Sentences with phrase «as color film»

We're not sure what the work will actually look like (they're described as color film photographs that function as «talismans») but the image above is certainly intriguing.

Not exact matches

There is a small logo on the back heel, but it's the same color as the rest of the sneaker so it's not visible in pictures or film.

This film pulls back the layers of a story as it relates to color, self - esteem, acceptance, and being secure with what you look like.

Contrary to their portrayal in popular films, dinosaurs are now widely accepted by scientists as having been covered in feathers, possibly in a range of colors, much like the colorful plumage of modern birds, which are a living dinosaur lineage.

The film traces the Tiffany story from its origins with the Tiffany family to the modern day globally desired brand including the story behind the iconic Tiffany Blue color as defined by the Pantone Color Institute's custom color procolor as defined by the Pantone Color Institute's custom color proColor Institute's custom color procolor program.

The film's 1080p transfer is stunning, with the actors» skin tones, tanned or not, rendered accurately, and the bright colors of the Spanish - set scenes countering the dark grading of the England sequences with exceptional clarity, though the level of grain is sometimes excessive, and as such distracting.

Or when her kindly teacher begins drilling her students on Dogme»95 rules; her tsk - tsk reminder that «the film must be in color and special lighting is not acceptable» as she corrects a kid's quiz is both hilarious and inspired.

When a film comes along that doesn't fit the usual marketplace paradigms, such as «The Tree of Life» or «Upstream Color» or «Spring Breakers,» you take notice.

«It's like I can see in color again,» says Marlo, who earlier in the film refers to her body as «a relief map for a war - torn country.»

Following this, Spielberg cuts to the present day, in color, and films the surviving Schindler Jews and their families as they place ceremonial rocks on Schindler's grave, a moment that could have been much more powerful just on its own.

Top Gun 1985 established Cruise as an action star, but again he refused to be pigeonholed, and followed it up with a solid characterization of a fledgling pool shark in the Martin Scorsese film The Color of Money in 1986, for which co-star Paul Newman earned an Academy Award.

With a solid voice cast that emphasizes their vocal work over their star power (there are recognizable actors in a few roles such as Bratt and Bernal (Blindness), but none that cast in order to sell the film commercially), a vibrant color scheme, outstanding visuals, terrific toe - tapping tunes, and an imaginative concept, this will likely go down as a favorite Pixar film for many who follow the animation company's output religiously.

Her luck began to change for the better in the late 1990s, when she started garnering luminous reviews for her work both on Broadway — where she earned a Tony nomination for her role in 1998's A View from the Bridge — and onscreen in such films as Big Night (1996) and Mike Nichols» Primary Colors (1998).

Good things tend to come when Michael Winterbottom works with star Steve Coogan (24 Hour Party People, Tristram Shandy, The Trip), so we're happy to see Coogan starring as infamous British pornographer, club - owner, real estate developer, multi-millionaire, and so - called «King of Soho» Paul Raymond in a dramedy that spans decades and includes scenes shot in black - and - white and color, constantly changing to match the film styles of each period.

Has shown its true colors as less a serious religious - themed film than a moth - eaten tapestry of foreign intrigue and badly miscast international stars.

A film collaboration between Kiki gatekeeper, Twiggy Pucci Garçon, and Swedish filmmaker Sara Jordenö, we're granted exclusive access into this high stakes world, where tough competitions act as a gateway into the daily lives of LGBTQ youth of color in NYC.

The art direction and custom department used color and period garb as a living, breathing character and used this element to bring power and depth to the film.

His first color film, 1948's Rope stands as arguably Alfred Hitchcock's most unusual work.

A rolling and thundering color film that is herewith devoutly recommended as one of the great motion pictures of our times.

Tarantino, who began the film in black and white before switching to color, plays with formats here, too; to suggest the claustrophobia of being buried, he shows The Bride inside her wooden casket, and as clods of earth rain down on the lid, he switches from widescreen to the classic 4x3 screen ratio.

Playing a variety of striking characters, she would be prominently cast in such films as The Color Purple (1985), American Flyers (1987), and Commando (1985).

As with many of Joel Schumacher's (The Lost Boys, Batman Forever) films, the lighting is dark, with emphasis on steam and neon colors, giving the «real life» scenes a kind of haunting, nightmarish, even melancholy texture that works well when life and afterlife collide.

The film doesn't spend much time showing her stay at the hospital, lasting only as long as the opening credits, but cinematographer Sean Price Williams (The Color Wheel, Somebody Up There Likes Me) makes the most of it.

The film will reunited director Sam Mendes with Skyfall stars Daniel Craig (James Bond), Ralph Fiennes (M), Ben Whishaw (Q) and Naomie Harris (Moneypenny), while Dave Bautista (Guardians of the Galaxy) is reportedly set to play the villain's henchman, and Lea Seydoux (Blue Is the Warmest Color) is also attached as a «femme fatale».

