Sentences with phrase «as filmmakers like»

Bouncing to the tune of dubstep merged with Tyler Bates» soused score, Deadpool 2 can earn a cinematic track and field medal for its death - defying decathalon of sprints, stunts, jumps, hurdles, and objects being upended every which way and thrown across the screen for, as these filmmakers like to say, maximum effort.

In the same vein as filmmakers like Andrew Dominik and the Coen Brothers, director David Lowery brings us into a world that isn't flashy, or necessarily exciting.

Larraín is to Chile as filmmakers like Cristian Mungiu are to Romania: cathartic creators who, undeterred by the passage of time, return to examine a regime under which the socio - political power of cinema was largely denied the public and apply its modern possibilities to treating the wounds of the past.

, a movie he produced, went back into post-production to scrub all his involvement, even as filmmakers like Kevin Smith and Ben Affleck pledged to donate any money they made off Weinstein movies to charity.

Not exact matches

Q: As we kind of touched upon in the interview prior to becoming a director you worked with a lot of well - established filmmakers like Siegal and Leone.

Though at times the movie feels like a laundry list of all the ways Jobs could be cruel to his closest companions, small moments of compassion prevent the filmmakers from portraying him as completely heartless.

I'd like to let you know that I have created a (vegan) Haggadah inspired by the concept of Holistic Non-violence, as put forth by Tribe of Heart Filmmakers.

Well known for serving as the backdrop for hundreds of movies and a hub for all sorts of creative media companies that are headquartered there — including famous record labels like Universal Music Group and Interscope, filmmakers such as Miramax and Lionsgate Films, and a myriad of tech developers — creativity and ingenuity abounds in this Pacific paradise.

A handful of young children reveal their thoughts in Bay Area filmmaker Ellen Bruno's wonderful documentary, «Split,» which is, at times, heart - wrenching in its honesty although it's clear that parental conflict causes them the most stress, not the divorce per se, and not being able to see their father as much as they'd like.

I like how filmmakers are making these documentaries as if things in the horror world happened in reality.

It's not a message that audiences will extract as a prickly needle from the haystack of situational (read random) comic set - pieces that the filmmakers play like trump cards from the bottom of a stacked deck, but it does anchor film's narrative boat.

It's clear virtually from the get - go that filmmaker Todd Phillips is looking to transform this true - life tale into a Martin Scorsese - like crime drama, as evidenced by War Dogs» less - than - subtle visuals and almost paint - by - numbers rise - and - fall structure.

While Tarantino has called «Django» a chance to hold up America's ugly past up like a mirror, this is empty rhetoric and the picture has almost nothing of substance to say socially or politically about race or slavery other than it was unfortunate and atrocious — seemingly the only two comments the filmmaker can make (as he did with WWII).

The filmmakers went into this project insisting that all the actors do their own singing, and while «crooners» like Pierce Brosnan and Colin Firth (let alone Stellan Skarsgård, who is very, very brave to have done his own singing) are not going to go down in history as much more than barely competent, star Meryl Streep, who has already proven her musical chops theatrically and previously in such films as Postcards from the Edge, is marvelous, if a bit too country - yodelish for this patently pop score.

While shooting itself in the foot with a cast of such world - renown, gut - bustin» jesters like Billy Bob Thornton and Jon Heder, «Scoundrels» more importantly wasted the talents of director Todd Phillips in a major way, casting serious doubts on his developing abilities as an ace comedic filmmaker.

The white family who, like so many others at the time, flees from South Africa in The Day the Mercedes Became a Hat also draws empathy from the filmmaker, who as a resident of South Africa herself, realized that there were whole generations of Caucasian immigrants who knew no other home.

It's clear immediately that filmmaker Peter Berg is looking to ape the feel and tone of Paul Greengrass» work, as Deepwater Horizon boasts a documentary - like feel that's heightened by its low - key performances and general lack of context - with scripters Matthew Michael Carnahan and Matthew Sand, in terms of the latter, delivering dialogue that tends to emphasize authenticity over exposition (ie much of this stuff sounds as though it was pulled directly from real - life transcripts).

As the script begins to unravel the secrets of Miguel's ancestors, the film gets bogged down in its over-plotted family melodrama, with the last third in particular feeling like the filmmakers are running down a narrative to - do list.

