Sentences with phrase «bills of films like»

For what it's worth as regards The Incredible Hulk, I'll restate the fact that I've never been one to hop on the anti - sequel / anti-remake bandwagon (I'd rather see more double - bills of films like Capote and Infamous than «original» films lacking in soul or depth), and despite his many offenses (most of them relative in my book), nor will I take part in the seemingly mandatory pastime of kicking M. Night Shyamalan when he's down.

Not exact matches

For a solid hour, effervescent Facebookers quoted advertising legends like Bill Bernbach, discussed the «craft of film» and being «on brand,» and showed us heart - tugging commercials — all without once using the word «algorithm.»

On the issue of how to support Canadian content when fewer Canadians are purchasing cable TV subscriptions, the government tested four options to raise new money for Canadian content: making telecom companies divert some smartphone and Internet revenue; requiring «foreign companies like Netflix and iTunes» to devote a portion of revenues; giving consumers the option of making a voluntary $ 2 contribution on their telecom or Netflix bill; or making telecom companies add an app to every smartphone sold in Canada that would provide access to Canadian music, TV and film for between $ 5 and $ 15 a month or a flat charge of $ 3 on the sale of all smartphones.

The 17 - year - old allegations have largely overshadowed the upcoming release of the film, and have led to larger conversations about how audiences should attempt to separate the artist and their art (similarly to Hollywood names like Woody Allen and Bill Cosby).

For the scientific community, the release of public polls on contentious questions of science usually makes us feel like Bill Murray's character in the film Groundhog Day.

Just take a look at Kris Carr, Rip Esselstyn (who is in the film), Rich Roll, Brendan Brazier, Dr. Neal Barnard — or celebs like The Biggest Loser's Bob Harper, NFL - star Tony Gonzalez, casino mogul Steve Wynn and Bill Clinton (the list is endless)-- all of whom can attest to the many health benefits of incorporating a whole foods, plant - based diet.

During this recent interview to discuss the TV version of Zombieland, co-creators and executive producers Rhett Reese and Paul Wernick talked about the journey from TV series to movie and now back to TV pilot, what it's been like to work with Amazon, what motivated the decision to have the same characters from the movie on the TV show, how they envision it as a road show, how much gore they can have, what Kirk Ward (who was originally cast as Tallahassee before being replaced by Woody Harrelson) brings to this version of the character, what led them to the 30 - minute format, whether they could have any surprise cameos (Bill Murray made a very memorable one in the film), what will determine whether the pilot is successful enough to go to series, and when they might know if they're picked up.

Jarmusch has always been a mixed bag in my book, but I do like Bill Murray a great deal, so it's no surprise that I find Broken Flowers to be a more enjoyable film than the last several of Jim's efforts.

Carradine's Zen - like composure makes Bill (absent from the first film but for his voice and hands) into a philosopher warrior, older and wiser and full of regret for his actions... but not enough to stop the inevitable.

Once upon a time, noted the doom - mongers, before the likes of it got squeezed by low - cost, high profit fare like horror movies and mega-budget, T.V trumping spectacle, like your average $ 200m blockbuster, a film like Annihilation — mannered and mysterious — that 30 years ago might have shared a double bill with John Carpenter's Starman, would have done very well.

Whilst the focus of many reviews of Lost in Translation has been on the renaissance of Bill Murray's career, Coppola's choice in casting him in the starring role and to juxtapose him with Scarlett Johansson is inspired in its exploitation of his deadpan, ironic screen persona established in films like Groundhog Day (Harold Ramis, 1993).

The film is billed as a satire, but I'm not biting; that feels like a bit of revisionist history.

Smartly, the filmmakers — who include screenwriters Jenny Bicks and Bill Condon (the latter directed the live - action Beauty and the Beast and Dreamgirls and wrote the film version of Chicago)-- also know how to keep a four - quadrant family musical from sinking into Chitty territory by employing devices that also will please the Broadway crowd, particularly the Bob Fosse - like opening number as well as sensational choreography throughout.

The first time I made a year - end list for Scanners, I did it by suggesting double - bills of 2006 films with older films (much like what contributors to The Auteurs did this year).

But it also seems like a way station en route to the film Boorman probably hopes he can make next: Bill's introduction, hinted at here, into the world of moviemaking.

Revenge is used in many of his films like Kill Bill, Inglourious Basterds, and now Django Unchained.

Daggers, however, is director Zhang Yimou's follow - up to the callowly beautiful Hero and, like that movie and a number of others (Ashes of Time, Bride with the White Hair, Crouching Tiger, Hidden Dragon, Kill Bill, Zatoichi, Warriors of Heaven and Earth, and, in a way, Goodbye Dragon Inn), it belongs to a martial arts / art - house genre of films by hip young directors upgrading genres they loved as teenagers - «martial arts plus.»

The film sees rising Irish actor Domnhall Gleeson as a young man who finds the males in his family have the ability to travel through time, and much like his father (Bill Nighy) before him, he's eager to use it to his advantage — wooing the girl of his dreams (Rachael McAdams).

