Sentences with phrase «central theme of the film»

The music and songs of Inside Llewyn Davis, a mix of preexisting music and brand new tunes written expressly for the film, are bolstered by Isaac's dynamite voice and performances (the biggest track, «Fare Thee Well (Dink's Song),» is a stunner), and reinforce the central themes of the film with ease.

Not exact matches

Yet, this topic has never been the central theme of a feature film.

Spielberg widened the film's focus to encompass the story's other angles — Ellsberg's evolution, the Washington elite's lies about the war, and the tick - tock of daily - deadline journalism — but the rise of Mrs. Graham, in an era when the word Ms. hadn't yet been popularized and the concept of gender equality wasn't paid so much as lip service, remains a central theme.

The central themes dealt with in the film are that of segregation and xenophobia.

The sequence introduces the film's complex central theme of adult rebirth.

This being a Tarantino film, the theme of dramatic illusion is central.

On a deeper level, though, this brief opening battle establishes the central theme of Lincoln, and it's a theme that lies very much at the heart of Spielberg's cinema: if Lincoln is intended to be a biopic about arguably the most revered commander - in - chief in the history of the Republic, it also positions itself with its opening images as a film about race.

It isn't surprising to see another teenage film with cancer as the central theme given the success of last year's Fault in Our Stars.

If Stanley Kubrick had made a film about American slavery, it might have looked and moved somewhat like this one, always thinking about shots as shots and scenes as scenes and themes as themes, yet always tying every element, whether central or marginal, to the film's emotional spine: a tale of what it means, physically, to be enslaved as opposed to free.

The complications and tricky negotiations of family, as siblings grow up and leave to establish their own lives and their own families, was a central theme of numerous films at the 2007 Toronto International Film Festival.

It's a deeply affecting film that touches on race and international politics in a way that's far more interesting and insightful than any of its predecessors by far, as one of its central themes is the idea of Wakanda's isolationist policy — it exists for its people, and it protects its people, but what of the people outside its borders?

The central theme of finding oneself and growing up may not coalesce that nicely due to an odd lack of focus and characterization of Jude, and the film becomes a little too saccharine towards the end, but the ensemble makes the picture worth the ride thanks largely to terrific performances all around and an MVP turn by Hawke.

It's long in that, as the film doesn't sufficiently stick to the central theme of Mandela's fight for freedom, the scenes of his love life and his relationship with his children feel like they don't add much to the potency of the reason why Mandela is an important historical figure, and probably should have been excised.

Outside of the central idea of Conan swearing revenge on the warlord who slaughtered his people, the film has none of the supporting characters, themes, events, plot or settings of the 1982 film.

Although the style at times ends up detracting from the storytelling, its central theme of the lure and danger of the criminal life and a villain so perfect at personifying that theme are the propelling force of the film.

The influence one member of the jury can have on the verdict is the central theme of the various remakes of the film 12 Angry Men.

Yet amidst all the ballyhoo about Hooper's film as The Social Network's chief rival for Oscar gold, few if any have noted the extent to which the two movies orbit a similar central theme — two portraits of a communications revolution, separated by a century.

Now, Faults, the directorial debut of Riley Stearns, which premiered at SXSW in 2014, seems to be in conversation with the similarly themed 1982 Ted Kotcheff film Split Image (parodied in the bizarro Comedy Central series «Strangers With Candy»), wherein concerned parents have paid a guru to «reprogram» their child for reintegration into society.

Slow, not terribly interested in lore or internal logic, and fatally hamstrung by the choice of actors like Billy Crystal and a zombified Emily Mortimer to voice its American dub, it's a regression for Miyazaki from his last two films (Princess Mononoke and Spirited Away) in almost every sense, starting with his decision to have a lonely young woman as the central character in place of the prepubescent little girls front and centre in most of his masterpieces (the last two films, Kiki's Delivery Service, Nausicaä of the Valley of the Wind, and My Neighbor Totoro) and ending with a gross simplification of his usually complex themes of confidence and actualization into a colourless, flavourless drone about the hard - to - dispute badness of war.

The simple truth is that writer / director Ryan Coogler's film packs a mighty wallop, and any sort of criticisms you want to throw its direction don't really stick because the central themes it's exploring and the emotions it is mining always feel real.

Even if the 1970s were before your time, screenwriter Simon Beaufoy's film takes you there seamlessly with the hairstyles, costumes and set decoration - and the central theme of blatant sexism.

Either of these could be the central theme of a very interesting film, but as with other topics, the surface is barely scratched in this film.

According to the American Federation of Teachers, «The film's central themes — that all public school teachers are bad, that all charter schools are good and that teachers» unions are to blame for failing schools — are incomplete and inaccurate, and they do a disservice to the millions of good teachers in our schools who work their hearts out every day.»

The Clip Reel organizes scenes from the film according to four key themes related to the central role of the principal in improving teaching and learning: Stewardship of a Vision, Leading Instructional Improvement, Creating the Instructional Environment and Holding People Accountable.

This is the central theme of Alex's film.

These themes are central to her work and were the focus of an earlier film, Wedding Rituals (2007), acquired in 2007 by the David Roberts Collection.

Featuring a major new sound and video installation and a large - scale drawing project by Anri Sala, the exhibition Take Over addresses central themes in Anri Sala's oeuvre, exploring the relationships between music and narrative, architecture and film and interleaving qualities of different media in both complex and intuitive ways to produce works in which one medium takes on the qualities of another.

Featuring a major new sound and video installation and a large - scale drawing project, the exhibition addresses central themes in Anri Sala's oeuvre, exploring the relationships between music and narrative, architecture and film and interleaving qualities of different media in both complex and intuitive ways to produce works in which one medium takes on the qualities of another.