The Beijing - raised, London - and Mount Holyoke — educated filmmaker shares with the American Honey helmer an interest in young people at the margins, a knack for eliciting fantastic performances from amateur or under - the - radar actors, and what film critic April Wolfe described to me as a «dream - like realism.»

Stanley Kubrick shuns common narrative crutches such as voice - over narration or back - glancing exposition in favor of a strict antiseptic license that necessarily utilizes classical music from the likes of Johann Strauss to serve as an inner - connecting emotional aural fabric upon which the filmmaker balances mesmerizing outer - space sequences that have been copied ad nauseam ever since.

German filmmaker Wim Wenders gives viewers a vivid sense of what it's like to follow Francis as he travels the globe.

Like «American Honey» (2016), from another key British filmmaker, Andrea Arnold, «Lean on Pete» uses its young protagonist as a kind of search engine, looking for answers to his own fate and to the inequities at the heart of our nation.

Labor Day shows a new side to Jason Reitman as a filmmaker, and we like it.

As with other films that have relied on the audiences» imagination to move the story forward (Boyhood) where in fact there is none or in this case a missed opportunity, I would like to point to the core problem that the filmmakers are trying to conceal.

What has emerged remains very much a lover's discourse, but Denis and Angot's ultimately original screenplay takes a jointly personal, expressly feminist point of view, as Isabelle repeatedly muses aloud on the possibilities (and impossibilities) of love and sex for women like her — and, by extension, like the filmmakers.

Commercial movies like Black Beauty and The Yellow Rolls Royce have utilized the same format, and more recently, adventurous filmmakers have experimented with this structure in such films as Go and Pulp Fiction.

French filmmaker Luc Besson (The Family, Brick Mansions) writes and directs Lucy, a loopy, high - concept science fiction thriller that, like most Besson efforts, is actually just a dumb and goofy action genre film masquerading as a smart and insightful one.

I don't like Unchained quite as much as its immediate predecessor, but it still offers a vivid, satisfying adventure that reminds us that few filmmakers today can match the mastery shown by Tarantino.

In Lee's Bamboozled, he's invoked (alongside many other silent and early - sound - era performers) as a grotesque specter of racist Hollywood representation — the ghost of minstrelsy past — but writers like Mel Watkins and Champ Clark have complicated the issue by suggesting that there was an element of subversion in Perry's subservience — that the shiftless, feckless caricature he inhabited in so many movies was not a capitulation to the viewership (or the filmmakers) but a bold form of ethnic masquerade.

Now I like dumb comedy as much as the next dimwit, but not when the filmmakers condescend to their characters in order to make the audience feel superior.

... Okay, so it's kind of lame to forcibly cite this film as nerdy to the point of getting a star with a surname that sounds kind of like «Edison», but the filmmakers had to have some corny joke somewhere in the casting, for it's not like Edison has been earning enough attention from, well, anyone to get a gig even this low in profile.

The cast includes a number of performers with whom Altman had previously worked and would work with again, actors like Keith Carradine, Shelley Duvall, and Henry Gibson, whom no other filmmaker has put to as good use.

The world of 2016 movie soundtracks likely had no catchier tune than «Drive It Like You Stole It,» but each track found within Sing Street is another example of this filmmaker's gifted ability to move his audience with audio as well as visual ingenuity.

Unlike other dark comedies of late, here is a film that actually likes its characters, and we like them along with the filmmakers, as we root them on through the most absurd of circumstances.

ADDENDUM: Another way of looking at it: Is there a filmmaker whose style is so recognizable that it could be parodied — and mainstream moviegoers, from their 20s to their 40s, would know what was being parodied, as was the case with Bergman, who was lampooned by the likes of «SCTV,» Woody Allen, and «Bill and Ted's Bogus Journey»?

It's like a get - out - jail - free card for any filmmaker with a nasty streak, as they can proceed to punish the lead characters in unfathomable ways without asking the audience to feel too guilty for relishing in their suffering.