This segues into the filming of Jeff Goldblum and Bill Murray's first encounter, with the likes of Goldblum and Anjelica Huston contributing parenthetical testimonials.

On the drama front, films as diverse as Bill Pohlad's Brian Wilson biopic Love & Mercy, Nanni Moretti's touchingly personal Mia Madre, and Kornél Mundruczó's White God all vied for inclusion, if ultimately edged out by the likes of Todd Haynes's flawless Carol and John Crowley's quietly powerful Brooklyn.

One would think that with an all star cast that includes the likes of Michael Fassbender, Ewan McGregor, Bill Paxton, Channing Tatum, Mathieu Kassovitz, Michael Angarano, Antonio Banderas, and Michael Douglas, Haywire would be a film with the potential to be a blockbuster standout.

The film began production in New York in November, 2016, right after the presidential election, and the screenplay (by «Sex and the City» writer Jenny Bicks and «Dreamgirls» director Bill Condon) contains many images and situations that feel like direct challenges to Trump - style politics of resentment.

Solondz agreed to an interview upon the release of his fifth feature, Palindromes (he asks folks not to track down his directorial debut, Fear, Anxiety & Depression, which my editor, Bill, describes as something like a satire of Solondz films), another picture garnering an extreme amount of political fallout following the similarly - tumultuous receptions to his Welcome to the Dollhouse, Happiness, and Storytelling.

Amy Adams won't likely be nominated, especially since she's probably the one playing the voice of the computer / Siri - like operating system that Joaquin's character falls in love with (I'm guessing this based on Adams» top billing on the film's IMDB and Wikipedia pages).

A somewhat bland supporting cast offers little to make anything but Brosnan interesting, save for a fiery Bill Smitrovich (Ted, Eagle Eye) turn and a scene in which Olga Kurylenko appears to dress up like Velma Kelly from Chicago to begin one of the film's most farfetched of story developments.

«Morlando draws great performances out of his two young leads, Quebec's [Sophie] Nélisse and America's [Josh] Wiggins, who are like fugitives out of a French New Wave film, discovering love while also hatching a plan on the run.They've had to suddenly leave their rural homes, in the mythical U.S. state of Great Lakes (according to car licence plates), because Jonas has grabbed a big bag of cash from Casey's abusive bad - cop dad Wayne -LRB-[Bill] Paxton), after furtively witnessing a criminal betrayal that turns into a bloodbath.The two teens take off, with Casey's dog in tow, but Wayne isn't far behind.

by Bill Chambers I suppose I'm a hypocrite, because one of the reasons I don't like the Marcus Nispel remake of Tobe Hooper's 1974 masterpiece The Texas Chain Saw Massacre is that it's basically the Young Guns version, a fun - size snuff film with a reductively commercial aesthetic that literalizes the Grant Wood underpinnings of the original.

Although Bill Condon's film doesn't play out like a mystery as you might expect given the title character's legacy as one of history's most notable crime solvers.

In addition to the four actors mentioned above, the film also stars Bill Murray, Alec Baldwin and Danny McBride, and although that might make it sound like a full - blown comedy, there's plenty of evidence to support that isn't the case.

Featuring never - before - seen Coltrane family home movies, footage of John Coltrane and band in the studio — discovered in a California garage during production of this film — along with hundreds of never - before - seen photographs and rare television appearances from around the world, Coltrane's story is told by the musicians that worked with him including Sonny Rollins, McCoy Tyner, Benny Golson, Jimmy Heath, Reggie Workman, musicians that have been inspired by his fearless artistry and creative vision like Common, John Densmore, Wynton Marsalis, Carlos Santana, Wayne Shorter, Kamasi Washington, along with Coltrane's children and biographers, in addition to well - known admirers such as President Bill Clinton and philosopher Dr. Cornel West.

While it's invidious to compare a female director's work to that of her spouse, it's plausible that two filmmakers who live and have worked together (she has acted in his films) may find styles and preoccupations rubbing off on each other, or separately making films that would be a dream double - bill; this is certainly the only MHL film that feels remotely like an Assayas one, and it's certainly different from the pared - down precision of her other, more vignette - like works.

Get a copy of the first book that really takes a look at the director behind so many of Hollywood's most famous films, like Casablanca, the Sea Hawk, King Creole & about 180 more.Then stick around for a Noir double bill of, «The Turning Point» (1952) & the Curtiz directed, «The Scarlet Hour» (1956)

There's neither the overheated lyricism of Raging Bull nor the pulp grittiness of a noir like The Set - Up; everything in Kuosmanen's film feels earthy and grounded, and, unlike Bill Conti's work in Rocky, Kuosmanen forgoes a non-diegetic music score, thereby denying us any easy emotional signposts.

Other ideas that have been left on the proverbial curb include an (unnecessary) follow up to Kill Bill, The Vega Brothers which pit Pulp Fiction «s Vincent Vega (John Travolta) against Reservoir Dogs «Vic Vega (Michael Madsen) and a host of British spy films, like The Man From U.N.C.L.E., that he's had or been trying to get the rights to for years.

