Sentences with phrase «costume drama about»

Bright Star (PG for mature themes, sensuality, smoking and mild epithets) Oscar - winner Jane Campion (for The Piano) wrote and directed this 19th Century costume drama about the three - year romance of poet John Keats (Ben Whishaw) and his neighbor Fanny Brawne (Abbie Cornish) which ended prematurely when he contracted tuberculosis and died at the age of 25.

The British channel ITV announced Sunday that it has commissioned a fifth season of the popular television show, a costume drama about a British aristocratic family and their servants in the 1910s and 1920s.

Downton was a modestly budgeted costume drama about the life of a grand English household in the first decades of the 20th century and was expected to draw an equally modest viewership.

Not exact matches

There is very little that compels us about this vision that is chiefly attributed to screenwriter Jason Fuchs (a contributor to Ice Age: Continental Drift) and director Joe Wright, a Brit who comes to this project having primarily made costume dramas like Atonement, 2012's Anna Karenina, and 2005's Pride & Prejudice.

In the land of the costume drama, truly, films about Marie Antoinette are Queen, promising lavish sets, romantic intrigue and shocking decadence — but they don't always deliver.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

It's the kind of costume drama that BAFTA usually eats up, about an important historical event, and an excellent film to boot, except of course, it's about a black woman, and directed by a black woman, so why would it be nominated?

Misguided notions about the work of Stanley Kubrick in general and his eighteenth - century costume drama Barry Lyndon persist, despite the film's growing reputation since its initial lukewarm reception, and the work of conscientious scholars and critics.

Miike clearly enjoys shaking up movie genres, and the first half of this film is an impeccable samurai costume drama, as we learn about the characters and the politically charged situation through encounters that add increasing levels of urgency, plus a few grisly Miike touches.

(p. 37) Yet, whereas Daire sees Mauprat as a dynamic, complex, and ostensibly queer studio film (the gender play he notes in the biography), Keller sees the film as a «costume drama [that] lacks almost entirely the vigour described by Epstein about the effects of cinema on an audience.»

The difference about A Promise is that this is a costume drama set in a rigidly hierarchical society.

One of the joys of Asante's filmmaking is how she subverts audience expectations to make observations on politics, race and gender: As Sophie Mayer observes in her review for Sight & Sound, «in a clever twist on the Bechdel test, Asante shows that it is through talking about marriage and men that the female protagonists of costume drama are able to articulate a political philosophy.»

I'm very interested in costume drama, and if one commandeers it, the film needs to establish itself as different from costume drama on television and in cinema, which is all about the interior [of characters].

The trappings of costume drama are ruses to essentially hide that critical fact, that these are people in the present emoting about the past.

Other examples of historical characters in biographies in the 1930 - 40s included Norman Taurog's children's dramatic film Young Tom Edison (1940) about the famed inventor (Mickey Rooney), The Story of Alexander Graham Bell (1939), the historical drama Marie Antoinette (1938) about the famous Austrian princess who married future King Louis XVI, Michael Curtiz» costume drama The Private Lives of Elizabeth and Essex (1939), and Mervyn LeRoy's oft - nominated Madame Curie (1943) with Greer Garson as the title character researching radioactivity with her husband Pierre (Walter Pidgeon).

And for all his comments about specific actions, line readings, and so on made by the actors, he sheds no light on how he arrived at such offbeat casting choices; after all, the likes of Anderson, Dan Aykroyd, Anthony LaPaglia, and Eric Stoltz aren't exactly the names that immediately come to mind for a costume drama.

And then there is the really off - beat stuff like a post-apocalyptic-vampire-western-road movie, Stake Land (which is magnificent), a naughty DIY costumed hero flick from James Gun called Super and starring Ellen Page and Kevin Bacon, an Eva Green starring ethereal cloning drama from Hungary, but in English, called Womb, and a film that will make you completely reassess how you feel about Santa Claus and his elf posse when the jolly fat man is portrayed as a 25 meter tall horned demon encased in a block of ice under a Finnish mountain.

Wright proved last time out that he's more than just a costume drama expert, so we're even more excited about his return to the pre-modern era for this one, and he always seems to bring out the best in Knightley, who's a good fit for the lead role.

Since Deeds isn't a period costume drama, one wouldn't think much about its clothes, which actually makes this program more compelling than one might expect.

Commonly they are British period costume dramas of manners where women are tempestuous, men are either be cruel or intensely romantic, and prevalent themes of station, class, character and morality are bandied about.

This could be a case study for when we talk about how there's nothing on at the cinema, it's all the same kind of middle - brow costume drama or whatever.

The strangest and most uncompromising of all musician biopics, Jean - Marie Straub and Danièle Huillet's 1968 debut feature, The Chronicle Of Anna Magdalena Bach disregards most conventions of costume drama to ask some very human questions about history, what it takes to be an artist, and what movies can tell us about ourselves.

Cornish does about as well as could be expected, considering her character 1) appears to be permanently heavily sedated, 2) spends most of her time on screen window shopping, and 3) is totally unbelievable, a woman with a storyline from a Victorian costume drama rather than 1998 New York, never displaying a hint of backbone or inner life.

When it came to making a drama thriller about a perfectionist fashion designer, filmmaker Paul Thomas Anderson reached out to his longtime costume designer of seven films Mark Bridges for Phantom Thread.

It appears the mutterings about Downton Abbey ending were rooted in truth: series six is likely to be the ITV costume drama's last.

Trailers sold Phantom Thread as a stuffy costume drama, but what Anderson has actually created is a hilarious - but - dry comedy about two people who were seemingly made for each other.

It sometimes feels that the British film industry only makes about three or four different kinds of movies: dreadful gangster films that rarely get a release abroad, gritty social realism pictures, period costume dramas, and semi-quirky comedies with a tearjerking side, exemplified by something like «Billy Elliot» or «The Full Monty,» but more often turning out like «Calendar Girls» or «Song For Marion.»

The costumes have their own arcs in Stephen Frears» period drama about the clash of East and West that's relevant in our divisive times.

A lavish, romantic depiction of the monarch's courtship with future husband Prince Albert (Rupert Friend), it's the very definition of a quotidian costume drama, skirting over the major issues of the early years of Victoria's reign to speak in broader terms about her idealism, the problems presented to her by her youth, and the manipulation of her affections by courtly politics.