Sentences with phrase «best narrative film»

It recounts such a fascinating, absorbing, and instructive tale, full of delayed revelations and subtle pleasures, that the jury unanimously gave it the top prize, citing it as both the best documentary and the best narrative film.

While «Toni Erdmann» remains the best narrative film I have seen in 2016 thus far, «I, Daniel Blake» easily cracks my top 5.

BEST NARRATIVE FILM *** 12 Years a Slave *** American Hustle Gravity Inside Llewyn Davis The Wolf of Wall Street

BEST NARRATIVE FILM Lincoln The Master Moonrise Kingdom The Perks of Being a Wallflower ** Silver Linings Playbook ** Zero Dark Thirty

BEST NARRATIVE FILM The Florida Project ** Get Out ** The Post The Shape of Water Three Billboards Outside Ebbing, Missouri

BEST NARRATIVE FILM Boyhood Birdman Calvary *** The Grand Budapest Hotel *** A Most Violent Year Selma Whiplash BEST DOCUMENTARY FILM Citizenfour Glen Campbell: I'll Be Me Jodorowsky's Dune *** Life Itself *** The Overnighters BEST ANIMATED FILM Big Hero 6 The Boxtrolls How to Train Your Dragon 2 *** The Lego Movie *** The Tales of Princess Kaguya

This winner of the audience award for best narrative film at the Palm Springs International Film Festival is the kind of whimsically smart - aleck British film that goes down well on this side of the Atlantic.

Of course, choosing the very best films out of Martin Scorsese's filmography is a near impossible task, but these ten, in chronological order, are considered among his very best narrative films.

Not exact matches

But the narrative already has the makings of a feel - good Hollywood movie — so it should come as no surprise that a feature film dramatizing Ma's rags - to - riches rise is already in the works.

The film and its two predecessors, 2008's Cloverfield and 2016's 10 Cloverfield Lane, are share the same producer (Abrams) as well as a somewhat mysterious monster - movie narrative connection.

The most expensive and technically ambitious film ever made, James Cameron's long - gestating epic pitting Earthly despoilers against a forest - dwelling alien race delivers unique spectacle, breathtaking sights, narrative excitement and an overarching anti-imperialist, back - to - nature theme that will play very well around the world, and yet is rather ironic coming from such a technology - driven picture.

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.

The film still suffers from a muddy narrative and dour outlook, but this extended version corrects a number of problems with plotting and expands the DC Comics universe with better character development and world building.

In the service of the film's narrative tricks, I'm omitting any mention of a few key characters and the good actors that play them.

Perhaps no other series of children's films (and few series of films period) has delivered as consistently good visuals and narrative as Potter.

The best thing that can be said about Bats vs. Supes is that it's rapid collapse at the box office may finally be enough to convince Warner Brothers to remove Snyder from any future DC Comics films and give them to those who've show an ability to deliver movies with coherent character, narrative and emotion in addition to pure spectacle — and preferably all of the above.

Many of the scenes throughout the film contribute little to the overall narrative, but were obviously kept in for a reason, and a commentary or two could well have been a fascinating supplement to the movie proper.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

In similar films such as «Tinker Tailor Soldier Spy,» «The Debt» and «The Good Shepherd,» past and present are blended in such a way as to suggest the legacy of trauma, a narrative strategy that seems highly relevant to Red Sparrow.

It's the way that the movie feels so cold, and incurious, despite its incredible detail (it's a rare Netflix original film where constant pausing might make it even better) dynamic cinematography (using wide and full aspect ratios for narrative purposes) and general glimmers of newness.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

Earnestly presented and well acted, particularly by newcomer Nicole Beharie in the central role, the film shares with many other such agenda - driven dramas a complete lack of narrative surprise, merely connecting the dots.

People like Daniel D obviously don't know anything about film, and look for improbabilities in a narrative to decide wheather its a good movie or not.

Josh Brolin and Daniel Kaluuya also are strong supporting actors, both providing the film with a heightened sense of urgency as well as a balanced level of comic relief which doesn't take away from the films overarching narrative.

