Sentences with phrase «critics as a masterpiece»

Deakins spoke to Variety about his work on the new film, which has been hailed by some critics as a masterpiece of genre filmmaking.

Despite mounting corporate unrest, Kojima published Metal Gear Solid 5 on Sept. 1, and it was roundly celebrated by critics as a masterpiece.

Not exact matches

because some media outlets are hailing it as a cinematic masterpiece, it's not my job as a movie critic to serve as your moral compass.

Some species, like the impressive cockroach, have gone so long unchanged that we tend to think of them as genetic masterpieces, as judged by the ultimate critic: unwavering stability in the context of evolution.

Critic Consensus: A must - see film for movie lovers, this Martin Scorsese masterpiece is as hard - hitting as it is compelling, with Robert De Niro at his best.

Though he'd built up a strong reputation among critics and cineastes in the 1960s with darker character work in films like Cast a Dark Shadow (1955) and the daring masterpiece Victim (1961), he was best known to the public as Simon Sparrow, the heartthrob comic lead in Doctor in the House (1954) and four subsequent sequels.

Acclaimed producer, J.J. Abrams (Star Wars: The Force Awakens, Mission Impossible: Rogue Nation) and up - and - coming director, Dan Trachtenberg (Portal: No Escape, Kickin») deliver this new masterpiece, hailed by critics as «riveting, gripping and loaded with tension.»

This singular, daft, diverting psychological drama / psychic melodrama caused quite a bit of division when shown at Cannes last year, with some critics proclaiming it is a woefully misconceived dud and others praising it as a masterpiece.

The very idea that there are movies, such as «Citizen Kane», which are hailed universally as undisputed masterpieces, goes to show that at least a portion of film critic community functions as a hive mind.

«Manchester - By - The - Sea» As if to ensure that this sprawling family epic from Kenneth Lonergan does not suffer the same ignominious fate as as his meddled - with, wrangled over and eventually more or less buried masterpiece «Margaret,» Sundance critics greeted the premiere of «Manchester - By - The - Sea» with a veritable stampede of superlativeAs if to ensure that this sprawling family epic from Kenneth Lonergan does not suffer the same ignominious fate as as his meddled - with, wrangled over and eventually more or less buried masterpiece «Margaret,» Sundance critics greeted the premiere of «Manchester - By - The - Sea» with a veritable stampede of superlativeas as his meddled - with, wrangled over and eventually more or less buried masterpiece «Margaret,» Sundance critics greeted the premiere of «Manchester - By - The - Sea» with a veritable stampede of superlativeas his meddled - with, wrangled over and eventually more or less buried masterpiece «Margaret,» Sundance critics greeted the premiere of «Manchester - By - The - Sea» with a veritable stampede of superlatives.

-- «Belle de Jour» (1967): Hailed by critics as an erotic masterpiece, Luis Bunuel's first big - budget film, about a fantasy - obsessed young wife, holds up nicely and works well without the typical DVD audio commentary.

Peter Bogdanovich's bittersweet masterpiece, hailed by critics at the time of its release as the most important work from a young American director since Citizen Kane.

Sorcerer is now considered by many critics — including this one — as a masterpiece; 1985's To Live and Die in L.A. gave us one of the best car chases of all time and introduced audiences to then - unknowns Willem Dafoe, William Peterson, and John Turturro; and in recent years, Friedkin's film versions of the Tracy Letts play Bug (with Michael Shannon) and Killer Joe (with Matthew McConaughey) have won him high acclaim.

Based on the novel by Joseph Kessel and director Jean - Pierre Melville's own experiences as a young man, this wartime masterpiece won a New York Film Critics Circle's award upon its US release in 2006, 37 years after its creation.

With critics and vocal admirers of the film being aggressive to those who don't deem it a masterpiece, we may have an unvocal group that either doesn't like the film or just aren't as impressed with its overall final product.

Hoberman («emerges from the mists of time... as a career - capping epic tragedy») to the New Yorker's Anthony Lane («lovers of cinema should reach for their fedoras, turn up the collars of their coats, and sneak to this picture through a mist of rain») to Newsweek's David Ansen («the best foreign film of the year»), critics from across the spectrum, who almost never agreed, rallied around Melville's neglected masterpiece.

So many critics focused on how its similarity in themes to earlier masterpieces by the director showed the later film up as inferior to the earlier ones that they missed out that the newer films were damned good on their own.

The film has been hailed by critics as a sci - fi masterpiece, but most have agreed that this is not exactly an easy commercial play.

Given the first game was hailed by players and critics alike as a masterpiece with excellent, emotional storytelling and engaging, realistic characters, we have to admit that the decision to release a follow - up isn't particularly shocking.

After its initial release in 2015, critics were quick to hail it as a masterpiece with gorgeous design and a massive world, and it's easy to agree with that assessment.

Many critics point towards the eternal masterpiece of the genre, Chrono Trigger, as the closest reference.

Marina Vaizey was art critic for the Financial Times, then the Sunday Times, edited the Art Quarterly, has been a judge for the Turner Prize, and a trustee of several museums; books include 100 Masterpieces, The Artist as Photographer and Great Women Collectors.

In 1962 the film critic Manny Farber published the provocative essay «White Elephant Art and Termite Art,» in which he distinguished two types of artists: the White Elephant artist, who tries to create masterpieces equal to the greatest artworks of the past, and the Termite, who engages in «a kind of squandering - beaverish endeavor» that «goes always forward, eating its own boundaries and, likely as not, leaves nothing in its path other than signs of eager, industrious, unkempt activity.»

Damien Hirst's masterpiece generated enormous press attention when it was first exhibited at The Saatchi Gallery, and many notable art critics including Brian Sewell and Robert Hughes refused to accept that it was art at all — Hughes went so far as to call it a «cultural obscenity».

His installation 20:50, a sea of reflective sump oil which is permanently installed in the Saatchi Collection — was described as «one of the masterpieces of the modern age» by art critic Andrew Graham Dixon in his BBC television series, The History of British Art.

They examined the language used by art critics throughout history with its gender - loaded terms such as «masterpiece» and «old master».