Sentences with phrase «direct style of the film»

The rough, direct style of the film proved that Oliveira wasn't really interested in «entertaining» his audiences in the classical sense of the word; in reality, he was really making the film for himself, by his own rules, and the public used to being catered to, dismissed the film as harsh and uncompromising.

Not exact matches

But its greatest strength is also its biggest weakness: Luhrmann is so intent on dazzling viewers with his frenetic, over-the-top directing style that the film constantly threatens to overshadow, if not injure, the delicacy and profundity of Fitzgerald's exquisite novel....

First came party election broadcasts (PEBs) by radio, then 20 - minute polemics by TV, followed by blockbuster - style short films produced and directed by some of the Hollywood greats in the 1980s through to today.

The directors of the second film, Bonni Cohen and Jon Shenk, have a cinema verité style, which is a different style from Davis Guggenheim's [who directed An Inconvenient Truth].

Having already directed the first two (and superior) X-Men films, Singer shows a level of comfort with both the material and the cast, and he contributes at least one brilliant comic set piece in which new mutant Quicksilver (Evan Peters) lays waste to a kitchen full of security guards in languorous, Matrix - style bullet time (it looks gorgeous and has the slapstick choreography of a Three Stooges routine).

As it happens, the Ireland - based studio was also responsible for producing world - class Oscar nominees «The Secret of Kells» and «Song of the Sea,» and though Nora Twomey worked on both films, «The Breadwinner» marks her solo directing debut, employing a similarly bold graphic style in its telling («hand - drawn» via a program called TVPaint), augmented by colorful story - within - the - story interludes designed to look like stop - motion.

As an uberfan of the so - bad - it's - good masterpiece The Room and a solid admirer of The Disaster Artist, The Room co-star Greg Sestero's tell - all book about the making of mysterious vampiric figure Tommy Wiseau's «Tennessee Williams style melodrama as told by an alien who has apparently never seen normal human beings interact» drama - turned - dark - comedy - after - initial - audience - reactions - full - of - howling - laughter, I was a bit reserved in my excitement when I found out that James Franco was going to direct the film adaptation, as well as portraying Wiseau himself.

As such, it recalls not only the two other sweetly appealing films written and directed by Cameron Crowe («Say Anything» and «Singles»), but also the great shaggy - dog storytelling style of James L. Brooks («Broadcast News»), one of its producers.

Bay and screenwriter Ehren Kruger must have noticed that amphetamine - fueled mugging tested well in Revenge of the Fallen, so the third film is graced with the brilliantly hyperactive Ken Jeong — perhaps the one actor in Bay's 17 - year directing career who perfectly embodies his outsized, everything - plus - half - again - as - much style — and John Malkovich.

The film was produced by Jerry Bruckheimer and directed by Joel Schumacher, and reflects the worst of their shallow styles: wildly overproduced, inadequately motivated every step of the way and demographically targeted to please every one (and no one).

Of course, he does this in the same bravura directing style of his past films, and with the rapid - fire comedy he and co - writer / star Simon Pegg brought to the first two parts of «The Cornetto Trilogy», Shaun of the Dead and Hot FuzOf course, he does this in the same bravura directing style of his past films, and with the rapid - fire comedy he and co - writer / star Simon Pegg brought to the first two parts of «The Cornetto Trilogy», Shaun of the Dead and Hot Fuzof his past films, and with the rapid - fire comedy he and co - writer / star Simon Pegg brought to the first two parts of «The Cornetto Trilogy», Shaun of the Dead and Hot Fuzof «The Cornetto Trilogy», Shaun of the Dead and Hot Fuzof the Dead and Hot Fuzz.

Going in Style is directed by actor - turned - filmmaker Zach Braff, director of the films Garden State and Wish I Was Here previously.

Parker writes, directs and stars in a film that initially seems mired in the familiar cliches of the Deep South, but gains real power as its violent, unpalatable story builds to its Braveheart - style climax.

