Sentences with phrase «best films in every genre»

I've said many times in my reviews that many of the best films in any genre use their premise to create subtext, almost to the point where the superficial plot is no longer the most relevant or appealing aspect.

He added, «I'm so proud to be a part of a time at the beginning of a movement where I feel like the best films in every genre are being brought to me by my fellow black directors.»

The tale of the lonesome migration of the Irish to brash New York is a well trodden storyline.This particular effort is worthy but not the best film in that genre..

Soderbergh's direction is different than what he's done before, as is his custom, and shows how much of a master of all trades he is when he can make such a good film in a genre he hasn't done before, especially if you consider what a complex piece he has chosen start off with.

I'm so proud to be part of the beginning of a movement, where the best films in every genre are being brought to me by my fellow black directors.

An interesting idea that relies on copying better films in the genre than standing out on its own.

Michael Mann's 1995 crime thriller is one of the best films in the genre, and it's aged remarkably well in the 20 - plus years since its release.

Not exact matches

The oddity is compounded by the fact that, in recent years, the trappings of the disaster film have overtaken other genres as well.

In contrast, the good films of any genre only benefit from file - sharing.

The story is well crafted and it is a film that resonates well, as Jodorowsky crafts a film that is very unique in the Western genre, a film that displays certain ideas that are the director's trademark.

It twists and turns multiple times throughout its short running time, borrowing heavily from a variety of films in the horror genre (and other genres as well), but under the sure direction and

Its savvy comic flair and subversion of familiar genre tropes also make this one of the better superhero films, animated or otherwise, to be released in recent years.

With her role in the The Hulk as well as with this film, Jennifer has proven that she can take on any role from any genre and inject the passion it needs to make it credible.

Absorbing and hypnotic, Annihilation is the best kind of sci - fi film - the kind that challenges and subverts the genre, all the while introducing new ideas that you'll see in films to come.

While she's the reason to see this movie, the plot is also well - done, and is a more positive piece than most of the films in this genre.

Either because they were being compared to some of the classics in the horror / comedy genre or, as the consensus on here states, there's not a good enough of either comedy or horror in the film.

The fairly new genre film specialist (which mainly relies on digital distribution) had its largest annual film slate ever in 2015 — though, judging from the results, that's not necessarily a good thing.

Sure, this film possesses a better pedigree than most movies of its type — director Fatih Akin is rated higher in international film circles than «Death Wish» remake director Eli Roth, Diane Kruger won the Best Actress prize at Cannes for her performance and the movie is Germany's entry for this year's Oscar for Best Foreign Language Film — and its intentions may be nobler, but, at its heart, it is not markedly different from its genre brethren.

But there's one Science Fiction film that towers above all others of the genre, as well as all other films, and that is Stanley Kubrick's 2001: A Space Odyssey, which Warner Brothers barely released in time to actually be seen on a big screen during the relevant year.

The result was a new megastar period for him he is still in and the film holds up very well considering what has followed in the genre and big budget filmmaking in general.

Which is fine because Antal does well with all the boring stuff that most other genre filmmakers don't, and it shows in the way that the film's mostly talky second act never slackens the film's brisk pace.

The film's well - blended genre mixture with visual landmarks and audacious effects illustrates its impact and evolution in sci - fi / action filmmaking.

William Girdler's Day of the Animals is an average nature gone wild horror film that is entertaining, but is far from the best in the genre.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who would go on to become the best in the business, like Fincher's Seven, M. Night Shyamalan's The Sixth Sense, Tarantino and Rodriguez's From Dusk Til Dawn, and Adrian Lyne's Jacob's Ladder.

If you feel like the horror genre has been ho - hum lately, rest assured as The Conjuring is one of the best horror films that has come across the screen in the last decade.

Though the film follows a pretty standard cops - and - robbers formula, it does so with such razor - sharp proficiency and well - drawn characters that it succeeds not just as a terrific genre film but a modern American classic in the same vein as «No Country for Old Men.»

Robert Totten / Don Siegel — «Death Of A Gunfighter «(1969) A flawed, but nevertheless interesting, minor Western that fits neatly into the revisionist movement in the genre at the end of the 1960s / beginning of the 1970s, «Death Of A Gunfighter» is best remembered as the film that birthed the name «Alan Smithee» (or here in its original spelling, «Allen Smithee»), which became the standard DGA pseudonym when a director took their name off a movie for the next thirty years.

