Sentences with phrase «as film historian»

As I've stated before, Ebert has serious limitations as a serious critic of film, but he is eminently qualified as a film historian.

«The Grand Old Man of Westerns,» as film historian William K. Everson called him, retired in the early»40s after more than three decades of yeoman work opposite every cowboy hero on the Hollywood range, from Franklyn Farnum to Gary Cooper.

Not exact matches

In the film's lyrical telling of the story, which relies on historical photographs, an inventive use of animation, and interviews with Egan and western historians, «flaming embers shot down from the sky» as an ad - hoc army of firefighters tried to control the fast - spreading blaze.

The film series features 14 of the world's leading scientists and three historians of science discussing exciting scientific advances — and their own wonder and amazement as they explore our world.

Composed of field testimonies and hidden camera footage, the film also features interviews with Haiti's Ambassador to the United States, Ambassador Raymond Joseph, the U.S. Department of States» Ambassador John Miller from the Office of Human Trafficking, renowned anthropologist and sugar historian Sidney Mintz, Carol Pier from Human Rights Watch, Public Interest Attorneys Bill Quigley as well as Greg Schell, and a number of activists from the field including human rights lawyer Noemi Mendez, Colette Lespinase of G.A.R.R. Haiti [Organization for Refugees and the Repatriated] and missionaries Pierre Ruquoy and Father Christopher Hartley.

From 1930 to 1962, with rare exceptions, the actor projected what film historian Leslie Halliwell once described as a «dignified, heavy presence.»

For Hank and Jim, biographer and film historian Scott Eyman spoke with Fonda's widow and children as well as three of Stewart's children, plus actors and directors who had worked with the men — in addition to doing extensive archival research to get the full details of their time together.

NBR also stands out as the only film organization that bestows an annual film history award in honor of former member and film historian William K. Everson.

The ending in the theatrical release was not well - liked, but a much - better alternate version is included here, along with interviews with director John Boorman and art director Anthony Pratt, as well as an audio commentary with film historians Travis Crawford and Bill Ackerman.

It's hard to think of a major filmmaker who came so close to being ruined by technology, just as it's hard to believe that anyone except film historians will be watching Beowulf, The Polar Express or A Christmas Carol even a decade hence.

Those film historians who've summed up Kemp's post-Z Cars TV appearances as «sporadic» evidently haven't seen his small - screen work in such miniseries as Winds of War and its sequel War and Remembrance (he played German general Armin Von Roon in both); he also played Cornwall in Sir Laurence Olivier's 1983 television adaptation of King Lear, and was featured in the internationally produced historical multiparters George Washington (1985) and Peter the Great (1986).

That's the only way reviews have ever worked for a mainstream audience, be it as part of the captive audience for weekly reviews as part of a newscast, as a column in a popular magazine or newspaper, on its own as in shows like Siskel & Ebert At The Movies, or even in print — Leonard Maltin, another beloved film critic and film historian, established his name writing a book of capsule reviews.

As the world prepares to bid farewell to George W. Bush following tomorrow's election, I came across an apt article in the new edition of Sight and Sound, in which critic Michael Atkinson evaluates how the Bush presidency affected American film, and how the period might be interpreted by future film historians.

While film historians have rightly called foul over the colourisation of black - and - white classics, they surely will have less cause to complain about the decision to remaster Oz digitally and to present it as if it's a new James Cameron movie.

Join Pixar's Pete Docter and Disney historian and author J.B. Kaufman as they explore artwork recently discovered in Disney's animation research library revealing some of the attractions, gags and games, which Disney animators created for this iconic location of the film, that never made it on screen.

The idea that the fate of this little racehorse that could (and ultimately, even the idea that the horse is an underdog is a bit of a cheat, since Seabiscuit's lineage was sterling — less «underdog» than «underachiever») galvanized a nation reeling under the Great Depression is the only idea that remains in the film, seized by Ross as an opportunity to insert archive stills of the period — complete with voice - over from historian David McCullough — to lend his horse opera the sort of gravitas he's not able to provide through narrative.

The new conversation between film historians Cari Beauchamp and Rick Jewell includes an astute discussion of the film's often reductive classification as an «anti-western,» and a variety of older odds and ends round out a diverting package.

Known for roles in such films as «Amistad,» «Blood Diamond» and «Guardians of the Galaxy,» Hounsou will play CJ Mitchum, an original resident of the town and a historian with extensive knowledge of its complex origins — and the one person who can provide a unique bridge between the current world of Wayward Pines and the previous world that humans inhabited.

