Sentences with phrase «cult film with»

The Human Centipede (First Sequence)(IFC) The transfer is just fine, it's the film itself I find problematic: a cult film with a reputation based on a demented concept but no intelligence or art to the execution.

Maybe lovers of bad movies will turn this into a cult film with the challenge: you have to see this and tell me what you think.

Not exact matches

The chain is famous for League's strict anti-texting policy, as well as the stars who show up to premiere films at the Austin location and the special posters designed for many of the screenings, which may pair cult classics with themed foods.

``... [the] gulf between the Church and the scientific mind... widens with each generation, and modern means of diffusing knowledge by the press, radio, and film, have brought us now to such a pass that the Christian, and especially the Catholic, whose beliefs are enriched in their religious manifestation by the ceremonies and practices of a most ancient past, finds himself considered the initiate of a recondite cult whose practices are not only unintelligible to men around him, but savour to them of superstition and magic.»

And ever since some comments here got me digging deep into TRUE GRIT, I've learned to respect the cult of the Coen Brothers, and to approach their films with high expectations.

I think I'm going to be sick, AA wants nothing to do with press radio or film (nor does it wish to engage in any sect, cults or religion), yet you have the nerve to write an opinionated article about not believing in God and being part of AA?

Anyone who has attended a Star Trek or Star Wars film on opening day and then gone a few weeks later knows the difference between a piece of art viewed by cult followers and one viewed with casual fans.

But with last year's success of Emma Cline's novel The Girls (and it's eventual film adaptation), it seems as though a slew of Fashion Girls were inspired by the look of some cults / religious subcultures (tomato / tomatoe?).

Even though Bloody Days tries to walk the walk and talk the talk, ultimately it feels less like a creative homage to a cult film classic and more like a shallow imitation with a hint of Tarantino flair.

This film does seem to have a cult following (nowadays, upon release not so much) and its easy to see why as its highly enjoyable with its highly nonsensical premise.

A cult film because of it's particular way to deal with dark themes in a different way.

The friendship arc continues to have a touch - and - go handling and the movie itself egregiously abridges the film's natural, long ascent into cult status with its ending, the strangest of its kind since Danny Boyle's «Steve Jobs.»

I think we were all pretty skeptical upon hearing the announcement that James Franco would be bringing the story of the making of Tommy Wiseau's The Room to the big screen over three years ago; at least those of us familiar with the wonderfully terrible film of cult infamy.

The mystical subtext and psychedelic stargate sequence ensured that the film initially attracted a cult audience, with John Lennon suggesting it should be screened perpetually in a specially - built temple.

The hard - working actress has made a career of choosing diverse and challenging projects both in film and television, starting with her acting debut in the movie JOE, which she soon followed with the 1975 cult classic THE ROCKY HORROR PICTURE SHOW.

Other screen work includes the films AFFINITY, for which she won Best Actress at Nymphe d'Or, MR. SELFRIDGE, THE SECRET DIARIES OF MISS ANNE LISTER, Anya in the cult series UTOPIA, SECRET STATE with Gabriel Byrne, BRIDESHEAD REVISITED and IN BRUGES.

The film concerns Ansel Roth (played here by the underrated Leland Orser), a down - on - his - luck writer who primarily deals with cults and the idea of deprograming victims.

«2003 saw two films that: (1) featured female lead (s), (2) valued action, atmosphere, and attitude over plot, (3) replaced character depth with exhaustive references to pop culture and / or cult films.

Anyone familiar with Michael Showalter's work - be it his groundbreaking comedy troupes, The State and Stella, or his widely cherished cult films which he co-wrote with David Wain - is well aware that Showalter is a comedic mastermind; a...

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

This film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I think, really, the film is just the byproduct of global DVD residuals from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming from, what her dramatic need is, who she interacts with, and so on.

Director / writer Joseph Kosinski «s story (the script is credited to Karl Gadjusek and Michael DeBruyn, with William Monahan and Michael Arndt among those who worked on the film too) cribs liberally from other more familiar sci - fi tales, including one recent cult hit which mentioning the name of would likely tip you off to the film's big secrets.

Syfy has officially ordered Kevin Bacon's Tremors reboot to pilot with the star set to reprise his role from the 1990 cult classic film.

This is obviously a far more grounded exploration of the topic than this year's other films about religious oppression, Red State and Footloose, and would make an ace double feature with Sean Durkin's upcoming Martha Marcy May Marlene with their duelling tales of disengagement of rigid cult - like communities.

Ana Lily Amirpour follows up her alt - cult sensation A GIRL WALKS HOME ALONE AT NIGHT with her sand - blasted, dystopian love story THE BAD BATCH; Maren Ade delivers what will be the most uncomfortable film of the festival, the desert - dry black comedy TONI ERDMANN; and Julia Ducournau's directorial debut, RAW, takes us on a cannibalistic coming - of - age shock ride that resonates long after its stunning finale.

In a recent interview with the Hollywood Reporter, Wiseau says he welcomes descriptions of the film as a «cult classic.»

His breakthrough year was 2001, however, with standout turns in a pair of indie films: a haunted adolescent in the cult classic Donnie Darko and a gawky teen in love with an older woman in Lovely & Amazing, a performance he more or less repeated the next year opposite Jennifer Aniston in The Good Girl.

The film opens with a Nietzsche quote and sees Arnie, in his first major headline gig, infamously punch out a camel and bed a shapeshifting sorceress en route to avenging his parents» death at the hands of James Earl Jones» mystical snake cult leader.

