Sentences with phrase «cinematic visions of»

Yes, Los Angeles is, in the cliché view, a cultural wasteland ringed by a wasteland of desert and scrub whose main industry in turn cranks out rote cinematic visions of postapocalyptic wastelands.

Green Room, a film about a punk band trapped in a hostile environment when they stumble across a white power group and their crimes, is one of the most realistic cinematic visions of the punk underground since Penelope Spheeris's Suburbia in 1983.

Although I was raised in West Virginia, I first learned about these events as a nearly grown man when I saw the movie Matewan, John Sayles's cinematic vision of the seminal events of the mine wars.

(See photos of the cinematic vision of the apocalypse.)

I think our cinematic vision of New York is more informed by Lumet's films than most people realize.

Both these films use the idea of time travel to explore the metaphysical workings of memory and trauma, creating a cinematic vision of technology as experienced rather than observed.

The Photographers» Gallery's latest exhibition offers an insight into the polaroids of a previous generation through the cinematic vision of Wim Wenders.

Not exact matches

Working through an enormous canon of cinematic influences in a far more satisfying way than Carax's glib offering (Gomes» titular allusion to Murnau is no coincidence), Melbourne's resplendent Forum Theatre proved a fittingly grand venue for Gomes» expansive vision: this film is a joy to watch.

Nolan's vision of Batman has amounted to the best comic adaptation in cinematic history.

After the unsuccessful performance of I Heart Huckabees, David O. Russell didn't make a film for 6 years, depriving the audience of his particular vision and cinematic delivery.

And though that may limit the willingness of some to embark upon Park's vision, those willing to invest in the various threads of his ouroboros narrative and allow themselves to become an author in Park's craning whirligig of Shakespearean tragedy and sardonic sexual exasperation will find the The Handmaiden is filled with sick pleasures many and makes for a rather rewarding cinematic experience.

I could see putting it in the top tier, on the basis of its beauty, sophistication, and unorthodox cinematic vision.

The intensity of the film can't match the bolt - tightening, ticking - bomb tension of The Hurt Locker, but the real - world stakes provide tremendous consolation, culminating with a killshot that's both alarming and apropos in its anticlimactic - ness (don't expect any glorified, cinematic catharsis at the end of that night - vision raid).

Hellman is a true artist with a vision for disorientation that carries all the way through «Road to Nowhere,» but the lasting impact of the film will be up to the individual viewer and their personal appetite for cinematic riddles.

Gilbert returns to his dark, claustrophobically overdecorated Victorian house, hangs a kabuki sword on the wall of his study, and, in one of the most perfectly implausible and liberating subjective flash - forwards in cinematic history, has a five - minute vision of a fully staged scene from The Mikado, sung by soloists and chorus on a dazzlingly bright stage decorated in eye - popping pinks and greens.

Clare Stewart, director of the BFI London Film Festival, said: «Featuring extraordinary performances from the British talent in front of the camera and vividly directed by Morten Tyldum, The Imitation Game does cinematic justice to Alan Turing's vision, determination and personal story as well as his enduring impact on British history and contemporary life.»

A deleted scene with commentary is a somewhat superfluous gimmick shot demonstrating vampiric night vision point - of - view, and five animated and scored storyboards are well executed but probably superfluous — though a DVD - ROM option offers a nifty Near Dark screensaver and the complete (and very cinematic) screenplay by Bigelow and Eric Red.

Martin Scorsese's Taxi Driver is acclaimed for its gritty realism, but it has an equal amount of cinematic reverie; screenwriter Paul Schrader contributed just as much to the film's Dostoyevskian vision.

Vision actor Paul Bettany reveals the key ingredient behind the unprecedented box office success of the Marvel Cinematic Universe.

«A Cinematic Vision» (7:12) discusses the unorthodox filmmaking techniques used to convey Jean - Do's point of view, from cameras with latex faces attached to letting its leading man react naturally in a soundproof room.

Often dismissed as oppressively tasteful and aesthetically repressed, their best - known films (A Room with a View, Howards End, The Remains of the Day) were marked less by any singular cinematic vision than by the ability to marshal a team of talented craftsmen — costumers, hair stylists, set dressers, and location scouts — to create a prettily detailed simulacrum of the past.

Actor - turned - screenwriter Hampton Fancher came next, as he built out the screen story by adding its noir elements; filmmaker Ridley Scott (Alien) contributed his staggering cinematic vision for a dystopian near - future and ever deeper layers of meaning, aided by late - coming screenwriter David Webb Peoples.

In an era when moviegoers are increasingly content to view films in multiplexes or on their computers or smartphones, this is a rare chance to see a collection of epic visions in the most sensorially overwhelming manner possible — the kind of cinematic experience that can make someone fall in love with the cinema all over again.

Zack Snyder's stylishly violent swords and sandals epic, 300, was a surprise box office smash (taking in $ 456 million worldwide in the spring of 2007), but no one kids themselves into believing that his cinematic vision was not responsible for that chest - beating comic book adaptation being so enjoyable to watch.

At this point it may be tempting to call Smith's vision «cinematic,» as more than a few professorial types in the past have staked a claim on his lyrics for literature, but this ignores the unbridgeable gaps between aural, written, and moving - image art — and he remained stubbornly a man of rock»n' roll.

