Sentences with phrase «direction moves the film»

Duvall's unobtrusive direction moves the film at a leisurely pace that lets many scenes build the gentle, pleasing rhythms of small - town Southern life.

Not exact matches

«In the fine liquid film surrounding the hyphae, bacteria can move with much greater speed and direction and cover more distance than in soil water without hyphae,» says Tom Berthold, first author of the study and a doctoral researcher at the UFZ Department of Environmental Microbiology.

Likewise, the film never moves in a new direction.

The rebellion, in a dark place, moves into a positive and hopeful direction by the end of the film.

A much more restrained Xavier Dolan after his pretentious previous film, and he displays an assured direction and firm control of this suspenseful thriller, even though the narrative seems to move too fast as the characters start to act in ways that are not always convincing.

Jason's choice to direct such a different kind of film gives him great merit... and the result is a multi-layered, rich very moving film that takes one in a myriad of emotional directions.

However, the characters the film does focus on get storylines that move them into new directions, something that even their solo films don't always accomplish.

The story flirts with young love (and love potions) at Hogwarts but also moves into a darker and more adult direction and Yates follows suit with a film that is more intimate and somber.

We'll have the Patrick DeWitt book to film adaptation of Jacques Audiard's The Sisters Brothers drop at Cannes in May, and then we wouldn't be surprised if Kelly Reichardt begins lensing on her eight feature film — and not unlike Claire Denis, moves into the direction of comedy — a first for the helmer.

As if that's not aggravating enough, on top of being uneven, the style of the film is already pretty problematic by its own right, because beyond pacing and focal consistency, there are such questionable structuring moves as the awkward placement of a text prologue before each segment, or overly thematic imagery, or ostensibly somewhat disjointed characterization, whose experimental tastes distance one's investment almost as much as experimental direction which relies too heavily on artistry and atmosphere to dramatically thrive.

It's also more intense and darker, a direction that the series has been moving in since film No. 3, «Harry Potter and the Prisoner of Azkaban.»

The set - up is masterful, suggesting any number of ways the scene could go quickly haywire, yet the direction Ducournau ultimately takes is not only unexpected — it is revolting, hilarious and oddly moving, just like the film itself.

We are clearly moving in a different direction, and I love, absolutely love the amount of attention these films received from the Academy.»

They split up for a few days: she tours museums and ruins (in the film's most documentary, and also most moving, scenes, perhaps prefiguring the cinematic direction Rossellini would take with his history films fifteen years later) while he tries to hook up with younger women.

Granted, that means going from cinematic immortality to merely a pretty good film, but it's still a move in the wrong direction.

Say what you want about the company but you can not deny that they know how to make a hit horror film that pleases horror audiences, and it is a huge move in the right direction when their very first step was to get Carpenter back involved.

Also Worthy and Worthwhile «Keep The Lights On,» «Neighboring Sounds,» «A Royal Affair» (Mikkel Boe Følsgaard guy should have also been in our Breakout Performances of 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen list.

Still, it's good to see Jason Reitman tackling such tonal range in his still - young filmography — though I could have stood a little more of the loose, spiky texture that characterized his still - undervalued direction of «Juno,» a film less cannily written and cleverly assembled than «Up in the Air,» but one that moved me more directly on first viewing.

While Sherman's direction is kind of oafish (though who knows how much of this is attributable to the fact that the film's comedic aspects were toned down by its financiers in post-production, leaving what must have been sizable gaps in approach), with montage simply not his forte (he bungles a chase episode involving a family taking a detour through Potter's Bluff), he derives performances from his cast that elevate wafer - thin characterizations and stages the climax brilliantly, placing an unexpected emphasis on the moving image.

But instead of moving rapidly to an orgy of shooting and stabbing, the film takes a different direction when Wong's character is drawn to a young woman.

In the 10 years since they moved up in the calendar to pre-Oscar status, the BAFTAs have hovered uncertainly between complying with awards trends across the pond, thereby establishing themselves as a viable precursor, and stubbornly standing by their own — as in 2007, when they opted out of the Coen Brothers - P.T. Anderson faceoff by picking «Atonement,» despite the film's only other award coming for Best Art Direction.

A snappy script, terrific jazzy soundtrack, and engaging direction keeps the film always moving while never losing the humorous tone.

Written, produced, and directed by Charles Kiselyak, the comprehensive retrospective flows in a logical direction, starting with the book and moving onto the long process to get it made into a film, casting, the story and characters, and the experiences filming in a real mental hospital.

It can't go small - scale and silly with its Avengers, although Ant - Man was a promising move in that direction for at least some of its films.

However, the formidable combination of Mark Strong and Taissa Farmiga prove to be a joy to watch early on, and the slick point - counterpoint direction of Dorado moves the film along at a steady pace.

With the X-Men franchise moving in several different directions at once, but still holding on to the films that started it all, one of the more confusing questions is where everything falls in the multiple timelines.

I didn't like Deadpool, but I think the success of that film could help move X-Men in the right direction and give the marquee names a breather.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

Cagney's a great actor, of course, but both he and Day seemed totally lacking in energy, as did the direction by Charles Vidor — I swear there were only two camera setups through the first 30 + minutes of he film: Day on stage in a flat composition in front of musicians and a solid color backdrop with neither camera nor actors moving much at all and Day and Cagney in her dressing room arguing about something.

Toni Gallagher studied Graphic Design and Advertising at Brunel, before moving on to a career of diverse artistic achievements, everything from free lance Art Direction of commercials, to a successful stint on the Fourth Plinth, short films, sculpture and photography.

Toni Gallagher studied Graphic Design and Advertising at Brunel, before moving on to a career of diverse artistic achievements, everything from free lance Art Direction of commercials, to a successful stint on the Fourth Plinth, short films, -LSB-...]