Published quarterly, the issues are based on «symposiums,» which center on filmmakers or themes that reflect current events or are hitched to particular approaches to film, such as close readings of the use of color.

Playing like some warped configuration of sci - fi, romance, and heist film, Upstream Color works best as a portrait of two people's embattled quest to heal after trauma.

Renoir's first film in color is one of his most painterly, as many of the compositions here could be framed and hung on a wall.

The wilting, autumnal colors, so violently pumped up in most previous versions, here recover the chilly, bluish cast that suggest a Midwestern winter is fast approaching (although the film was entirely shot in sunny Pasadena, Calif.), and if the newly created 7.1 surround soundtrack seems awfully busy for this tight and rigorous film, the original mono track is available as an alternative.

Much as Michael Mann's Public Enemies created a disconnect by looking like home video at certain points, the period simply requires film, or at least it does for right now with digital photography still figuring out how to look good with the entire color spectrum.

Coco, steeped in the resplendent color and conceptual profundity of Mexico's «Day of the Dead» festivities, offers audiences both a reliable Pixar package and a unique opportunity to experience culture as few animated films have before.

True, a couple of the 1950's 3 - D features were in black and white, but the film that started the craze, «Bwana Devil» (1952), was in color, as were most of the subsequent films, including such wonders as Raoul Walsh's «Gun Fury» (1953) and Alfred Hitchcock's «Dial M for Murder» (1954, released flat after the craze had ended).

Director Jean Renoir worked in black - and - white his entire career — and then traveled to India for a sumptuous production that Martin Scorsese ranks as one of the most beautiful films ever made in color.

There are no such problems to be found here, as this newly minted transfer, taken from the original digital intermediaries and color corrected for home video (as it's a different color space than film), is as flawless as its successor, Dead Man's Chest.

The association voted BLUE IS THE WARMEST COLOR as the best foreign - language film of the year.

But as Telaroli's focus on each film's color and appearance hints, the blocked images peppered throughout the article are best seen in her original context, as a trio of her exuberant, dizzying «image essays.»

Making a gritty film noir - style movie as an animated feature makes for a visually interesting experience; the animation uses striking colors, and the backgrounds are beautifully detailed while the characters are very simply designed, creating a unique contrast.

Opening Night on Friday, May 4 features the Midwest premiere of Fast Color, starring Gugu Mbatha - Raw (A Wrinkle in Time) as a woman whose superhero powers send her on the run; Mbatha - Raw and the film's co-writer and producer, Jordan Horowitz (La La Land), will be in Chicago for the occasion.

The colors look very good, as director Lisa Cholodenko has shot the film in a very naturalistic style.

Kodachrome (2017, not rated) stars Jason Sudeikis as a record industry burnout who reluctantly joins his estranged, dying father (Ed Harris) for a road trip to the last lab in America that processes the famed color film.

Bright colors, terrific detail and sharpness, and a clean element all delight as well as an indie film can be expected to on this format.

This photo released by courtesy of Sundance Selects shows Lea Seydoux as Emma in the film, «Blue Is the Warmest Color,» directed by Abdellatif Kechiche.

The colors look very good, as the film features a bright palette loaded with pastels.

A Wrinkle In Time director Ava DuVernay is the first woman of color to direct a film with a $ 100 million - plus budget, and alongside her «little brother,» Black Panther's Ryan Coogler, she crossed another milestone this past weekend, which marked the «first time films by black directors with $ 100 million plus budgets have ever placed in the first two box office spots,» as CNN puts it.

There is not one person of color among the nominated actors and films such as «Creed» and «Straight Outta Compton» earned nods only for their white contributors (Sylvester Stallone and the «Compton» screenwriters respectively).

While Refn saturates the screen with pure yellows, greens, and reds, (as he does so well in most of his films due to his color blindness), Peter Peter Schneidermann's (formerly of Danish punk band Sods) minimalist soundtrack pierces when times get tough in the film.

The 1.78:1 16x9 - enhanced widescreen transfer indeed dazzles and while the film's visuals aren't as stunning as some other CGI cartoons, they're easy on the eyes and filled with vivid, pleasing colors.

Shot in color, but being theatrically distributed in black and white, the film was also something of a slow - burn passion project for Payne, as he originally shelved it back in 2003 to take a break from the road movie genre after «Sideways.»

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.

There are two things at work here: Winding wants to make things as real as possible, but his camera allows the film to win its audience's trust, making the abrupt spectacle, that Winding is famous for, that much more cruel and colored.

The rest of the film can be rejected, even at the intellectually contemptible level of disaster flicks, for such inept conceptions as a volcano that throws fireballs nowhere except straight at the hotel, and a tidal wave that must be only about one block wide, for all that the tranquil sea views from just up the beach indicate; and for trembly special effects the like of which hasn't been seen since the DeLuxe Color Allens at the turn of the Sixties.