One of the best things about Tarantino films in general and Django Unchained in particular is that the viewer is never sure where the narrative is going.

It's not, though, because this is one of those «too good to be true» tales perfectly suited for a narrative feature film and one helmed by a maestro of visual effects and other technical facets.

As the film becomes confined to Georges and Anne's well - appointed apartment, we settle in for an observation of the day - to - day as Anne's condition worsens (that's the invasion of privacy referred to in my opener above), and the narrative takes its inevitable course — minor immobility but still - bright sentience giving way to paralysis, dementia, force - feeding, loss of bodily - function control, wailing and terrified / terrifying unrecognizability leading up to the point of the unbearable for both husband and wife — we are also treated to a kaleidoscopic view of this couple's comfort with each other, their familiarity, their annoyances, their casually brutal honesty, and their reflexive care for one another.

The Canadian film premiered at Slamdance 2013 and took home the Best Narrative Feature prize, initiating a successful festival run...

The film was written and directed by Noah Buschel, who also wrote and directed Glass Chin, nominated for 2014 Tribeca's Best Narrative Feature.

Terence Davies» «Of Time and the City,» which is both a documentary and a personal narrative, was chosen as best «nonfiction film.»

I wouldn't go so far as to say it's a good film overall, but given its relatively low aims, and for its subgenre, it is an entertaining one, though some might be disturbed at a few of the grislier narrative turns, especially at seeing a loving family torn apart, quite literally.

Trumbo «s narrative is well constructed; the real strength of the film is its screenplay.

A narrative film is obviously meant to tell a story as well as giving us characters for whom we can care for.

New for 2011, films in competition were also eligible for Jury Awards for Best Editing, Best Cinematography, Best Score / Music, Best Screenplay (narratives) and Breakthrough Performance (narratives).

Between his narrative and documentary features, director Kevin Macdonald is well on his way to banging out six films in the span of three years, and we now have our first look at the Last King of Scotland helmer's 2014...

Later, the film won the Audience Award for Best Narrative Feature at the Hamptons International Film Festival.

His narrative feature debut, Tornando a casa (Sailing Home) won the director several awards at international film festivals in 2001 and was nominated for Best First Feature at the Italian Golden Globes.

It seems like Malick's been moving further and further away from traditional narrative with each successive film, and I think that each film is better than the last.

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minute.

For 2016, the festival nominated six films for the EDA Award for Best Female - Directed Narrative Feature.

The way the filmmaker has imbued Japanese culture and folklore into proceedings is commendable however, particularly in the Alexandre Desplat score, using drums throughout, enhancing the more intense aspects of the narrative which serve the film well.

The jury statement: «The Alliance of Women Film Journalists presents the EDA Award for Best Female - Directed Narrative Feature to a film in which we are observers in a story told with a fully naturalistic approach.

The film would have been much better if this narrative strand had been a little more involved.

And as unwieldy and imperfect as Polley's film can be, well, maybe that's the point, as the ungainly narrative is a lot like love and life, with few easy answers.

It won't be long before this movie's late - game success has journos pushing the narrative that it's a great film year for women, and thanks to Bigelow, it may very well be.

In addition to presenting year end awards during the annual movie awards season, AWFJ partners with select film festivals throughout the year to present EDA Awards for best female directed films in the documentary, narrative feature, and short categories.

The festival nominated female - directed films for the EDA Awards in three categories: Best Female - Directed Narrative, Best Female - Directed Documentary and Best Female - Directed Short.

From giving an anti-Superhero movie Best Picture to trying to tell the public they're sick of the genre, Hollywood believes that by crafting a fake «Superhero Fatigue» narrative people will stop going to see movies they like and will instead see boring Oscar - bait films.

It is fine with me if there are two, ten, or a hundred cinemas, but I think we have to understand that the most important new movies will not be coming from the directors who make better and better films in conventional narrative modes, no matter how much we may admire and enjoy what they accomplish.

But while the film's patchwork narrative contains some good moments, that's all it really is — moments strung together like some kind of time - capsule scrapbook.