Tarantino is a massive film buff and historian and uses the idea of the old spaghetti westerns as the backdrop of the story.

It feels like production has gone on as long as World War II itself for The Monuments Men, George Clooney's film about a platoon of soldiers comprised of art historians and experts tasked with the job of saving irreplaceable and priceless artwork from getting destroyed by the Nazis.

In an attempt to bring a more human face to the slaughter, Saroyan brings in a historian, an Armenian woman named Ani (Khanjian, Irma Vep), to serve as an advisor to the film, since she is an expert on the life of painter Arshile Gorky (Abkarian, When the Cat's Away), reported to have eye witnessed the events, and who is to be featured in a supporting role.

This release offers commentary by film historian Lem Dobbs with in - house historians Julie Kirgo and Nick Redman (who also founded the label), a trio that has done more than a few commentary tracks together, and their ease gives the track an easy - going quality as they dig into the film and offer historical and critical perspective.

Movie experts, film historians and the public helped to choose the titles to be included in the set issued today (May 13), which also includes more recent releases such as Bend It Like Beckham which starred Keira Knightley.

The knowledgeable Maltin and Alamo expert Frank Thompson lead the track with screen - specific film historian observations, acknowledging each major contributor and their other work and defending the depictions you might describe as dated, while lamenting the end of Hollywood's Golden Age.

While it's easy to see the Academy as simply «those people who give out the Oscars,» the institution performs an important function for both filmmakers and film historians, providing symposiums and information for industry professionals and the public alike, access to an extensive film library and archive to researchers and cinematheques, and a valuable reminder of the rich heritage of American cinema.

This is also newly remastered and includes the supplements from the earlier DVD special edition: two commentary tracks (on by film historian Richard Schickel, one by film historian / screenwriter Lem Dobbs and film historian Nick Redman), the featurette «Shadows of Suspense,» an introduction by Turner Classic Movies host Robert Osborne, and the 1973 TV - movie remake starring Richard Crenna in the MacMurray role, Samantha Eggar as the seductive Phyllis, and Lee J. Cobb as the insurance boss Keys.

As reported by Pamela Hutchinson at Silent London, silent film historian Jon Mirsalis unexpectedly rediscovered the second reel of Laurel and Hardy's 1927 film The Battle of the Century, lost for 60 years.

It only includes a commentary track with Sally Field and film historian Nick Redman, the original theatrical trailer, and an isolated score track (which is a bit confusing, as it is not a very score - heavy film).

The main attraction, of course, is another film - specific essay from in - house historian Julie Kirgo, who does not disappoint as she celebrates the film while trying to make sense of its mix of critical acclaim and commercial disappointment.

According to the three historians on the DVD's excellent commentary track, the film did enjoy strong box office returns and was anything but a creative failure, but Castile is symbolic of the epic productions studios couldn't indulge in as often, until TV forced a return to bug budget epics during the fifties, in the form of pseudo-moral Biblical sagas in CinemaScope and stereophonic sound.

This has nothing to do with Crudo's discipline — fellow cinematographer John Bailey came prepared as a historian and film buff and delivered a super commentary track for Sunrise — but Fox erred in not trimming Crudo's sterile comments down to its essentials, and inter-cutting info from other, if not more broad - minded film historians.

This documentary is worthwhile viewing for die - hard film buffs and film historians as well as Dune fans, but there's no palpable sense that the world is worse off for not having been given Jodorowsky's Dune.

Historian Peggy Parsons doesn't indicate whether Auric shaped his material as the film was being edited or whether the music went through great discussions with the director, but the act of composing a score could be seen as going against the very purpose of Clouzot's spontaneous approach.

With «Robin Hood,» generations unfamiliar with the Technicolor look can get a really good sampling of why film historians and cinematographers rave and are overcome with a peculiar nostalgia for the color schemes that literally glow, as evidenced from interviews with cinematographers Jack Cardiff and Vittorio Storaro in the excellent documentary on Disc 2, «Glorious Technicolor,» an overview of the company and key personnel, derived from Fred Basten's 1980 book.

Until that day, Paramount's Dragonslayer is a must - have for fans of fantasy and film historians just now beginning to understand that, in spite of its lapses, the Eighties as a decade produced a lion's share of seminal fantasies (not mentioned are perhaps the two best — Back to the Future and Predator): genre pictures home to artful dissent, outrage, and no surfeit of sorrow.