Being that a large part of the film is essentially silent, the towering and conflicted performance from Daniel Day Lewis and the searing score lurking around every corner loom large in creating the tension that creeps up and down your spine when viewing this bold cinematic vision from Paul Thomas Anderson (Hard Eight, Boogie Nights, Magnolia, Punch Drunk Love.)

For fans of the Coens, though (and I consider myself one), it suggests, especially on the heels of No Country for Old Men, that they have rediscovered their cinematic vision after several lean years.

The worst of it is that in order to facilitate Sandler's milk - fed vision of the controversy-less world of the privileged male, Anger Management concludes with the revelation that the whole thing was, in fact, an elaborate fiction along the lines of Fincher's The Game — a conceit that in this context speaks nothing of cinematic deconstruction and everything of an irredeemable disdain for the intelligence and expectations of its audience.

If you're a long - time Wiseau fan, this will be a rare glimpse into the original vision of one of the most iconic cinematic figures of the twenty - first century.

With so much bonus material offered on an independent release like «Garden State,» the DVD release is impossible to pass on for fans of the film and is also a smart post-Christmas purchase for those who haven't yet experienced Braff's cinematic vision.

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.

While plenty of films have successfully turned their stage - bound origins on their heads and spun them into cinematic gold, Carnage's lack of directorial vision ultimately makes this a disappointing venture for Polanski and his collaborators.

Petric argues on behalf of the kinesthetic pleasures of film and complains that the director of Bright Leaf, Michael Curtiz, «doesn't have a cinematic vision.»

Here, Jodorowsky's magical realist, fable - like cinematic language finally enters the real world; if cult films like «El Topo,» «The Holy Mountain,» and «Santa Sangre» interwove elaborately absurdist imagery with narratives borrowed from genre and myth, «The Dance of Reality» feels like Jodorowsky returning to the scene of the crime — to the the childhood visions and heartbreaks that started it all.

The Russos, aided by a script from Christopher Markus and Stephen McFeely (the writes of both previous Captain America films), have the unenviable task of corralling a mammoth cast (that recap paragraph didn't even have room to mention Paul Bettany's Vision, Jeremy Renner's Hawkeye, Paul Rudd's Ant - Man or the debuting Tom Holland, bringing Spider - Man into the main Marvel Cinematic Universe) and steering them through a twisty narrative chock full of multiple belligerents coming from all angles.

Finding a cinematic equivalent for a literary vision is one thing; equaling its power in the context of another medium is something else entirely.

Director John Waters (Pink Flamingos, Hairspray) brings his twisted cinematic vision to the seemingly mundane world of suburbia in Serial Mom, an outrageous dark comedy starring Kathleen Turner (Body Heat, Romancing The Stone).

You have to admire the Marvel Cinematic Universe, now that they have their formula and vision down to a science, they can afford to take chances with off beat projects like Guardians of the Galaxy and Ant Man.

Gerwig, who also wrote the script, offered a vision of family dynamics that felt so real and familiar that you immediately recognized many of the situations and people who populated her cinematic Sacramento.

Pretty to look at and sensitively acted (Saoirse Ronan again, in her second film of the month)-- but so devoid of any physical action or cinematic excitement that it might as well be a radio show — On Chesil Beach is a sad and tarnished vision of a domestic breakdown about a pair of newlyweds who meet, fall in love, and break up on their honeymoon night before they ever get to know each other.

In the Marvel Cinematic Universe, Nova Prime, the Collector, the Asgardians, and Vision currently hold four of the six Infinity Stones (remember, two of them have yet to be revealed)-- and Thanos will probably hunt down these people and organizations to assemble his gauntlet.

Sometimes, it's the performance of the actors; sometimes, a lack of directorial vision; and sometimes, the premise just can not sustain itself through an entire cinematic journey.

Filtering his unique vision through a wealth of cinematic history, his movies are filled with endless references and allusions to other films.

It's a singular, shattering, emotionally bold venture, and that rare example of a completely uncompromised cinematic vision.

«Fast Five» saw Lin envelope all of the previous films into the foundation for his vision of an expansive cinematic universe on par with Marvel, bringing in fan favorite characters from the previous movies and having them work together as high - octane international thieves.

Make sure to note his talk of the Mind Stone, formerly in Loki's Sceptre and now affixed to the Vision's temple, and it as part of the «Infinite Six» - the Marvel Cinematic Universe name for the Infinity Stones.

We've just gained the Vision in the Marvel Cinematic Universe, one of the weirdest superheroes, and we're about to meet Ant - Man, one of the goofiest.

Marvel Cinematic Universe actor Paul Bettany has shared a photo of himself in his full Vision costume on the Avengers 4 set.

That knowledge makes the already graceful cinematic language of Lynne Ramsay's film adaptation (the Scottish director's third feature, and her first in a regrettable period of nine years) all the more remarkable: altering not a jot of narrative detail, Ramsay and co-writer Rory Kinnear have ingeniously hollowed out Shriver's wordy text into a largely tacit, imagistic memory collage that substitutes sound and vision for dialogue as extensively as possible.

Cheadle will be one of many Marvel Cinematic Universe stars to turn up in Avengers 4, joining the ranks of Brie Larson (Captain Marvel), Paul Bettany (Vision), Sebastian Stan (Winter Solider) and more.