influenced so many subsequent films, including Michael Haneke's Caché and, most extensively, Jean - Luc Godard's 2 or 3 Things I Know About Her, which JLG called a «partner» to the Resnais, and which features a poster of Muriel as homage, also condemns a criminal war (Vietnam), and similarly parallels a portrait of a woman with that of a city under urban renovation.

While Thomas W. Kiennast's black - and - white cinematography is quite beautiful to behold (Gröning's film certainly features some excellent cinematographic moments as well), Atef's film never manages to convey why we should care, today, about this brief moment in Schneider's well - documented life, including her never - ending struggle with the German press, her inability to escape the role of Sissi that made her instantly famous as a teenager, and the various tragedies that befell her, including the suicide of her ex - husband.7 The film is not a biopic per se (and Atef declared that she did not intend to make one): thus, audiences who are not already familiar with Schneider certainly will not come away from viewing the film with much of a sense of her life's story); yet, given it is not a biopic, one wonders what the film is, or what it tries to accomplish.

This new feature by Japanese provocateur Nakashima Tetsuya (Confessions, Kamikaze Girls) is not only chalk - full of nods to Chan - Wook's seminal film about an emotionally crippled man assembling the scattered pieces of his past, but also references classic titles such as The Searchers in its Fordian regard to reckless patriarchal rage.

According to io9, «certain screenings of Marvel's Black Panther will feature a brief Dirty Computer teaser along with what Pitchfork described as «film narrative» about the project.»

Most recently was the feature film about Harding's life, «I, Tonya,» written by Steven Rogers and starring Margot Robbie as Tonya and Allison Janney as mother LaVona, who won an Oscar ® for Best Supporting Actress in the role.

The fifth feature from About Elly writer / director Asghar Farhadi, and the first Iranian film to win the Golden Bear for best film at the Berlin Film Festival (as well as earning best actor and actress awards for the excellent ensemble cast at the same event), A Separation tells a personal tale rampant with politics.

Almost as extraordinary as Justin Kurzel's feature film debut, Snowtown, about the 1999 «Bodies in Barrels» murders, is the often - baulking reception with which it is met.

About midway through filming, she was served an eviction notice and for us as filmmakers, that was a major story arc that turned it into a feature.»

Writer / Director Rian Johnson (Brick) delivers a very entertaining, creative, thrilling and clever sci - fi film that features time travel, dark comedy, romance, metaphysics, and enough action to keep just about any viewer engaged... as long as you enjoy using your brain a bit.

His sophomore feature Boogie Nights (1997), about the adult film industry in the late 1970s (partially inspired by the life of porno star John Holmes) is a surprisingly vibrant, funny, and at times quite warm story of a dysfunctional filmmaking family, with Burt Reynolds as a quiet but firm director Dad and Julianne Moore as the porn star surrogate mother to the company's teen stars Rollergirl (Heather Graham) and Dirk Diggler (Mark Wahlberg), the «natural» from the suburbs who is quickly recruited.

As I fly to Canada to meet Sarah Polley, I think about the glimpses of her in Stories We Tell — her first full - length documentary feature, which bowled over critics at Sundance and the Venice film festival and has won Canada's Film of the Year award.

No release date for the album has been announced, but certain screenings of Marvel's Black Panther will feature a brief Dirty Computer teaser along with what Pitchfork described as «film narrative» about the project.

Another layer to the meta - ness is that the film, about a brotherhood of sorts, features the Franco siblings as co-stars for the first time.

What's surprising is that her latest vehicle is a straight - on drama titled «I Smile Back,» a sobering, seriously downbeat feature film in which Silverman plays the lead — and makes it look as easy as delivering a raunchy joke about Paris Hilton.

A cult favorite for fans of author Clive Barker, but just plain silly (and very gory) schlock for just about everyone else, Hellraiser marked the first feature film as a director, adapting his own novel, «The Hellbound Heart».

The announcements about the new reboot of Marvel's Fantastic Four as a feature film from director Josh Trank (Chronicle) have resulted in, well, a lot of complaining on the Internet.

If you don't care much about bonus features (or put more value upon a cardboard sleeve), then this edition will do just fine as a way of owning the film.

For all of his obvious skills and uncommon talent as a visual storyteller, Kosinski's first two films were short on character depth and emotional engagement, but whether a function of Kosinski's innate preferences for spectacle over substance or simply script - related issues, Kosinski's feature - film output made him an odd, left - of - field choice to direct a film about American firefighters and the Yarnell Hill Fire of 2013 that resulted in the greatest loss of firefighters since 9 - 11 more than a decade earlier.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.