Sentences with phrase «classic piece of film»

«Big» is such a classic piece of film and it also was a real turning point for Tom Hanks as an actor.

Not exact matches

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is Bond» worst nightmare), the villain is truly threatening and played very well by Sean Bean, the title song is awesome and classic Bond, the script for this film is VERY well written and witty, etc..

It may not rise to the level of such a classic, but tonally it's reminiscent of Young Frankenstein, a work that at once parodied the Shelley story in broad comic terms while also being supremely in awe of the James Whale film, right down to using original set pieces and compositions to mirror without any form of irony the source material.

Based on a real piece choreographed by Ohad Naharin and appropriately scored to the classic Passover jam «Echad Mi Yodea» (a fun song that simplifies an age - old struggle), this opening gambit offers a prime example of the forcefulness missing from the rest of the film, even though Padilha finds a way to bring Batsheva back.

Tagged With: Blake Edwards, D.W. Griffith, film editing, Peter Sellers, Pieces of My Heart, Robert Osborne, Robert Wagner, TCM, Turner Classic Movies

This new feature by Japanese provocateur Nakashima Tetsuya (Confessions, Kamikaze Girls) is not only chalk - full of nods to Chan - Wook's seminal film about an emotionally crippled man assembling the scattered pieces of his past, but also references classic titles such as The Searchers in its Fordian regard to reckless patriarchal rage.

European films have a long tradition of full frontal male nudity even in movies you least expected it; like in the classic 1980's slasher «Pieces»

The movie set - pieces are stunning - the Gene Kelly-esque musical number «No Dames» (with Channing Tatum tap - dancing away admirably) in particular is a total delight and easily as good as anything from the best 50s musicals - but the rest of the film feels like an excuse to film these short love - letters to classic Hollywood.

But it is of a piece with the rest of the movie, which plays less like a classic gangster film than like a 99 percent pure, Heisenberg - quality, blue - crystal distillation of all the tropes and themes and moods of the classic gangster film.

On the occasion of this week's U.K. release of a new film adaptation of Graham Greene's sinister classic 1938 novel Brighton Rock, Boyd Tonkin has written a piece for the Independent examining the esteemed British author's relationship with movies.

This ups the ante on all of Deadpool's action and fight sequences (Leitch also did Atomic Blonde), to the point where the film's entire second act is basically one long action set piece that involves sky diving, stunt driving, fights on and around high - speed trucks, and the introduction of a classic comic villain.

What begins as a classic horror film, complete with teenagers who do all the dumb, reckless, aggressive things seemingly designed just to get them stuck in the water, transforms into an insidious character piece that strips away all pretense of humanity and lays bare the envy, resentment, spite and animosity they've been burying all this time under snarky remarks and dirty looks.

While the storyline is relatively simple, and one that has been a staple of Hollywood classics since the beginning of commercial films (this is a movie about movies, after all), the complexity of the characterizations, coupled with the technically proficient presentation despite the multitudinous moving pieces involved, makes it all feel fresh and new in the modern era.

It's only a matter of time before James Wan puts all the pieces together to make a classic horror film.

The final third of the film escalates, in classic screwball style, through a masterful series of set - pieces, as hilarious as they are devastating.

Brian De Palma actually makes the wise choice in realizing that less - is - more, only pulling his stylish flourishes when necessary, such as the Battleship Potemkin homage with a baby carriage, which is a truly classic piece of filmmaking for both films.

Breaking away from the mockumentary mold for the very first time, Guest and long - time writing partner Eugene Levy rely heavily on the classic film - within - a-film model as the setting of their story, which takes place on the set of a small period pieced called «Home for Purim.»

From a cursory glance, Kara Walker's black cut - paper silhouettes look like benign 19th - century antebellum scenes or Walt Disney cartoon characters from such classic pieces as the 1946 film, Song of the South.