At the same time, Uchida is responsible for some of the most remarkable swordplay films of the 1950s and»60s; his five - film Musashi Miyamoto epic (not screened at MOMA), starring Kinnosuke Nakamura in the title role and Ken Takakura as his arch-nemesis Kojiro, surpasses the better - known Inagaki Samurai Trilogy starring Toshiro Mifune in terms of both drama and swordplay, yet remains little - known in the West (despite its availability on DVD in the U.S.) After the BAM retrospective (and others) in 2008, most of Uchida's films remained unscreened and undistributed in America, so with MOMA's bigger series recently ending, it's time again to encourage distributors like the Criterion Collection, Kino Lorber, and Arrow Video to bring out more of the director's masterpieces, both for critical reconsideration and for those whom the veteran filmmaker will be a major new discovery.

Page One: A year inside the New York Times features unprecedented access to the world's most famous newspaper in a time of crisis, and Resurrect Dead: The Mystery of the Toynbee Tiles sounds like a real life Da Vinci Code as filmmakers decipher codes across North and South America.

It looks like The Silver Linings Playbook just got a nice boost, and The Promised Land too, as The Independent Filmmaker Project just announced they will be the recipients of career tributes at the 22nd Annual Gotham Independent Film...

Joe Dante is one of my favorite filmmakers, as he is one of the most diverse directors out there, making pure horror films like The Howling, kid - friendly iconic films such as Gremlins and Small Soldiers, as well as comedies such as this and Inner Space.

Very much a genre stylist in the mold of golden - age Hollywood directors like Anthony Mann or Raoul Walsh, Uchida showed little discernible personal style to mark him as an auteur in the French critical mold, but the uniformly high quality of his works and his ability to succeed in a variety of genres mark him as a filmmaker very ripe for (re) consideration by critics.

Having made appearances in international productions like Robert Aldrich's Too Late The Hero and Sydney Pollack's The Yakuza (written by Paul and Leonard Schrader) in the Seventies, Takakura continued to work with foreign filmmakers in Ridley Scott's Black Rain and with Tom Selleck in Mr. Baseball, as well as with Chinese director Zhang Yimou in 2005's Riding Alone for Thousands of Miles, securing his superstar status in that country as well.

I was also curious as a first - time filmmaker, what was it like working with a cinematographer like Seamus McGarvey or production designer like Nathan Crowley on your first film?

Never in a million years would I have guessed that the same filmmaker might turn around and make something like Tangerine, his punk - as - fuck portrait of a much seedier L.A.. It's not just a total creative 180, but kind of the opposite of a sell - out move: Trading a formulaic story for an unpredictable one and a slick Indiewood aesthetic for a gorgeous, radical lo - fi approach, Baker trains his iPhone camera on the kind of characters — black and transgender prostitutes, immigrant cabbies — that the movies rarely acknowledge, let alone put into starring roles.

Rom - com sequels are a rare species, as most filmmakers hold off on continuing the love story — or stories, in the case of Think Like a Man — after the happy ending (or something close to that) has seemingly been reached.

While names like Claude Chabrol, Jacques Rivette, Eric Rohmer and Francois Truffaut may not be familiar to even film - buffs without an extensive education in European art house (though most would certainly recognise the name of Jean - Luc Godard) they have gone on to influence filmmakers such as Quentin Tarantino, Martin Scorcese and Michel Gondry.

As a producer, she has made four films with her «creative life partner» Zach Clark and has worked on a dozen other projects with filmmakers like Onur Tukel and Theresa Bennet.

Murder on the Orient Express is directed by Oscar - nominated Irish actor - filmmaker Kenneth Branagh, director of Mary Shelley's Frankenstein, Hamlet, Love's Labour's Lost, As You Like It, The Magic Flute, Sleuth, Thor, Macbeth, Jack Ryan: Shadow Recruit, and Disney's Cinderella previously.

What steamed me back in 1977 was the prominence of the auteurist - trained movie brats — filmmakers like Benton, Peter Bogdanovich, Brian De Palma, John Milius, and Martin Scorsese — in relation to their models as well as their European counterparts.

«The Making of Sweeney Todd: The Demon Barber of Fleet Street» (24 minutes) is a lot like the «Burton + Depp + Carter = Todd» segment from Disc 1, as it offers clips, on - set footage, and comments from the cast and filmmakers.