Other notable films that will screen at TIFF include Tom Ford «s «Nocturnal Animals,» with Jake Gyllenhaal and Amy Adams; «Whiplash» director Damien Chazelle «s musical «La La Land,» with Ryan Gosling and Emma Stone; Peter Berg «s «Deepwater Horizon,» a true - life drama about the oil spill, starring Mark Wahlberg and Kurt Russell; Werner Herzog «s «Salt and Fire,» a drama in which Michael Shannon and Gael Garcia Bernal face ecological disaster in South America; Ewan McGregor «s Philip Roth adaptation «American Pastoral,» the actor's directorial debut; Denis Villeneuve «s sci - fi drama «Arrival,» formerly titled «Story of Your Life,» with Amy Adams and Jeremy Renner; Juan Antonio Bayona «s «A Monster Calls»; «Denial,» Mick Jackson's drama starring Rachel Weisz as a historian sued by a Holocaust denier; Irish director Jim Sheridan «s «The Secret Scripture,» with Vanessa Redgrave and Rooney Mara playing two different ages of a woman who keeps a diary of her time in a mental hospital; and «Mascots,» Christopher Guest «s comedy about the world of sports mascots.

I was almost as excited about «Denial,» a film about the true story of historian Deborah Lipstadt (Rachel Weisz), an American sued for libel in British courts by David Irving (Timothy Spall), a British Holocaust denier who accused her of defamation.

This Twilight Time release features the original commentary recorded by Frankenheimer for the laserdisc release almost 20 years ago plus a new commentary track with Twilight Time founder and historian Nick Redman and film historians Julie Kirgo and Paul Seydor, as well as the usual isolated score track and eight - page booklet.

Blu - ray extras consist of audio commentary by film historian Eddie Muller and trailers for 99 River Street as well as three other noirs available on Blu - ray (two newly arrived this week) via Kino: He Ran All the Way (written by the blacklisted Dalton Trumbo and starring John Garfield), Hidden Fear (also starring Payne) and Shield for Murder (with Edmond O'Brien).

Although noting that power ultimately corrupts the militants, historian Henry Louis Gates Jr. reminisced that he and fellow black students at Yale loved the film as a utopian fantasy that offered them a realistic path — infiltration, then transformation — for social change.

It would've even been better as a Waking Life, where the talking heads were film historians and critics who could go on at length while animated versions of the paintings unspooled behind and around them.

Pity a historian wasn't contacted for a rundown of the film's genesis; Carol Reed's walking off the picture after losing patience with Brando's ego, and Lewis Milestone taking the directorial reigns as a hired gun; nor a separate featurette on the film's cinematographer and composer; but what has been assembled is a good smattering of contemporary and archival productions about the impressive Bounty replica built from the ground up for a major studio production.

As has become Criterion's habit, included are a number of features geared toward the cinephiles who make up its fan base, things like film historian Bruce Eder's audio commentary, experts from Francois Truffaut's 1962 audio interview with Hitchcock, and a gallery of production stills.

An excellent audio commentary and essay by film historian Gene Youngblood are also included, as well as an hour - long documentary on Michelangelo Antonioni from 1966.

More extra features in this handsome package include a new feature - length audio commentary by film historian Stephen Prince, author of The Warrior's Camera: The Cinema of Akira Kurosawa and a documentary from 2003 on the making of the film, created as part of the Toho Masterworks series Akira Kurosawa: It Is Wonderful to Create.

But he became a great symbol for English, French and, finally, American film historians as somebody whose inability to fit into the Hollywood system helped destroy him.»

The answers lead the duo to a film historian (Michael Stuhlbarg), who has yet another sad story to tell — that of the filmmaker Georges Méliès, who sold everything after seeing a demonstration of Auguste and Louis Lumière's revolutionary invention of the motion picture camera for the chance to transfer his experience as a stage magician to create visionary films.

Historians still argue over Knight's true motivations, but the film is less than nuanced at the outset, clearly drawing Knight as a poor man refusing to die in a rich man's war, and unable to accept «any man telling another man what he's got to live for, or what he's got to die for.»

Extras include an isolated score track in 2.0 mono DTS - HD; an audio commentary with film historians Eddy Friedfeld, Paul Scrabo, and Lee Pfeiffer, which is quite good and provides plenty of insight into the making of the film and its status as a New Hollywood film that's been forgotten and worth rediscovery (I concur); the film's original theatrical trailer, presented in HD; a scroll - through of the current Twilight Time catalogue; and as always, an excellent 8 - page insert booklet with an essay by the great Julie Kirgo.

(1896), which historians cite as starring the earliest - born actor to ever appear in a film.