The Coens» first film was this extremely well - written and well - directed neo-noir that blends violence and humor and relies on an insane amount of misunderstandings and absurdities involving its characters - something that would become their trademark narrative style.

It makes sense that Jolie has worked as an actor on a Clint Eastwood film, as her directing style, if we can call it a style, so far shows much of his solemn but static reserve.

This is Demme's second remake of a classic film in row, however, unlike his overcooked update of Charade in The Truth About Charlie, he directs with just the right amount of style here, always staying true to the events of the story as they unfold.

The most disappointing features of the film though were the distracting directing style of Stone, who normally isn't like this, and the horrible choice in music.

With the style of directing and the way the script was written, this film wasn't trying to be something it was not; it was simply being a light British comedic romance.

In The Darjeeling Limited, the overt range of expression is much more tightly controlled, the gestures far more restrained, the dialogue more understatedly direct or quietly evasive, and — crucially — the material world far more eloquent in its elements of style and design than in Cassavetes» film.

DEADLINE — Hard to imagine there will be a hotter film package unveiled at Cannes next week than 355, a large - scale espionage film that Simon Kinberg will direct with an all - star international spy cast of Jessica Chastain, Marion Cotillard, Penelope Cruz, Fan Bingbing and Lupita Nyong» o. They'll play international agents in a grounded, edgy action thriller that aims to alter a male - dominated genre with a true female ensemble, in the style of spy franchises The Bourne Identity, Mission: Impossible and James Bond.

This collection of production - diary - style footage finds Brian De Palma on the set of his 2002 film Femme Fatale directing the shoot, a process that — as seen in these specific clips — includes rehearsals with actors Rebecca Romijn and Antonio Banderas, working through movement / blocking and fight choreography, and the management of the movie's bravura opening setpiece that takes place at the 2001 Cannes Film Festival.

Though the film's narrative never fully develops and fails to explore the deepest parts of this cautionary tale, the full commitment from the directing style and its performers transform a seemingly A-typical story to something new and dynamic.

Amy Seimetz («Sun Don't Shine») Some people act, write and direct, and some people tell the story of the year in film all their own, «Zelig» - style.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

The film began production in New York in November, 2016, right after the presidential election, and the screenplay (by «Sex and the City» writer Jenny Bicks and «Dreamgirls» director Bill Condon) contains many images and situations that feel like direct challenges to Trump - style politics of resentment.

Part of the appeal of the first two «'' Scary Movie»» films was the comedic style of the Wayans brothers who directed and wrote them.

You have such a unique directing style, after i saw shaun of the dead i knew i wanted to be a film maker.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

At the film's recent press day, Costner talked about the appeal of playing Coach White, Niki Caro's directing style, the bond that developed between all the actors during filming, the pivotal role a coach can play in a young person's life, the Jim White - type coaches who influenced Costner's life in a positive way, what he learned about Latino culture growing up in Visalia, why he waits for projects to come along that he can really respond to irrespective of genre, the biggest cultural gap he experienced on this film, and how sports movies allow us to address other issues within the wider society.

Why It Could Succeed: After directing three highly - respected films that have reached cult status in their own special way, Spike Jonze's latest effort has fans of his offbeat style salivating at the mouth.

Lost in Paris is both written and directed by filmmakers Dominique Abel and Fiona Gordon (filmed in their «signature whimsical style»), of the films The Fairy, Rumba, and L'Iceberg previously.

The success of Shelton» 2009 film Humpday, a comedy of sexual awakening starring Mark Duplass and Joshua Leonard, proved her style could cross over to general audiences, and after directing episodes of Mad Men and New Girl, Shelton's confidence in her abilities rose along with her status in the industry.

Its sequel, directed by John Woo, featured all of the filmmaker's trademark visual style (balletic slo - mo gunfights, pigeons flapping their wings also in slo - mo before all hell broke loose) without any of the poignancy or dramatic heft of his best Hong Kong - set films.

