Sentences with phrase «design than any other film»

Not exact matches

Her other film credits include: «Happy Anniversary» (1959), «By Design» (1982), «Willy / Milly» (1986), «The Hitch - Hikers» (1989), «Prelude to a Kiss» (1992), and «Bigger Than the Sky» (2005), among others.

The movie, from Time Warner's (TWX) Warner Bros., won awards in categories such as costume and production design, as well as makeup and two sound categories on its way to scoring more total Oscars than any other film Sunday night.

It's built from stock, salvaged from bits of countless other films, but rather than disguise that fact, Corbijn incorporates the rust of those worn - out parts into his design.

Undoubtedly the best of the character's three films, it's more confident than the others, more kaleidoscopically colourful, and more eye - catching in its design.

On a more negative note, the film is designed and crafted in such a way that you take one side, with a certain perspective more prominently presented than the other, while the fact we're dealing with an ensemble feature does mean there's a lack of emotionality attached, as with so many characters to explore, we drift between them without ever feeling as though we've truly got to the bottom of their respective character developments.

Though realized on a more modest scale than other Aardman features, the film is still an absolute delight in terms of set and character design, with sophisticated blink - and - you'll - miss - it detailing to counterbalance the franchise's cruder visual trademarks.

So no great surprise here that The Lincoln Lawyer turns out to be superior piece of crime storytelling with some characters clearly designed for recurring roles (in other novels and perhaps other films should this one do well) while others are designated for showy guest appearances as larger - than - life evildoers or tough - guy eccentrics.

Far more creative and enjoyable than the standard retrospective route, this reunion, seemingly born out of DeVito's surprising and abundant passion for the film, sees the cast revisit and re-enact their favorite moments, share props and costume design drawings, and bask in each other's company.

The idea behind the new credit was to put one person, other than the director, in charge of the visual elements of the film, so as to unify the design and end all the usual turf battles that a production had about the visuals.

Like every other area, the film puts less thought into sound design than most of the competition.

From the beautiful and intimate score by Mychael Danna, to the inspired production design by David Gropman, to the pitch perfect performances by Suraj Sharma, Irrfan Patel and others, this movie is one of those rare films that brings its audience a mesmerizing experience rather than just a couple of hours of entertainment.

Instead, the most important feature of Heavy Rain, the design choice that makes it more important than any other game in separating from rather than drawing games toward film, is its rejection of editing in favor of prolonging.