Sentences with phrase «cult films like»

Discovered by a larger audience through 80's cult films like Wild Style and Style Wars, his artwork and performances has been exhibited world wide, in galleries and museums including P.S. 1 and the Venice Biennale, and the biggest museum of all: the train yard.

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.

A legendary B movie actor, Campbell is most famous for his starring roles in cult films like The Evil Dead, Evil Dead II, Crimewave, Army of Darkness, Maniac Cop, Bubba Ho - tep, Escape From L.A. and Sundown: The Vampire in Retreat.

It's not that it revitalizes a dead genre, but it does give a bit of new life and twist to the zombie genre, while also paying tribute to the classic cult films like Dawn of the Dead, Evil Dead, Mad Max, among others.

Not exact matches

Today, he's a cult hero, appearing in mainstream comedy films like The Hangover.

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.

But amazingly for a 50's space flick its a very intelligent and deep adventure which has become a full top level cult and the quintessential science fiction film up alongside the likes of» 2001: A Space Odyssey».

Aside from films like Bon Cop Bad Cop or The Sweet Hereafter that have gained a cult following, there isn't much of a draw to Canadian films.

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.

The film, which is considered the «' Citizen Kane of bad movies»,» became a cult hit, spawning midnight screenings across the nation and now worldwide where fans quote iconic lines like «Oh hi, Mark» and «You're tearing me apart, Lisa» as they watch the film onscreen — in between throwing plastic spoons.

While The Discovery plays in many ways like a more effective version of the concept - choked Brit Marling / Zal Batmanglij movies, the cult scenes feel underdeveloped next to their film The Sound of My Voice, an intriguing but ragged thread left dangling as The Discovery turns towards more concrete, backstory - driven explanations for its characters» obsessions.

Like many of the cult films I've reviewed in the past, it's a film of interesting parts rather than a perfectly realised whole.

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.

It's an instant cult classic that I can see a lot of people discovering on the home video front and not so much theatrically, which is a shame, because films like this need audiences support to help fund future projects for talented filmmakers like Martin McDonagh.

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.

The movie has even drawn some comparisons to «Trainspotting,» even if the pitch - black comedy feels more like another book - to - film cult classic, «Fight Club.»

-- or go all but unnoticed at the Oscars and become something of a cult classic, like his first film, A Single Man.

Refn clearly has a love for the likes of Walter Hill and John Carpenter, as well as cult classics like Silent Running and Logan's Run, a film he was looking to remake for some time; von Trier has grander aspirations as a filmmaker, a compulsive need to make the audience feel something, anything, at the end of his works.

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.

It may seem like an outspoken follow - up to his cult debut, but «Snatch» works just fine as a standalone film.

Juxtaposing the exploits of Martha (Elizabeth Olsen, younger sister of the Full House tots turned international entrepreneurs) in her initiation and entrenchment in, and then escape from, an cult - like commune led by the calculating Patrick (John Hawkes, Winter's Bone), the film delves into her attempts to reconcile — and discern the difference between — her memories and dreams.

Those who love horror films like Friday the 13th, Sleepaway Camp, Evil Dead, and various other 80s cult classics will love how this film plays as an homage to them.

I'd also recommend this, but with some reservation, to those who enjoy quirky romantic comedies, off - beat cult films, and those who like foreign, particularly French cinema, with multi-textured storylines whose meanings aren't always evident.

With films like Fast & Furious 7, Tarantino's upcoming The Hateful Eight, Bone Tomahawk and Road to Save Nome in the pipeline, as well as a possible Stargate sequel, Russell will continue to be a fixture in cinemas across the nation, and although the latest entry in his expansive body of work is a long way off being his best, his cult status remains very much intact.

The Room improbably went on to become the equivalent of a cult classic (if for all the wrong reasons), a film made in direct contradiction of every rule of «good» filmmaking, but also one of the most purely enjoyable (if only ironically) cinematic experiences made in the last two decades (best seen and heard in a group of like - minded, possibly inebriated friends, acquaintances, and strangers).

I think when more people see this film they will really connect with it and in my opinion it is destined to become a cult classic just like most the films to which it is paying homage.

As I touched on earlier, I'm actually glad that I didn't get to many new movies this year, because I liked being able (forced) to focus on the cult films that make up the backbone of MRFH.

by Walter Chaw Joe Cornish's low - budget creature - feature Attack the Block is a charmer, a delight, the kind of rare film — like Jack Sholder's The Hidden, Stuart Gordon's Re-Animator, or Steve De Jarnatt's Miracle Mile — that devotees will latch onto, and for good reason, with the fervour afforded genuine cult classics.

Like the latter, acclaim, word of mouth, and home video would help give it a cult following, a phrase Lebowski earns as well as almost any modern film.

Overall, the film, which was produced by Tim & Eric themselves along with Will Ferrell, Adam McKay and Dave Kneebone, is a true celebration of an off - brand style of niche cult humor that so many viewers still look for in shows like The Eric Andre Show, Check It Out!