John Frankenheimer (who replaced the film's original helmer, Arthur Penn, at Lancaster's request) directs with a muscular style that puts the themes into action and the crisp black and white photography captures the busy industrial detail of the train yard and the gritty war - torn atmosphere of France in the final days of the German occupation.

If Emmerich wanted to rip off styles, he should have done so with Rodat's Saving Private Ryan as directed by Steven Spielberg instead of copying every other film Hollywood churns out of the factory.

We learn that Collora persevered in the making of the film despite a huge personal tragedy, but what was his directing style?

The film follows Mannix over the course of a day, which gives the Coens, who share writing, directing, and producing credits, an excuse to hop - scotch through the various screen styles of Old Hollywood.

Rock Dog opens with an introduction from Fleetwood Yak, a Sam Elliott - voiced troubadour who Big Lebowski - style directs our attention to the hero of the film, Bodi.

Derrickson is a director who built his name on horror films, and while Del Toro actually only directed the second Blade film, he matched the tone of the first film, while improving on the style for the sequel.

The direct simplicity of this film's title perfectly represents Michael Haneke's directorial style.

He is so established for thinking outside the box, directing his film's themes and tones back to earlier styles of cinema and consistently delivering entertaining works that audiences have far more patience with him than most other directors.

But while Creevy struggles with the basics of suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof suspense — often indulging in the same hacky, buzz - killing slow motion shots as he did in Welcome To The Punch — his direction of the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof the film's modestly conceived action sequences is serviceable: a relentless foot chase through the winding streets and picturesque houses of a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahof a medieval town; an escape from a Hagen - owned warehouse that's directed in part as a Children Of Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the AutobahOf Men - style long take; and the centerpiece, a head - spinning, car - wrecking pursuit down the Autobahn.

Who, what, when: A clear - eyed visionary drawn to muscular, no - punches - pulled genre films who, some would say, directs masculine - style fare while displaying the sharp - eyed instincts of a woman — though Bigelow is steadfastly against defining herself in any gender terms.

Together they share their first - hand accounts of the grueling boot camp, Oliver Stone «s «unique» directing style, and the brutal filming conditions that together forged their eternal brotherhood.

These films are more intimate character pieces than the gangster romantic tragedies of their American cousins, but they are lively productions directed with a dynamic style he stripped away through the 1930s.

* This release is limited to 1000 copies only * Road to Perdition, B - Movie Style: An extensive interview with «Hellgate» director William A. Levey (HD, 35 mins) * Alien Invasion, Blaxploitation and Ghost - Busting Mayhem: Scholar, Filmmaker and fan Howard S. Berger reflects on the intriguing film career of William A. Levey (HD, 12 mins) * Video Nasty: Kenneth Hall, writer of the Puppet Master series, speaks about the direct - to - video horror boom that allowed «Hellgate» to become a classic of the cassette rental era (HD, 8 mins) * Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys * Collector's booklet featuring writing on the film by Lee Gambin, illustrated with original artwork and stills * A DVD of the film is also included alongside the Blu - ray disc

Rauch has the chance to build a profile the way that former Saturday Night Live cast member Jenny Slate was able to do last year with Obvious Child, the Gillian Robespierre scripted and directed comedy that incorporated Slate's personality and her edgy stand up comedy style into a charming film that came out of Sundance with an A24 distribution deal.

A conversation between Braff and a young rabbi (Alexander Chaplin) on the nature of God is direct in style and substance where so much of the rest of the film is fussy and mannered.

Here's an action movie directed by John McTiernan, who directed Die Hard, arguably the best contemporary American action film, without a bit of style, substance, or visceral excitement.

It is thought that the tone of the movie — which will be directed by The Hangover «s Todd Phillips — will be «a gritty and grounded hard - boiled crime film» in the style of Scorsese's Taxi Driver, and will be set in Gotham City.