Sentences with phrase «cinematic books on»

Not exact matches

To me, Nolan's final bow is the cinematic equivalent of a writer - artist team ending a «run» on a particular comic book.

Bonus: • Audio Commentary with Director Tim Burton • «On the Set with Bob Kane» Featurette • «Legends of the Dark Knight: The History of Batman» Documentary • «Shadows of the Bat: The Cinematic Saga of the Dark Knight» Parts 1 - 3 • «Beyond Batman» Documentary Gallery • Prince Music Videos • Profile Galleries • Storyboard Sequence • Trailer • Digital Copy • Hardcover Book

But that could have also meant that we'd get a slapdash and rushed adaptation of Sestero's book, one of the most fascinating tales of unbridled cinematic creativity ever put on paper.

As for the Divergent series, we will have to wait until 2016 and 2017 to see those climactic, cinematic events, and instead we are currently faced with the second film, Insurgent, based on the second book by twenty - something Veronica Roth.

To hear these two talk so candidly and in such detail about their craft is as big a thrill on - screen as it is on paper, and as a cinematic extension of the book, Hitchcock / Truffaut lives up to its name.

Though this all - killer - all - filler action flick from Russian director Timur Bekmambetov (Day Watch) is based on a comic book and replicates the next - level momentum of a video game, it's more like the cinematic equivalent of an energy drink.

More of a cinematic joke book than a real movie, Spy Hard hits you with gags faster than Henny Youngman on speed.

On face - value, another cinematic version of The Beguiled, based on the book A Painted Devil by Thomas P. Cullinan, wasn't needeOn face - value, another cinematic version of The Beguiled, based on the book A Painted Devil by Thomas P. Cullinan, wasn't needeon the book A Painted Devil by Thomas P. Cullinan, wasn't needed.

One wonders why Garland — who read the book once, wrote the script based on his «dream memory» of it, and completely ignored its sequels (both of which were published in the same year as Annihilation)-- felt the need to give Lena some of the most prosaic motivation you can give to a cinematic character, but its very irrelevance forgives it.

Set on the world of Sakaar — known dearly to comic book fans as the world the Hulk gets whisked off to in the now classic story arc «Planet Hulk» — Thor: Ragnarok and its location open up unlimited potential for the Marvel Cinematic Universe; it is also the planet where the Hulk had his son, Skaar, after all.

Three years ago, The Guardians of the Galaxy was considered the first big risk of the Marvel Cinematic Universe, completely removed from the rest of the Avengers on other planets with characters even avid comic book readers weren't overly familiar with, all led by an actor who was primarily known as the chubby goofball on an NBC workplace sitcom.

Back when Iron Man was first released in 2008, the idea of building a shared cinematic universe based on characters largely unknown outside of comic book circles was the definition of risky.

Depending on how you look at it, the Marvel Cinematic Universe took upwards of 45 years to piece together (counting the company's comic book origins), but according to the filmmakers entrusted with the next stages of the story, its deconstruction has already begun.

Not that the imagination on display here is up to the level of the J.K. Rowling books (which remain more vividly cinematic than all but Alfonso Cuaron's «Prisoner of Azkaban»).

Spielberg himself making a tremendous impact on cinematic culture, is referenced in Cline's book repeatedly, but the Oscar winning director has removed nearly all his own references from the film version as not to toot his own horn.

Jones does more than just report on that interview, he also includes contemporary filmmakers such as Martin Scorsese, Richard Linklater, and David Fincher discussing the influence that the book had on them as cinematic artists in their own right.

Based on Sapphire's relentlessly - raw, best seller «Push,» the book was faithfully adapted into a cinematic masterpiece by Lee Daniels.

The spirit of the Harry Potter cinematic universe is alive and well at Warner Bros., with the studio going full speed ahead on the first of a planned trilogy based on J.K. Rowling's book Fantastic Beasts And Where To Find Them.

It's doubtful that even the most loose - pocketed of career gambler would've taken a cheeky flutter on the fact that a roistering comic book B - movie would become the direct cinematic descendent of Lars von Trier's softcore woodland chimera, Antichrist.

As a studio, Marvel has thrived by redefining the constructs of serialized cinematic storytelling, honoring the comic book characters fans love, and allowing filmmakers to put their singular stamp on the material.

Played by Chadwick Boseman («42,» «Get on Up»), the cinematic Black Panther appears to have roughly the same powers as his comic book counterpart, but his costume has been given a technological upgrade.

There is a cast of human characters here and they're very good (more on them shortly), but «Crimson Peak» is first and foremost a cinematic picture book, dispensing the kind of confectionary art design that few films attempt and even fewer get right.

«Black Panther» is the 18th film in the Marvel Cinematic Universe, focusing on what had mostly been a fringe character since his comic books were introduced in 1966.

To be fair, director David Yates (following on from great work on Order of the Phoenix) does an admirable job of transforming one of the less memorable books of the series into a cinematic experience.

At a recent roundtable interview, Anderson and production designer Adam Stockhausen talked about how the project first came together, what inspired the story, the influence of Viennese writer Stefan Zweig's work on the multi-layered storytelling approach, their collaboration on the vision for the movie, how they created this rich, lush cinematic world and brought the audience into it, how Anderson cultivated a communal atmosphere on set and made available a large selection of books and films to the cast during production, Stockhausen's favorite day of shooting, and the challenge of using different aspect ratios.