His best or his worst film, depending who you ask (we're in the former camp) there's no escaping his unloading a lifetime's appetite for genre fare into the film's astonishing set - pieces.

It's hard to talk about what some of the best slashers are in the past ten years with any genre fan without someone mentioning the french film Inside.

Justin Benson & Aaron Moorhead are a filmmaking duo that have quietly made some of the best genre films the indie world has seen in recent memory.

Perhaps the greatest film in a career full of great films, arguably the finest achievement in a rich and magnificent genre, and undoubtedly the best version of one of America's most enduring myths, the film is an undeniable and genuine classic.

Perhaps due to the choices to cover older works, they're more able than ever to produce intelligent, thoughtful, and informative criticism — while this article maligns their production value as no better than «the average Youtube video,» editing a video review to provide context via clips of the film is a step beyond what the vast majority of populist or even academic film criticism has done in the past, let alone other related films in the genre and in the director's oeuvre for context.

In terms of narrative structure Argo is essentially a standard genre film that also happens to be extremely well made.

Bad comedies seem better in the hands of teen genre pictures, not witty analytic films of Mike Nichols.

Director Claire Denis is choosing a more diverse range of film projects than any other time in her career - and it's best exemplified by Let the Sunshine in, a romcom that subverts genre expectations on the hunt for true love.

Also in contention must be Fremon Craig's script, which plays to the teen audience with recognisable moments of anguish and glee (the romance subplot involving Hayden Szeto's American / Korean student feels both fresh and warmly familiar) while exploring some very adult emotions; as with the best of the genre, it is a film about teenagers but not just for teenagers.

but this freewheeling approach to the biopic genre works even better in films like Tate Taylor's Get On Up, where the well - documented facts of James Brown's life were already nearly impossible to believe.

Genre fans will of course know Bong Joon - ho from the consistently intense Memories of Murder (2003), the wonderfully weird The Host (2006), the subtly disturbing Mother (2009), and the twisted sci - fi masterpiece Snowpiercer (2013)-- and if you don't know these films yet, well, you're in for a good time someday.

«Full of charm and wit, with a little mystery thrown in for good measure, APPLESAUCE is a rare and very original take on the relationship drama and mystery genres, excelling quite well in both... It's a film that keeps its viewer wondering what will happen next, from the very opening of the film, to the moment the credits roll, and is by far Tukel's best work yet.»

References to older films of the genre, witty dialogue (including a monologue delivered by Carradine near the end that is probably the best thing Tarantino has ever written), extreme violence, a soundtrack filled with all kinds of extraordinary pop songs; even an entire backstory sequence completely done in Anime.

THE MAN WHO WAS N'T THERE A faithful resurrection of the film noir genre, The Coen Brothers» The Man Who Wasn't There is a shoo - in for Roger Deakins's fifth Oscar nomination as best cinematographer.

With the release of the film just a few weeks away, new trailer shows more of the relationship between Cruise's cowardly character and Blunt's warrior as the two are in training as well as a healthy dose of genre mainstay Bill Paxton.

He is known best in the genre for writing and directing the amazing film «The House of the Devil».

The film garnered rave reviews for its layered psychodrama within a noir genre piece, as well as its complex, interwoven metaphors involving survivor trauma, denial in the face of unspeakable horror, and the instability of love.

The British filmmaker is well versed in the spy genre, and is the man behind three of the Bourne films.

Long ago Film Editing always used to be very closely tied to Best Picture but in the last decade or so genre films have done very well here.

Fortunately, writer - director Scott Cooper found financing for Hostiles, a film with much more on its mind than the pitfalls of the well - worn, currently not - often - attempted genre that in this case tries to make a case for racial understanding against all odds.

To boot, Left Behind wielded some genre thrills, a familiar brand (the Kirk Cameron version camped out on Amazon's best - selling DVD list for months) and an uncommonly seasoned cast and crew, including longtime stunt coordinator Vic Armstrong (Harrison Ford's stunt double in Blade Runner, Return of the Jedi, and the first three Indiana Jones films) at the helm.

Whedon returns as the film's writer and director in this once - in - a-lifetime opportunity to revive his epic space tale, and as the first installment in a possible franchise, «Serenity» is without a doubt one of the best pieces of fan service in the history of the sci - fi genre.

Reeves (Cloverfield and Let Me In) has proven himself a strong, patient, emotional director of genre films, far better and more talented than his celebrated mentor J.J. Abrams.