Sentences with phrase «box style of his films»

Not exact matches

Backed by Vice and Megan Ellison, The Bad Batch sees Amirpour given a big box of crayons with which to scrawl all over the proverbial walls, resulting in a film that's long on style, and short on substance.

Putting a lid on the package are a theatrical trailer in HD (and running close to three minutes) plus a 12 - page foldout, designed in the distinctive style of a mid-1980s cigarette advertisement, featuring «The $ 100,000 Box,» a new essay by film critic Scott Tobias that includes this gem: «They can't drop out of society.

Pennebaker's style is electric without ever being intrusive, and Criterion has REALLY loaded the box set release with hours of special features, including over a dozen performances cut from the original film.

A box set of early Fassbinder films sees him working through pastiches of film noir and melodrama as he fins his way to his distinctive themes and style.

He is so established for thinking outside the box, directing his film's themes and tones back to earlier styles of cinema and consistently delivering entertaining works that audiences have far more patience with him than most other directors.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

The three films in Criterion's magnificent box set Three Silent Classics by Josef Von Sternberg may be all the evidence we have of this era but they are more than enough to show his mastery of the medium and the rapid evolution of his style, both a visual sculptor and as a cinematic storyteller.

Smithson fed on the clashes of style, form and meaning found along his rambles through the city; from the downtown kiosks hawking porno magazines and comic books, to the movie houses of Forty - Second Street with their «low budget mysticism of horror films,» to the mineral displays at the Museum of Natural History, and across town to the Met's Byzantine paintings and the «cold glass boxes» along Park Avenue.

If you are one of the many who helped Spectre break the British box office record then you will understand what we mean when we say this film has outrageous architectural style.