On Michael Reeves and British gothic film [New York Times] Credited with directing three déclassé horror movies, dead from an overdose of barbiturates at 25, the British filmmaker Michael Reeves (1943 - 1969) is a quintessential cult figure.

I, along with several friends, used to write movie reviews daily about cult films that would tickle our odd fancy.

Released: December 1 Cast: James Franco, Dave Franco, Seth Rogen, Alison Brie Director: James Franco (The Sound and the Fury) Why it's great: There are no half - measures with Tommy Wiseau, the failed actor / secret millionaire behind the notoriously awful cult drama The Room, and there are no half - measures in The Disaster Artist, James Franco's dramatic telling of the film's bizarre backstory.

In this wickedly smart (and downright wicked) cult classic turned quintessential high - school film, smart - girl Veronica (Winona Ryder) throws in with the popular crowd (headed by a bratty group of girls all sharing the name Heather).

Many found the film tedious and laboured, but it has been winding its way into full - blown cult status over the past decade with strange articles like this one.

Following the modern cult classic In Bruges, Martin McDonagh fully delivered on that film's vast promise with Seven Psychopaths — a fiery genre cocktail of crime & dark comedy.

Cox feuded with volcanic actor Harry Dean Stanton and drove veteran cinematographer Robbie Muller up the wall on more than a few occasions, but whatever he had to learn on the job, he learned quickly enough to channel the chaos into a distinctly anarchic vision, and the result was a genuine cult film whose appeal has endured for nearly three decades.

In the early 1970s, cult filmmaker Jess Franco inspired by the Hammer horror films being made in the UK revisited the iconic monsters of yesteryear, placing them in the castles and crypts of the Spanish countryside, and bracketing the thrills with scenes of frank eroticism.

They soon realize they are trapped inside the cult classic movie and must team up with the fictional and ill - fated camp counselors, including Max's mom as the scream queen, to battle the films machete - wielding killer.

It's an adaptation of a 1971 novel by cult Seventies neo-polar writer Jean - Patrick Manchette, whose Nada became an underrated 1974 film by Claude Chabrol, and whose 1981 novel The Prone Gunman has just been adapted by Taken director Pierre Morel with Sean Penn, Javier Bardem, Idris Elba, and Mark Rylance under the rather uninspiring truncated title The Gunman.

Occasionally, characters wear the iconic wide - brim, super-tall hat made famous in Alejandro Jodorowsky's druggy, cosmic 1973 cult film The Holy Mountain, which, like Dirty Computer, deals with personal freedom and sexual liberation.

Amid the bang boom of Furious 7 dominating the box office again in its fourth frame with a $ 320.5 M domestic gross, a cult film was percolating on the charts: A24's sci - fi drama Ex Machina.

Kill Bill is a very self - indulgent, bloated, and derivative action film that probably won't resonate with the general public in the way Pulp Fiction has, or gain the cult status of Reservoir Dogs.

After brief appearances in his father's films as a child, he made his first foray into helming with 1998's Zero Effect, before spending time in television on teen cult efforts Freaks And Geeks, Grosse Pointe and Undeclared.

HollywoodNews.com: Despite sputtering at the domestic box office with $ 48.1 million, a sequel to Lionsgate's cult action film «Kick - Ass» looks to be a reality.

From 3D cane toads on opening night (Cane Toads: The Conquest) to John Woo kung fu to close the program (Reign Of Assassins), possibly the world's first «womantic» feature (the Brisbane - based comedy Jucy) to the utterly indescribable (Tommy Wiseau cult phenomenon The Room), the new look festival — in a new timeslot and new venues (Palace Centro and Barracks cinemas, and Tribal Theatre)-- has assembled an amazing line - up, with films for young (well, 18 and over for the most part, given the severing of links between BIFF and Cine Sparks) and old.

Hirsch is best known as being the creator of Disney's the cult favourite «Gravity Falls,» so with him and Perlman both being in the mix, should they do end up writing it, Detective Pikachu might just wind up being a film worth watching for those who aren't Pokémon fans, as well as the ones that are.

With that said, however, this week's offerings are even better, including several Oscar nominees and one of the coolest cult films ever made.

A throwback to the star - driven cinema of the Fifties and a reflection of our own fanatical interest in cults of personality, the film features transparent performances (with the exception of Don Cheadle, each performer in Ocean's Eleven is playing his - or herself), and the same kind of sadistic voyeurism that impels us to simultaneously deify and find fault with our favourite actors keeps our peepers glued to the screen as George Clooney, Brad Pitt, Matt Damon, Elliot Gould, and Carl Reiner revolve around one another in a loose heist intrigue intended to relieve Andy Garcia of both his millions and his girlfriend.

The film feels both cozy and oppressive as it deals frankly with one character's death wish, familial and romantic love, the power of a cult to drive a member toward suicide, the sustaining warmth of a circle of friends, and the seductive allure of both art and oblivion.

More's the pity, because Chronicles of Riddick, with its elementals and fringe religions, its funky spiritualism and its sense of fairy - tale hyperbole, is one of the genuinely great cult films of the last decade.

His cinematography and camera orchestrations are as sumptuous as ever, almost worth watching without dialogue, and yet, he doesn't exactly offer anything new here — it occasionally seems like he is trying to remake his cult classic, Chungking Express, for a Western audience, with some of the more interesting bits of his other films tossed in for good measure.