Sentences with phrase «as style of film»

Not exact matches

As such, its latest campaign comprises several films juxtaposing ordinary equipment such as the humble exercise bike against a backdrop of gritty «This Girl Can» - style footage showing people working ouAs such, its latest campaign comprises several films juxtaposing ordinary equipment such as the humble exercise bike against a backdrop of gritty «This Girl Can» - style footage showing people working ouas the humble exercise bike against a backdrop of gritty «This Girl Can» - style footage showing people working out.

The overall style of Sleeping Beauty is also more modern than that of the older Disney fairy tales; both figures and backgrounds are somewhat sharp edged and angular, in the manner of 1950s commercial art, rather than softly rounded as in the earlier films.

Visit Ossid in Booth #B5421 at IPPE to see this enhanced tray overwrapper, as well as other solutions for every style of fresh packaging, including flexible, stretch film, end seal, tray lid and vacuum skin pack.

The festival will include a unique selection of films of varying lengths and styles covering topics such as the oceanic environment, marine creatures, ocean related sports, coastal cultures and ocean lovers.

The strains and contradictions The Trump style is populist in the sense of his citing «the people» as a legitimatizing source of authority and a source he can use to harangue and hector any opponent from a union leader to a film star to a senior Republican senator or judge.

This style of diet that has recently gained a ton of press due to the film What The Health as well as many other media publications following a similar narrative.

If you're interested in the most talked about talent from the worlds of fashion, film and music we predict you'll be following all the ELLE Style Awards action as it happens via elleuk.com/elle-style-awards.

Once the fear has passed, just in time for nap, visual and musical style are sometimes played in an immersive fashion by highlights in a directorial performance by Nicolas Winding Refn that bring some life to the film, though not as much as John Turturro's inspired lead performance, which does about as much as anything in bring the final product to the brink of decency, which is ultimately defied by the serious underdevelopment, overambition, monotonously unfocused dragging and near - punishingly dull atmospheric dryness that back a questionable drawn non-plot concept, and drive «Fear X» into mediocrity, in spite of highlights than can't quite obscure the many shortcomings.

The film, which initially resembles a sitcom both in its reliance on one - liners and in its decidedly uncinematic visual style, slowly but surely wears out its welcome, however, as the affable vibe inevitably gives way to an emphasis on increasingly over-the-top action sequences - which wouldn't be quite so problematic had such moments been infused with even an ounce of real excitement by director Shawn Levy.

it was certainly a more accessible film in terms of the sci - fi genre and has bolstered the credibility, much like Children of Men, however, I disagree with the seamless integration of the film styles and think the trailer misled, as the film is not really mockumentary at all.

The look of the film is easily the most impressive part of the movie, as it managed to take the flat line - art of Seuss» work and give it depth and texture, without losing any of the charm or style.

In any shot that isn't a close - up, the transfer doesn't quite scream HD, although the aesthetic of the film as a whole, a definite throwback to the 70s style of indie filmmaking, doesn't necessarily lend itself as fair competition to a more polished 21st century production.

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is

I feel as though this film is a genius picture on many levels, due to its manipulative styles and ways of getting people into the theatre.

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is Bond» worst nightmare), the villain is truly threatening and played very well by Sean Bean, the title song is awesome and classic Bond, the script for this film is VERY well written and witty, etc..

Given that some of Mary's creative team worked on some of those films, it's less a matter of copying Ghibli's style than extending it, but as swoony as some of its deftly painted vistas can be, it's decidedly lacking the shock of the new.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

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.

As it happens, the Ireland - based studio was also responsible for producing world - class Oscar nominees «The Secret of Kells» and «Song of the Sea,» and though Nora Twomey worked on both films, «The Breadwinner» marks her solo directing debut, employing a similarly bold graphic style in its telling («hand - drawn» via a program called TVPaint), augmented by colorful story - within - the - story interludes designed to look like stop - motion.

In a film of more prepossessing style, the glaring leaps of logic might be easier to overlook, or at least there'd be more incentive to do so, but the cellphone is Soderbergh's enemy as well.

Again, the film's style is pretty frantic, but it's also refreshingly nifty, offering anything from editing snaps to comic panel and onomatopoeia bounces that Randall Miller, as director, utilized well enough to sustain a degree of entertainment value, kept up after style dies down by directorial plays on music.

The touching closing stretch isn't, as a result, quite able to make the tearjerking impact that Unkrich and Molina are obviously striving for, which is a shame, clearly, given the film's preponderance of better - than - average attributes (including an animation style that's never not jaw - droppingly astonishing).

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.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

As an uberfan of the so - bad - it's - good masterpiece The Room and a solid admirer of The Disaster Artist, The Room co-star Greg Sestero's tell - all book about the making of mysterious vampiric figure Tommy Wiseau's «Tennessee Williams style melodrama as told by an alien who has apparently never seen normal human beings interact» drama - turned - dark - comedy - after - initial - audience - reactions - full - of - howling - laughter, I was a bit reserved in my excitement when I found out that James Franco was going to direct the film adaptation, as well as portraying Wiseau himselAs an uberfan of the so - bad - it's - good masterpiece The Room and a solid admirer of The Disaster Artist, The Room co-star Greg Sestero's tell - all book about the making of mysterious vampiric figure Tommy Wiseau's «Tennessee Williams style melodrama as told by an alien who has apparently never seen normal human beings interact» drama - turned - dark - comedy - after - initial - audience - reactions - full - of - howling - laughter, I was a bit reserved in my excitement when I found out that James Franco was going to direct the film adaptation, as well as portraying Wiseau himselas told by an alien who has apparently never seen normal human beings interact» drama - turned - dark - comedy - after - initial - audience - reactions - full - of - howling - laughter, I was a bit reserved in my excitement when I found out that James Franco was going to direct the film adaptation, as well as portraying Wiseau himselas well as portraying Wiseau himselas portraying Wiseau himself.

