Sentences with phrase «budget movie shown»

The problem, however, is not getting a new low - budget movie shown in Park City.

Not exact matches

The service has evolved from being solely a buyer of shows and movies to become one of the active producers of TV, documentaries and films, with a long - term budget that approaches $ 10 billion, according to filings.

Part love story, part adventure (the plot revolves around what happens when their ship carrying thousands of sleeping passengers starts to malfunction), the movie could be the award show's big - budget contender.

«But if they're looking for much bigger - budget movies or TV shows, it has to go further.»

She'll be taken out for dinner, to the movies, and to shows and concerts that she simply could not afford on her budget.

Crafting a modestly budgeted movie about ordinary, nothing special people thrust into extraordinary circumstances and showing heroism means a big box office hit.

Under The Skin is one hundred percent one of these movies, but it's got a budget - shown most starkly in the lead, famous movie star Scarlett Johansson - and it's getting a release far outside the fest bubble.

I can only hope the movie does well enough to give us a threequel and another chance at a bigger budget game that can show more potential.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening November 12, 2010 BIG BUDGET FILMS Morning Glory (PG - 13 for profanity, sexuality and drug references) Romantic comedy about an aspiring TV producer (Rachel McAdams) whose hopes to save a struggling news program depend on her controlling the show's feuding co-anchors (Diane Keaton and Harrison Ford).

While Florentine and his longtime cinematographer, Ross W. Clarkson, manage to get a few»90s Hollywood - flavored Steadicam shots in, much of the movie is composed in an anemic, impersonal style that more closely resembles Florentine's past career as a regular director on various Power Rangers TV shows than the low - budget craft of Ninja (2009) or Undisputed III: Redemption (2010).

While his technical skills drive most of the movie along smoothly and smartly, in the end this modestly budgeted studio movie is all too clearly a calling card showing how willing he is to sign up to make lucrative summer comic book franchise movies.

It just goes to show, like Primer, that you don't need a big budget to make a fascinating sci - fi movie.

Having hit new heights recently with his excellent score for Terminator 3 and then the even better, career - best Hellboy, Marco Beltrami was brought in as a last - minute replacement for Trevor Jones on Alex Proyas's big - budget adaptation of Isaac Asimov's I, Robot starring Will Smith, Bridget Moynahan and James Cromwell (who presumably must have somehow cloned himself, given how many movies and tv shows he seems to appear in these days).

Lessons from Pixar's Brad Bird on fostering innovation in the workplace: «In my experience, the thing that has the most significant impact on a movie's budget — but never shows up in a budget — is morale.

I wasn't going to fault the acting in a movie with a $ 300,000 budget, but once Jon Polito (Miller's Crossing and Barton Fink) showed up, I felt the directors could have at least gone big or just stayed at home and refunded their Kickstarter faithful.

Producer Jason Blum is the founder and CEO of Blumhouse Productions, which is a multi-media production company that has pioneered the model of making high - quality, low - budget films, and now does everything from movies and TV shows to books and live events.

That makes sense since we've previously heard that co-showrunner Carlton Cuse wants to run the show with a movie budget, though it has yet to be confirmed if that's truly the case.

In fact, the only real story in story mode is in the prerendered movies between chapters, and while they're bordering on well made (the modeling and art style are high quality, but apparently the motion - capture budget was used only for the game itself, as the animation is done by hand and sometimes isn't that good), they are mostly just a series of scenes that show the next boss character preparing to try to destroy the heroes.

I should point out that this is a no - budget movie and it does show.

In 2003 there were a lot of disappointed 10 - year - olds exiting cinemas showing Hulk — that year's big - budget Marvel movie adaptation.

Publicly exhibited nudity on film was harder to come by after the Hays Code, but glimpses of flesh were available in ultra-low budget exploitation movies and documentaries, which used the pretense of education to show nudity.

While it's not unusual for a scripter to have a long, successful life (after all wrote this forty - four years ago and he's still going strong), but considering that «Strawberry» was a big - budget movie about the late sixties riots at Columbia University, one that showed radical students breaking windows and, I believe, smoking the dean's cigars, that seems too much in the mainstream for the prolific playwright.

Freed from restrictions imposed on him by the necessities of a mainstream audience, creator Dan Milano is finally allowed to reveal how embittered he was by his network experiences — the latest (read: second) volume of the new show presents the IFC pilot, «Fur on the Asphalt,» which hilariously recasts the Fox sitcom as a hopelessly compromised, formulaic piece of crap co-starring Clint Howard — and responds by lowering the budget drastically and throwing his felt creations into a new line of work parodying movies.

Everything about it screams «niche,» from the budget ($ 4.5 million, which is what its studio, Universal, spent to make approximately two - and - a-half minutes of The Fate of the Furious), to the first - time director - writer, Jordan Peele, a cable - TV star whose show ended and who was looking to branch out, to the complete lack of movie stars (although now, Daniel Kaluuya and Allison Williams are nicely on their way), to the genre: horror cut with more than a dash of comedy and of pointed sociopolitical commentary.

Fruitvale Station showed the world Coogler can create an all star movie with a small budget, and Creed showed Coogler can handle the pressure of recreating a sinking movie franchise with box office hit numbers.

The second factor is that the budget is so much less than the first movie ($ 17M versus $ 27M, and that's not counting for inflation over the 10 - year gap), and boy does it show.

More than 60 characters will be shown in Marvels new big fat budget movie.

Just last year, Get Out ($ 255 million) and the aforementioned Girls Trip were two of the biggest box - office hits relative to their budgets; 2015's Straight Outta Compton made over $ 200 million thanks a strong showing overseas; and the diversely cast Fast & Furious franchise is eight movies deep and showing no signs of slowing down.

Director Josh Trank took the helms of the new franchise after his successful low - budget superhero movie Chronicle showed what he was capable of.

Sony's Christian drama doubles its budget, showing that bigger isn't necessarily better when it comes to inspirational movies

These scenes look breath - taking and show how a Godzilla movie with a budget of this size can really work.

Instead, it's simply the best budget tablet for doing many things, from watching movies and TV shows to playing mindless games.

It is even worse when it's based on a popular IP like a TV show, movie or comic since they the handheld version is delegated with the smallest budget.»

I can only hope the movie does well enough to give us a threequel and another chance at a bigger budget game that can show more potential.

We decided to create a data visualization to show how Logan compares to the rest of the X-Men franchise by looking at production budget, domestic opening weekend ticket sales, and Rotten Tomatoes movie scores.

Whether because of budget constraints or by design, the movie never shows drilling itself, leaving the specter of the industrial invasion of rural America to the imagination of the townsfolk and audience.