Sentences with phrase «auteurist film»

The major studio head - scratcher of its year, the ultimate distillation of Michael Mann's brand of clean sheen noir, and the most authentically auteurist film of the aughts, Miami Vice was the movie offspring of a successful and ever - parodied 80s TV series that was nothing like the original.

All that said, it pays to remind ourselves that while the program last year was starrier, almost all of the big auteurist films fell some way short of expectations («Knight of Cups,» «Queen Of The Desert,» «Every Thing Will Be Fine» respectively) and the true stars emerged elsewhere — in Andrew Haigh «s now Oscar - nominated «45 Years,» in Jafar Panahi «s Golden Bear - winner «Taxi,» Pablo Larraín «s Grand Prix winner «The Club,» and elsewhere.

Not exact matches

Next year is not looking so promising in New York, where exactly two institutions (Anthology & BAM) remain devoted to film on film and simply showing non-canonical auteurist series.

In the singular world of Finnish filmmaker Aki Kaurismäki, auteurist homage and social consciousness are joined by some of the most lovingly filmed dogs in contemporary cinema.

But I associated him with the auteurist moment in film criticism, and I wanted to pick someone like Nicholas Ray or Minnelli, who had been important to the French in the 1950s.

While concentrating on a relatively small number of individual films, the author of Flesh and Excess steers clear of any auteurist snobbery, and brings to the subject a joyfully amorphous critical stance, deftly avoiding the canonising practices of much film criticism.

For all of its superb, shock - and - awe - generating visuals — aided by oft - nominated master cinematographer Roger Deakin's (Sicario, Prisoners, Skyfall, The Assassination of Jesse James by the Coward Robert Ford) singular eye for composition — Blade Runner 2049 often feels like Villeneuve, lured by the promise of revisiting a world created by a visionary filmmaker, not only wanted to put his own, auteurist stamp on said world, creating a continuation of a standalone, sequel - adverse film that «fits» on a narrative, thematic, and visual level, but found himself seduced like so many fans over the decades by the pure power of Scott's world - building and simply couldn't leave.

I'm not the only one who regards it as Lewton's greatest film, and I assume the main reason for its neglect is auteurist thinking — only directors are seen as auteurs — and the absence of stars.

1 is certainly a triumph of film - preservation efforts, but it's also the label's symbolic demand to unlock the auteurist prescriptions of many prestige, home - video releases.

Film critic A.O. Scott, in his New York Times review, somewhat (but not entirely) jokingly referred to this new film as an example of a kind of auteurist cinema, in that the aesthetic clearly reflects the vision of one man, director Michael Bay (who also directed the previous three films).

From Joseph Kosinski's Oblivion, a derivative film about derivatives, to the more or less solid auteurist permutations of the Mission: Impossible franchise, the results have varied, but Cruise's reputation as the sort of star who can get moderately interesting pulp bankrolled and realized by moderately interesting talents has deservedly persisted.

Perhaps all would be forgiven if M: i: III were competently - directed (while M: I - 2 is one of the stupidest films ever made, as John Woo is one of the best action directors of the past twenty - five years, damn if it's not beautiful, coherent, auteurist stupidity), but it's a glassy - eyed, dead thing complete with superfluous flashbacks to events we don't care about involving characters we don't recognize, an interminable party sequence in which Cruise trots out his smile like it was a weathered, beaten - down trophy wife, and a smug, self - congratulatory conclusion full of high - fives, victory arms, and shit - eating grins.

For a filmmaker's greatest work — or second greatest, seeing as we've set ourselves the impossible task of ranking these films — it might be expected that said film stand as a complete auteurist statement, one undeniably marked with the stamp of its author.

Not least Paul Schrader, whose particular brand of nihilism deserves equal credit to his director — whether you read John Ford's The Searchers or Robert Bresson's Pickpocket as the film's foremost influence depends on which auteurist lens you favour.

That Haneke has been able to conquer all before him with two very different films, neither of which will go down as highpoints in his career, seems only to confirm the widespread notion that he is head and shoulders above every other filmmaker working in auteurist cinema at present.

Witches (1990), based on a Roald Dahl novel (Anjelica Huston's witch has done as much damage to impressionable young minds as Jenny Agutter's skinny dipping in Walkabout), is one of the strangest children's films ever made, but it managed to connect with both its intended audience and armchair auteurists.

Its aesthetic influences, which range from David Lynch to Gaspar Noé, all but guaranteed the film's elevation from the slums of B - movie obscurity to some kind of vulgar - auteurist master class, where a surrealist action niche nobody asked for could suddenly be filled.

Marvel has been able to avoid franchise fatigue — with the exception of a couple of hiccups, like whatever the hell Thor: The Dark World was — by incorporating more auteurist visions to its films in recent years.

It's a noble effort — and one worth a look for the super serious film buffs, as outsize auteurist projects of this scale are, indeed, rare events — but something is amiss when I come away with more to chew on about what guided the filmmaker's technique than what drove the title subject.

For those who accuse Hong Sang - soo of essentially telling the same kinds of stories in his films, the first half of his latest, «Right Now, Wrong Then,» will look especially like a case of auteurist déjà vu.