Sentences with phrase «change comes the film»

We aren't here just to talk about a new title, though, because with that name change comes the film's official synopsis, giving us our first glimpse at the direction Chronicle scribe Max Landis decided to take his retelling of Mary Shelley's iconic tale.

Not exact matches

The series was produced by Jeff Skoll (of eBay fame) and his activist company Participant Media, And it serves to underscore once again the «you - are - there» power of VR — as opposed to the two - dimensional flat - screen experience of a film like An Inconvenient Truth — when it comes to getting out the message of urgency about climate change.

Today's question comes from ochaos on reddit, who asks how things are going with regards to the recent changes in Sprint's financial eligibility date checker: Comment from discussion We're filming another...

Two of the children have lives that «changed pretty radically,» though, including one who came out as a lesbian (in addition to the one in the original film).

But whilst the question of how to coordinate behavioural change is important, I did come out of the film feeling that we are not really going to get anywhere quickly enough if those who are moved by the issue do not themselves take sizeable steps, as individuals.

A film about the passage of a change to a legal document generates less intrigue, even if the revision in question outlawed slavery and came alongside the end of the longest and deadliest war fought on American soil.

Good things tend to come when Michael Winterbottom works with star Steve Coogan (24 Hour Party People, Tristram Shandy, The Trip), so we're happy to see Coogan starring as infamous British pornographer, club - owner, real estate developer, multi-millionaire, and so - called «King of Soho» Paul Raymond in a dramedy that spans decades and includes scenes shot in black - and - white and color, constantly changing to match the film styles of each period.

It's not going to change the world or inspire great thought, but there are worse ways to spend an hour and a half than watching these up and coming new stars in a perfectly agreeable film.

Those who come in contact with it are changed by it, as are the apes at the start of the film and Dave Bowman (Keir Dullea) at the end.

A Separation offers its viewers an experience that is both challenging and heartbreaking and, as with all truly great cinema, you come away from this film feeling just that little bit changed for having seen it.

Perhaps one of the reasons that the mass public has continued to fail to embrace the film is that he works against the grain at every opportunity, playing a borderline villain, not unlike Captain Ahab in «Moby Dick», willing to push his entire family to the brink of his own madness in order to come to a destiny that he keeps changing a firm position on.

Director Rian Johnson said it was Fisher who came up with a joke Luke told about how she had changed her hairstyle when they briefly reunited in the film

Coming off two critically acclaimed films — the family drama «Summer Hours» and the epic terrorist thriller «Carlos» — his next effort marks another gear change for the director who refuses to be pinned down to any one genre or style.

Josh Trank is best known for directing the 2012 film «Chronicle» and that movie was a smallish movie that Trank had a lot of freedom to work on with and at least there wasn't any studious coming in and changing things and making it really hard for everyone else.

And while the storyline, characters and sets could only come from the quirky imaginations of the Coen brothers, the film remains critical and engaged with the world we live in — a world where the little guy struggles to change their own tough situation, let alone the world at large, and the big ones who don't give a damn.

The two really * loud * populist politicians in this film who tried to block the 13th amendment reminded me of one or two populist politicians in my own country: nothing much has changed after all these years apparently when it comes to politics.

«For somebody to fundamentally change their mind is the hardest thing,» says Chiwetel Ejiofor, reflecting on his new film, «Come Sunday.»

ATLAS SHRUGGED PART I Rather than take the time to come up with something witty to write about this heavy - handed screed that boasts all the production values of a bad made - for - TV movie from the early 1980s, I'll just substitute the word «novels» with «films» in this popular quote and be done with it: «There are two films that can change a 14 - year - old's life: The Lord of the Rings and Atlas Shrugged.

In the two scenes screened from Her (note: Neither Jonze nor the moderator, David O. Russell, ever explicity called the film «Her» so maybe another title change is coming) we see the first time Phoenix's character, Theodore, installs OS1 and meets Samantha, the custom personality OS1 builds for him voiced by Scarlett Johansson.

This is where the heart of the film comes into play; this character that previously had no direction suddenly is faced with a monumental hurdle that will change everything about who he is.

Indeed, Leigh's own capsule description of his film, published in the Cannes film festival catalog, sounds like the sort of thing Jack Valenti might have come up with for an after - dinner speech: «Secrets and Lies is about roots and identity, the ever - changing images we all have of ourselves and each other, and our compulsive need to reaffirm constantly who and what we are, and where we come from.

The title comes from Shakespeare's The Tempest, which is quoted in a title card early in the film that promises that our middle class married couple will «suffer a sea change / Into something rich and strange.»

Now Arthur & Lancelot is back amongst the living, and one change has been made to ease studio concerns over the film's budget and potential returns: rather than going with up and coming talent, the studio is now in talks with Colin Farrell to play one of the title roles.

In the tradition of Al Gore's An Inconvenient Truth, this Leonardo DiCaprio produced 2016 film attempts once again to sound the alarm about climate change by drawing attention to some areas of the world that are poised to be most affected in the coming years.