It's based on a series of graphic novels and director Edgar Wright, whose love of popular culture bounces through his films and TV projects with creative abandon, celebrates the graphic qualities of the comic book origins in a playfully cinematic manner.

I was simply surprised to learn that In My Father's Den was indeed based on a book, as it seemed to be a quintessentially cinematic experience.

While the literary fans will most likely be split as far as how Yates and Goldenberg have chosen to adapt the Rowling opus, fans of the movies can finally have something to smile about, and one can only hope that future film versions will continue this new trend on sticking to the basics to tell a story in an appropriately cinematic fashion, leaving the side stories and whimsical superfluous characters better left to the realm of the richly - developed book forms.

What we do have is what Marvel has shown us so far of its cinematic universe, and the comic book source material the film is loosely based on.

Coming from radically different childhoods and backgrounds (Truffaut came from an unhappy working class home and stints in juvenile detention, Godard from an affluent, educated, supportive family), the directors were close friends and colleagues, sharing many of the same cinematic fathers (Rossellini, Bergman, Renoir), celebrating neglected directors of the past (Truffaut interviewed Hitchcock in a celebrated book, Godard interviewed Fritz Lang in a documentary and cast him in Contempt) and preaching the gospel of a cinema dedicated to presenting the real, the honest and the authentic, first in the pages of film magazines and then on the screen.

The presumptuously titled Captain Underpants: The First Epic Movie, based on Dav Pilkey's first four children's books in the Captain Underpants series (all of which have amusingly lengthy titles themselves), pokes a lot of fun at the concept of superheroes, the concept of action movies and the very cinematic medium in which it's found itself.

Although I do realize that Rodriguez was trying to capture the look and feel of threedistinct stories from the books they are based on, it probably would have helped the cinematic flow if they overlapped each other, instead of playing out sequentially.

Actor Elizabeth Olsen recently went on record to say she had no desire in starring in a solo movie for her Marvel Cinematic Universe character Scarlet Witch, but now she's done a U-turn — and even suggested what comic book storyline could be adapted.

Lesley Coffin: When you optioned the book, did you talk about ways to make the story feel «cinematic» and allow Carrie to express herself without relying on voice - over narration to mirror the character's internal dialogue?

Besides Sarris and by all means Corliss himself, the magazine regularly featured first - rate, challenging, authoritative figures such as Robin Wood (whose book Hitchcock's Films had revolutionized British and American thinking about that director's work), Joseph McBride, Molly Haskell, David Thomson (who came along a bit later, and ruled), Raymond Durgnat, Richard Roud, Brendan Gill, and Paul Schrader (whose 1972 «Notes on Film Noir» remains the definitive introduction to and disquisition on that cinematic darkbloom).

Eighteen years into the comic book movie millennium, it's easy to take for granted that there now exists a whole cinematic universe full of characters that Marvel Comics readers could previously only dream about seeing up on the big screen.

Last month it was revealed that Thor: Ragnarok star Tessa Thompson has spoken to Marvel Studios chief Kevin Feige about a team - up movie featuring the female heroes of the Marvel Cinematic Universe, and now the Valkyrie actress has elaborated on the pitch during an interview with Comic Book Resources.

This is the fourth movie in the cinematic franchise based on the popular series of books by Jeff Kinney.

Raising the stakes on superhero movies by a significant margin, Logan could be the cinematic equivalent to Frank Miller's legendary comic book The Dark Knight Returns.

This is the fourth movie in the cinematic franchise based on the series of books by Jeff Kinney.

An appropriately tagged cinematic book trailer uploaded to a site like Youtube or Vimeo will show up on every major search engine when readers search for the book's title.

A good cinematic book trailer is the type of thing that potential readers will want to share with their friends, literary websites will want to write articles on, and brands the author as a professional with a multimedia digital marketing campaign, a force to be reckoned with.

If a potential reader is entertained enough to watch a full ninety second cinematic book trailer (always remember that on the web, shorter is better), that's a full ninety seconds that they've lingered on your title, and the next time they hear about your book, you can be sure that they'll remember the your name.

Film 14 cinematic book trailers have appeared on websites such as Entertainment Weekly, USA Today, The Rumpus, Hypable, The Millions, Huffington Post, and BookRiot.

Cine - book includes three modes: READ - allows reading books as fully illustrated e-books with cinematic high - quality illustrations on each page LISTEN - allows listening books as audiobooks with professional voice - acting and soundtracks WATCH - allows watching the illustrated pages of the book with dynamic animations a...

READ - allows reading books as fully illustrated e-books with cinematic high - quality illustrations on each page

With a cinematic book or cBook you read a chapter on your e-reader and then click to view the ensuing clip which propels you to the next chapter and so on.

Guided View delivers a cinematic presentation of comic books, but many users would argue that having the ability to access digital content on almost any device out weighs the «awesomeness» of the feature.

Squarely based on the comic book end of Marvel (read: not the Cinematic Universe), Disney Infinity 2.0 looks like something for Marvel fans to get excited about.

The game's cinematic story mode finally closes the book on the hilariously dysfunctional Mishima family, explaining why its members are always trying to kill one another across a series of slick action sequences.