Sentences with phrase «backdrop of a movie set»

James Casebere's 2016 photograph, Yellow Overhang with Patio, also expresses a sense of objecthood, but in this case the built space looks fake, like a painted backdrop of a movie set.

Not exact matches

The movie is just hard to watch, with so much ugliness and heartbreak set against the backdrop of Spielberg's saccharine, Disney-esque environment.

Imagine «Beyond the Black Rainbow» set against the pallid backdrop of «Mad Max: Fury Road» and you'll start to understand how this queasy little movie manages to keep us engaged for so much longer than it should.

The screenplay, written by Riko Sakaguchi and Yonebayashi, is based on the 1971 children's novel The Little Broomstick by British author Mary Stewart, and the movie's story seems to exist in a unique place, with the characters appearing British but drawn in that specific style of Japanese animation, while the backdrops look as if they could be set in any place where there are fields and forests and farms and tiny villages down some dirt road.

The lead performances are okay — Jones has a quietly expressive face, and Treadaway a handsomeness that shades and elevates the motivations of an otherwise hopelessly mopey character — but the movie's entire backdrop, in both its setting and supporting cast of characters, is fruitlessly bland.

Post-apocalpse settings are all the rage in movies these days (see: certain portions of X-Men: Days of Future Past, the entirety of Dawn of the Planet of the Apes, and so forth)- and one such upcoming film, which unfolds against the backdrop of a not so bright tomorrow, is Korean filmmaker Joon - ho Bong's Snowpiercer.

But with these two movies — one set against the backdrop of the movie biz, the other in the music scene — shooting last year back - to - back, we can only imagine the unbelievable stack of footage Malick's teams of editors are sorting through, as they cut half the cast out and help him find the movie and tone he wants.

Rather than tell the story in a straightforward fashion, the movie is set in a theater, where sets and backdrops are flown in as scenes shift and characters often move to choreography that feels like it's out of a musical number.

Just as history is written by the victors, screenplays for Hollywood movies about inspirational, real - life stories set against the backdrop of seemingly unbearable adversity are almost exclusively written about the survivors.

The Witch's woodland farmhouse setting also counted as one of many backdrops of dread, pinning in the year's unluckiest of movie heroes: the quiet, empty spaces of a Manhattan mansion, where the young caretaker of Mickey Keating's Repulsion homage Darling comes violently unglued; the London haunted house of James Wan's bigger, sillier The Conjuring 2, a spring - loaded funhouse ride of a movie; and the claustrophobic underground bunker of 10 Cloverfield Lane, which proved less a sequel to its blockbuster «cousin» than a feature - length Twilight Zone episode.

But if it's a B - movie by definition — it runs a mere 65 minutes and makes the most of minimal resources: New York is a stock street set surrounded by stock footage, hobo camps and rail - side meadows are tiny studio sets with painted backdrops, and the few location shots are surely just down the street from the studio lot — it's a B - movie with ambition.

Matinée is a nostalgic, warm - hearted look back at a more innocent age, as a movie producer comes to a small town to promote his latest daft technology in the cinema, all set against the backdrop of the Cuban Missile Crisis.

Set against the backdrop of the Cuban missile crisis in 1962, Matinee stars John Goodman (Arachnophobia / 10 Cloverfield Lane) as Lawrence Woolsey, a movie producer / promoter who is plugging his new movie Mant!

A tale drawn in no small part from Potter's own life, the movie follows two young girls through a coming - of - age story set against the early»60s backdrop of nuclear disarmament protests and the Cuban missile crisis.

The movie is set against the backdrop of Cold War era America circa 1963.

It attempted to tell of a star - crossed romance between two conservative young adults from not - all - that dissimilar backgrounds (played by Lily Collins and Alden Ehrenreich) set in the backdrop of the 1950s Hollywood movie - making scene and all of its well - known tropes, while under the controlling — and perhaps crazy — command of billionaire Howard Hughes (Beatty).

And then the impact of Vegas; we built that penthouse as large as we possibly could — the ostentatiousness of it, and that colorfulness and energy seemed like such a great backdrop, because once we get into that part of the movie it's such a huge shift from the intimate, bland setting up front.

The only thing that sets Venom apart from the other slasher movie franchises (and this one is so very clearly trying to be a franchise of its own) is the Louisiana backdrop and voodoo underpinnings.

Set against the backdrop of the 2004 tsunami that devastated large portions of coastal southern Asia, The Impossible relates the ordeal of a family of Spanish survivors (changed in the movie to British tourists to increase the international appeal) as they struggle to be reunited in the catastrophe's aftermath.

Mendez has to set up a production office on a studio backlot (manned by a pair of old - school movie men, played with gusto by Alan Arkin and John Goodman), buy ads in the trade mags, create storyboards and a script and then make his way to Tehran, sneak into the Canadian Embassy to meet with the State Department six and prep them to act like screenwriters, producers, and cinematographers, eager to explore the exotic marketplaces of the city and the scenic desert backdrops that ring Tehran.

The actors are set against completely unconvincing green screen backdrops or walk in long helicopter shots through the snowy mountains (a tableau that will be overly familiar to anyone who's seen a fantasy epic in the last five years (the fact that most of the movie is shot in New Zealand makes the effect more apparent)-RRB-.

The period setting is sketched in broad strokes (fittingly, the only real - life filmmaker name - checked here is Norman Taurog, director of Elvis vehicles and Dean Martin and Jerry Lewis movies), giving the Coens a chance to play with dated and outmoded film techniques: wipes, bird's - eye - view matte paintings, painted backdrops, unconvincing model submarines, and, in the movie's most perverse act of homage, a very long driving scene of questionable urgency.

Though it's refreshing to see a movie set against the backdrop of segregated America that focuses more on the barrier - breaking achievements of its subjects than the atrocities of the period, it's not afraid to tackle serious themes like racism and sexism either.

Set on the pristine Kipu Ranch, this zip line showcases backdrops featured in blockbuster movies such as Jurassic Park, Pirates of the Caribbean, Raiders of the Lost Ark, and The Descendants.

Set against a backdrop from the artist's own collection of Super 8 footage, the movies reveal aspects of the artist's childhood, as collected through his own perspective.