Somebody decided to change the book's black transit cop Clive Prescott into a jowly Lieut. Garber tailor - made for Walter Matthau, but Stone redresses the balance in a nifty throwaway: Garber, coming face to face late in the film with a highly competent, encouragingly authoritative police inspector he's known only by voice (Julius Harris), executes a visual and verbal stumble: «Oh I didn't know you were a — I thought you were a taller man — or shorter — what the hell...»

The direction and screenplay is by Jon Lucas and Scott Moore (The Change - Up, Rebound), whose claim to fame comes from writing the screenplay for the first Hangover film.

These lists are certain to be changed or tweaked a bit in the coming weeks as Cannes organizer Theirry Fremeaux is always knows to add films sometimes right up to the last minute.

However, Marnie changes when Simmon's character is around, the entire speed of the film comes to a halt.

The combination of clever how - to details and wild fantasy is a throwback to the days of Disney's live - action man - against - nature films (only slightly grimmer), but it's flanked by a more down - to - earth depiction of the hero's youth in a zoo - owning Indian family, as well as a closing sequence that changes the meaning of everything that's come before.

Both films share a pre-occupation with the hypocrisies of bourgeois Parisian life, (and there is a smart visual nod to Haneke's film with its extended final shot), but Szumowska has a greater handle on the subtleties and nuances of character, and together with Binoche they create a memorable study of a middle - aged woman coming to terms with the changing landscape of her life as she enters middle age.

But the Buckinghams come to realize to their dismay that classic English theater is falling out of favor in a changing country where the public has become more excited by the explosion of vibrant Bollywood films — and, more deeply, is looking to move beyond everything British.

Better still is Abigail Breslin as the girl in question, observing her changing self with a blend of flintiness and panic; you could argue for the film as a grisly coming - of - age metaphor to file alongside Carrie and Ginger Snaps.

Before writing the song, which needed to fit the stirring themes of Marshall — a film about the life of Thurgood Marshall, the first African American Supreme Court Justice — Warren told Common she listened to Sam Cooke's «A Change Is Gon na Come» and Curtis Mayfield's «People Get Ready» back to back.

A powerful film about a group of cloistered Catholic nuns coming to terms with changes in the Church during the mid-1960s.

The Australian actor, who is head of this year's female - majority jury, says change will come to the film festival, but «not overnight»

November 6 Charlie Brown might be the world's biggest loser but he has aspirations to change his ways when he and the whole gang come to theaters in the animated film The Peanuts Movie.

NovitiateWritten and directed by Maggie BettsOut October 27It's hard to imagine a film that more thoroughly passes the Bechdel Test than Novitiate, a period drama about nuns coming to terms with the changes Vatican II brought to the Catholic Church in the 1960s.

WHY: Over the past decade, Michael Mann has come to care more about the look of his films than what they're trying to say, and that hasn't changed with «Blackhat.»

The «Final Fantasy» movie saga has come a long, technical way from the game - changing, Elliot Goldenthal - scored film of 2001.

The film follows two men from opposite sides of the political spectrum who came together to change the course of history in Northern Ireland.

But the point of the film, and the thing I hope people come away with, is the possibility of change in people.»

All the film's allusions to power structures, dominant ideologies and seismic social change are engaged in this one crucial scene, which re-frames everything that has come before.

Davies» films have always supplied strong female roles (think Gena Rowlands in «The Neon Bible,» Gillian Anderson in «The House of Mirth» and Rachel Weisz in «The Deep Blue Sea») and this story, which followed an ordinary farm girl in the 1910s with a dream of being a teacher, who begins to assert her independence in the face of cruelties dealt by people ranging from her abusive father (Peter Mullan) to the initially sweet young man (Kevin Guthrie) who falls in love with her marries her, only to come back from the horrors of World War I irrevocably changed.

Soderberg comes back with a vengeance with another breezy, hilarious heist film, this time revolving around a family that just can't catch a break trying to change their fate by robbing a NASCAR race.

His work at Oats Studios — where all his original films have been produced by — show his desire to continue similar thematic elements to his other films while changing his blueprint when it comes to making his movies.

One significant name change, one major locale switch to Park City, dozens of tweaks / additions (brand - name sponsors and other red - carpetbaggers, beefed - up foreign - film sections, «New Frontier» and V.R. sidebars) and several thousand movies later, it's safe to say that yes, they built it — and yes, four decades later, we're still coming.

Often during filming, a screenplay is changed as the story comes to life, usually only slightly but sometimes very dramatically.

Rather than find a unique angle on «Hamlet», Claire McCarthy's film simply changes the Bard's story to come up with an atrocious, lazy narrative.

Two years ago, the #OscarsSoWhite campaign sent ripples of change throughout Hollywood and forced the film industry's ruling class to come to grips with its own lack of diversity.

I had an idea of who Tonya was going in, and while that didn't change coming out, there is a level of added context that makes the film all the more effective.