«High - Rise» was his controversial take on a cult novel that felt more ambitious than successful, and he follows that up quickly with a film that almost feels like a response to the scope of last year's piece in its minimalist structure.

But he would contribute to a number of other notable films over the years as well, like with the lush Art Deco look of Prince's weird cult item «Under the Cherry Moon» (1986), or helping director Paul Newman keep his adaptation of «The Glass Menagerie» (1987) from feeling hopelessly stage - bound.

If you grew up as a horror film fanatic in the 1980s, you may have run through most of the American slasher flicks and occult thrillers — and then you rented Lucio Fulci's 1980 cult favourite Zombie, which hopefully led you to all sorts of gore - laden apocalyptic mayhem from Italian splatter - slingers like Umberto Lenzi (Nightmare -LRB-...)

Max Cartwright (Taissa Farmiga) is a young woman whose late mother, Amanda (Malin Åkerman), was a Jamie Lee Curtis - like scream queen actress, pigeonholed into slasher films, and a minor cult icon.

The same guys who like to high five during girl on girl action in Atomic Blonde, skull smashing in Free Fire or the fact that cult classic film The Room gets a big screen treatment by James Franco in The Disaster Artist.

Welcome to The Best Movie You NEVER Saw, a column dedicated to examining films that have flown under the radar or gained traction throughout the years, earning them a place as a cult classic or underrated gem that was either before it's time and / or has aged like a fine wine.

Like a lot of cult movies though, it has it's flaws; the settings are basic and it has the old flashing computers with an abundance of lightbulbs on show but it's testament to Carpenter's vision that his concept overrides these dated faults and the film still manages to remain suitably futuristic.

The film's sole redeeming factor is the juicy role it provides to 76 - year - old cult actor Michael Parks, who's experiencing a late - career renaissance thanks to filmmakers like Smith and Quentin Tarantino.

Like many recent films based on well - known cult comics, director and co-writer Edgar Wright (Shaun of the Dead, Hot Fuzz) attempts to translate, quite literally, the images from the comics to the screen, with phonetic musical demonstrations (songs written by alt - rock fave, Beck), visual name tags for character introductions, and bleeped (visually) foul language.

His films like «The Evil Dead» series have such a cult following behind them.

Test audiences didn't enjoy the direction the franchise went with the cult mythology so huge chunks of the film were re-shot to make the film feel like your average slasher, which is what the result felt like.

2014 didn't have a cult film in the making like What We Do in the Shadows, or a true sleeper like Straight Outta Compton (or Spy, for that matter), or a blockbuster hitting the sweet spot for audiences and critics alike like Mad Max has done, or a traditional standalone nonfranchise blockbuster like The Martian, or an animated film with the acclaim of Inside Out, or a little horror movie that could like It Follows, or an unexpected independent drama that ran forever like Room....2015 was a year like 1999 or 1994.

The best part of Galaxy Quest, playing the guy playing the ethnic guy in a «Star Trek» - like cult television series, Shalhoub also stole the show as fast - talking lawyer Freddy Riedenschneider in his reunion with the Coen Brothers, The Man Who Wasn't There; demonstrated uncommon intelligence and sensitivity in the still - underseen Big Night; and made his feature - film debut behind the camera with wife Brooke Adams in the independent Made - Up, now trickling into video stores.

Judged against the original 2001 movie version of Wet Hot American Summer — a film no one saw in theaters, before it became a cult obsession in part because then - unknown actors like Bradley Cooper, Amy Poehler, Paul Rudd, and Elizabeth Banks became huge stars — the two Netflix spinoff seasons (including 2015's First Day of Camp prequel) can't help but come up wanting.

We've seen many horror and suspense films with cults as the backdrop, either on - site at a commune or pulling strings in some shadowy or supernatural way, but there's never been one quite like The Endless from directing duo Justin Benson and Aaron Moorhead.

«Sideways» plays a lot like the Doug Liman cult favorite, «Swingers,» as it's the only other film to handle the subject of male bonding so well.

Like Tim Burton's beloved valentine to man's insatiable hunger to create in general and one dreamer in particular, The Disaster Artist offers the curious phenomenon of the film industry's biggest winners and power - brokers paying tongue - in - cheek homage to the handiwork of some of cult film's most exquisitely deluded dreamers.

But just as older genre film fans might look back in wonder at the summer of ’82 (featuring E.T., Star Trek II: The Wrath Of Khan, Poltergeist, The Road Warrior, and Blade Runner) or the summer of ’84 (Ghostbusters, Gremlins, Indiana Jones And The Temple Of Doom), there have been some contemporary summers with robust, varied lineups of very good movies, like 2008 (Iron Man, The Dark Knight, Wall - E, Step Brothers, and cult favorite Speed Racer) and even the otherwise sequel - saturated 2011 (Rise Of The Planet Of The Apes, Super 8, X-Men: First Class, the first Captain America).

Look at a film like Attack the Block, a small film with a cult status.

Elizabeth Olsen's turn as a recovering cult member plays like a psychological horror film — the latest genre, from sci - fi to action, that arthouse flicks have raided