By the fifth Potter film, Daniel Radcliffe, Rupert Grint, and Emma Watson had matured into incredibly capable actors (for their age) who could finally provide balance to the incredible supporting cast of European all - stars like Michael Gambon, Alan Rickman, Bill Nighy, Ralph Fiennes, Gary Oldman, Jim Broadbent, and Maggie Smith.

Beginning his career as one of Takashi Miike's go - tos in films like The Way to Fight and The Man in White, hitting his stride in Ryuhei Kitamura's Azumi and Godzilla: Final Wars, and even turning up as one of the Crazy 88 in Kill Bill, actor Kazuki Kitamura is one of Japan's most recognizable faces.

by Bill Chambers Much like a TV show that's been on the air too long, the Santa Clause films have accrued an unwieldy supporting cast (including those old harbingers of cancellation: grandparents and babies) and begun hitting the reset button on characters thought to be at or near the end of their arcs.

After appearing in a more serious dramatic role in Wes Anderson's «Rushmore,» Bill has been experiencing a film renaissance, with tons of critical praise for his work in films like «The Royal Tenenbaums» and «Lost in Translation,» which he received an Oscar nomination for Best Actor.

More recently, Bill has stepped away from the mainstream (with the exception of «Charlie's Angels») and moved to more independent features, including his work alongside director Wes Anderson in «Rushmore,» «The Royal Tenenbaums» and «The Life Aquatic,» but also in much heavier films like «Hamlet,» «Coffee and Cigarettes» and the award - winning «Lost in Translation.»

by Bill Chambers The Lucio Fulci apologists like to say that gore and general impropriety are the raisons d'être of his work, not storytelling, but there's a built - in fallacy to that implicitly macho challenge: It presumes that his films are light on narrative when in fact it's narrative drive that they lack.

From her bizarre appearance (she looks like a swollen Bill Mumy) to that pinched, kewpie - doll chipmunk chitter - chatter she uses in the mawkish belief that it's an endearing quality in someone past the age of six, Zellweger would appear to be an easy target of blame for the film's general inadequacy.

Caiappe and Scherfig pack the film with fun side characters and pseudo showbiz insider jokes, like when they go out to the past - his - prime actor Ambrose Hilliard (Bill Nighy, always the scene stealer) for the «corpse role» of the drunken father who's described as being a «shipwreck of a man» who is in his 60s but «looks older.»

It doesn't include films that have a stoned sense of humor like Super Troopers or Bill and Ted's Excellent Adventure, nor does it include films that contain marijuana use but also have higher interests (no pun intended) like Saving Grace or The Wackness.

Eloquent actors like Bill Nighy and Charles Dance lend credibility that is subsequently dashed by the overachieving dialog (there's a fine line between articulate flourish and flat - out pretension), and the films long to fuse a Shakespearean framework to the badass thrill of chicks in tight leather going bloody ballistic on CG werewolves.

Halle Berry was next to useless in the film as well as Anna Paquin, who was like billed fifth yet had about five seconds of screen time and no lines.

And furthermore, there's a lot of strong behind - the - scenes talent involved: Oren Moverman co-wrote the script, Wes Anderson DoP Robert Yeoman shot the film, «The Social Network» co-Oscar winner Atticus Ross is scoring, and though director Bill Pohlad — making his sophomore feature — is known more as a producer, he's got great taste, having been partly behind films like «Brokeback Mountain,» «The Tree Of Life» and «12 Years A Slave.&raquof strong behind - the - scenes talent involved: Oren Moverman co-wrote the script, Wes Anderson DoP Robert Yeoman shot the film, «The Social Network» co-Oscar winner Atticus Ross is scoring, and though director Bill Pohlad — making his sophomore feature — is known more as a producer, he's got great taste, having been partly behind films like «Brokeback Mountain,» «The Tree Of Life» and «12 Years A Slave.&raquOf Life» and «12 Years A Slave.»

I find the Australian academic film writing of people like Jodi Brooks, George Kouvaros, Adrian Martin, Meaghan Morris, Sam Rohdie, Bill Routt, Anne Rutherford and Lesley Stern, among others, enormously exciting.

Billed the 8th film by Tarantino in marketing and the opening credits (a count that ignores films he partially directed like Grindhouse, Sin City, and Four Rooms and those he merely wrote, like True Romance), Hateful is what we've come to expect from the filmmaker: extremely violent, absurdly profane, and inspired by a hodgepodge of influences both highbrow and low.

Indeed the casting of Gleeson was a wise move as his presence acts as another way to infuse some freshness into the film, which for the most part is populated by Curtis» usual collaborators, like Bill Nighy, whose performance is highly watchable, if not particularly new or taxing.

We are also proud that we were able to educate more Californians about the Vergara case through TEACHED interactive screening events, introducing audiences to Students Matter lawyer Joshua Lipschitz, great teachers who explain the policies in question in our short film The Blame Game: Teachers Speak Out, and other courageous leaders like principal Bill Kappenhagen, who became a witness in the case as a result of participating in TEACHED screenings (go Bill!).