The film offers an in - depth insight from fashion industry leaders and A-list celebrities on how he has been able to break through as one of the most respected designers in the world without compromising his bold and unconventional style.

Eschewing warm, cuddly imagery just as Mr. Van Allsburg's book does, the film affects a strange, artificial style that has the invasive weirdness of «Gremlins» but none of the charm.

It is largely filmed in the form of Billie's video diary and as a result has a documentary - style feel.

As Lelio's earlier films demonstrated, the director's style is restrained but potent, which helps the impact of the actors» performances as well as the picture's fairly graphic love scenAs Lelio's earlier films demonstrated, the director's style is restrained but potent, which helps the impact of the actors» performances as well as the picture's fairly graphic love scenas well as the picture's fairly graphic love scenas the picture's fairly graphic love scene.

As with The Triplets Of Belleville, I was immediately enveloped by the story and the world presented here and the (for all intents and purposes) «silent film» style of story tellinOf Belleville, I was immediately enveloped by the story and the world presented here and the (for all intents and purposes) «silent film» style of story tellinof story telling.

Unfortunately, its inescapable comparison is to David Gordon Green's «George Washington,» made the same year as Mr. Davidson's film but with a far greater sense of style and a more profound grasp of the fragility of young lives.

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.

As such, it recalls not only the two other sweetly appealing films written and directed by Cameron Crowe («Say Anything» and «Singles»), but also the great shaggy - dog storytelling style of James L. Brooks («Broadcast News»), one of its producers.

Bay and screenwriter Ehren Kruger must have noticed that amphetamine - fueled mugging tested well in Revenge of the Fallen, so the third film is graced with the brilliantly hyperactive Ken Jeong — perhaps the one actor in Bay's 17 - year directing career who perfectly embodies his outsized, everything - plus - half - again - as - much style — and John Malkovich.

While the film is seemingly accessible as a portrait of an artist who seems particularly attuned to his own creative process, and particularly adept at describing this attunement (Cave has given several long - form lectures on the peculiar metaphysics of songcraft), it's unlikely that many who aren't already whole - hog Bad Seeds fans would be able to stomach much of Cave's self - styled pomposity.

As for the film itself, though Waititi includes aspects that play like genre parody — a montage scored to Leonard Cohen's interpretation of the «Song of the French Partisan» unexpectedly recalling McCabe & Mrs. Miller; a Mad Max - like chase climax; Lukasz Buda, Samuel Scott and Conrad Wedde's 1980s - style synthesizer - laden score — Hunt for the Wilderpeople is ultimately disarming in its innocent sincerity.

I think he is mostly concerned over a glut of films by neophyte directors who are merely riffing on Tarantino - style shocks (but, he makes clear, without any of Tarantino's intelligence, nuance, or understanding and love of cinema) as a pathway to a likewise Tarantino - inspired cool.

«Schrader works in a stately, dark - toned style that's far more compelling than the frenetic genre hash of his last two films, «Dying of the Light» (2014) and «Dog Eat Dog (2016),» Variety opined in a review, coming into «First Reformed» as a summation of Schrader's work: «Paul Schrader pours all his obsessions, from Robert Bresson to pulp violence, into a grindhouse art film you can't stop watching.»

The film is entering the fall fest circuit without U.S. distribution, though it is tough to imagine that the film's style is so rigorous as to dampen the appeal and curiosity of Johansson as an interstellar succubus.

Just about any film that explores the question that all of us ponder about what happens to us after we die already starts with built - in intrigue, and while Flatliners eventually becomes a relatively standard «Twilight Zone» - esque story about dealing with the guilt and remorse of one's past to resolve one's future, it's certainly a movie that stands out as quite different in style and, to some extent, subject matter than most anything that Hollywood had churned out before.

Saddled as she is with Rushdie's hazy historical signposting, there's little excuse for Mehta's flat visual style, particularly given the sensory vividness of her earlier films.

As if that weren't enough, the film also performs a shot - by - shot, film - school - style dissection of itself.

For some, it will be very bad news that Ritchie (who co-wrote King Arthur: The Legend of the Sword with Joby Harold and Lionel Wigram) stays in his lane with this film; if you didn't enjoy the look and pace and overall vibe of other Ritchie movies, such as Snatch or Sherlock Holmes, then you might feel that his often jarring and visually exhausting style could overpower the strong performances from a great cast.

Yes it looks like a lot of genre films gone wrong, but I think somehow it can be just as good as the best Community style episodes where they manage, while not being Emmy winning, to be the most entertaining thing you can spend your money on.

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.

Other lesser known works, such as 1928's The White Stadium, are marvels of late - silent era filmmaking, employing elliptical editing rather than the newsreel style more common to several of the earlier compilation films in this collection.

Philip Glass (The Illusionist, Undertow) coats the film with his usual whimsical style, and though the film might be deemed as too slight in its subject matter to merit such heavy - handed compositions, the music is actually completely in keeping with the tragic allusions underneath, with motifs based on magic (wizard hats, old cats, strands of hair, and gold stars tie in to the coven - like relationship of the women) as well as Biblical references (Sheba is short for Bathsheba, the Old Testament woman seduced; Barbara's last name is Covett, and covet she most certainly does).

It's strange: Japanese acting styles never bother me in all Japanese movies (especially not when they're modulated, as in the contemporary films of Kurosawa).