Sentences with phrase «does as a film director»

What I do as a writer, and what Guadagnino does as a film director, is more than speak two different languages.

Not exact matches

Disney and Marvel obviously know what they're doing with superhero movies — they've brought some of the biggest franchises to screen — however, at the same time, making every single film need to fit inside the already established franchise starts to limit the amount of creative license any one director can have on future characters as Marvel's Cinematic Universe only grows larger.

Avnet (whose father, Jon, is a veteran Hollywood director and producer as well as the studio's co-CEO) told Fortune the studio wanted to maintain the film's authenticity — they wanted viewers to think the horror film playing out in real - time might really be happening — so they avoided marketing the movie and, in fact, they did not even run the idea by Snapchat before proceeding.

«I think most film directors would look at that character and instantly think CG but he [Nolan] instantly thought let's do as much practical as we can.

While Black Panther rode a huge wave of critical acclaim and fan excitement to the biggest opening weekend ever for the month of February (and the fifth - largest of all - time), raking in more than $ 426 million worldwide, a small number of Internet trolls still did what they could to dampen the good vibes surrounding the trailblazing film, which features Marvel's first African - American director (Ryan Coogler) and a cast led by black actors such as Chadwick Boseman and Lupita Nyong» o. Starting last week, in the first few days of Black Panther «s highly - anticipated theatrical release, some Twitter accounts started trying to spread false accounts of attacks at screenings of the movie.

But no one has ever portrayed the magic of romance quite as, well, magically as co - writer / director Edgar Wright does in the new film Scott Pilgrim vs. the World.

Speaking about the film recently in Los Angeles, Cera — who in this film, takes some refreshingly bold steps away from his usual one - note nerd persona — and co - writer / director Edgar Wright (who also did the zany cult classics Shaun of the Dead and Hot Fuzz) discussed the meaning of the film, the stretching Cera had to go through for the role, and the way in which the film's hyperkinetic action sequences are really just the same as the dance scenes in Grease or a Gene Kelly movie.

The biggest crisis of his film career came when he was cast as a cab driver; he was behind the wheel before the director discovered Abe didn't know how to drive.

As the director Richard Symons said `' the film is about the price you pay for doing the right thing.

The film is all in Arabic and Kurdish with English subtitles, however, the mixture of grief and eye strain does make it a little hard going at times but stick with it as director Mohamed A-Daradji has masterfully handled the subject matter without falling into the obvious Saddam bashing pitfalls.

But it's good to know that I'm not alone in my horror: Director Luke Gilford has skewered the extreme ends of «wellness» in his new short film Connected, starring Pam Anderson as Jackie, a lonely spinning instructor who wants to feel more, well, connected — so she joins a wellness cult and gets wifi shot into her brain so that Jane Fonda (no, really, she does a voiceover cameo) can tell her how «limitless» she is all the time.

Equipped with a truly excellent villain (Marcel Iures), a charismatic cast and a talented visual director, this is one of those films that you can genuinely enjoy as long as you don't analyze or think too hard into what is going on.

The scariest thing to be found in this pointless horror film is that its director, Rob Schmidt, has less prowess as a genre filmmaker in his third film than Eli Roth did in his first.

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

Bryan Cranston does the best film work of his career (Affleck has a way of capturing what works about AMC leading men that other directors seem to miss as this follows Jon Hamm's best film work in «The Town»).

It's clear almost immediately that filmmaker Shawn Levy just doesn't have the right sensibility for this material, as the director, known for his fluffy, decidedly comedic offerings, has infused This Is Where I Leave You with a terminally lightweight feel that grows more and more problematic as time progresses - as the absence of authentically heartfelt moments ultimately proves disastrous (ie the film possesses the feel of a glorified sitcom, for the most part).

I was not looking forward to it for the director, as he has mostly done some pretty terribly reviewed direct - to - disc films, but for the likes of Sam Rockwell and Anna Kendrick as two leads.

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.

Some things that probably factor into the industry's disagreement: Peter Jackson adapted books fifty years old and respected as great literature, the Potter books were being written alongside the first movies; Lord of the Rings centered on adult characters and played to a wider audience with PG - 13 ratings, the first Potter movies were PG, skewed younger, and starred kids (though anyone can see the films matured and so did the fans, many already wrote the series off); finally, where Jackson provided one distinct vision and a cast of respected performers, Potter had a rotating director roster (all of them secondary to Rowling) and limited opportunities for its accomplished actors, giving the brunt of the work to the three kids and spectacle.

In his sophomore film, writer - director Mike Cahill proves his mettle at unfolding sci - fi themes as he did with «Another Earth,» which posits that there is a second Earth within our own solar system.

This can not be accomplished as well as it is without the help of Refn, as director, because even though the experimental storytelling of this film is distancing, it feels a bit more realized than it did when it was applied to the misguided «Pusher», having a somber thoughtfulness that is sometimes effective in establishing subtle tension, maybe even resonance.

As director, he does solid work, but peppers his film with some bizarrely picked pop culture references.

Foreign - language films and documentaries are Kino Lorber's twin specialties, though this year it also released a trio of British dramas (which doesn't quite count as a foreign - language) from director Joanna Hogg: Archipelago, Unrelated, and Exhibition.

Original director Wes Craven and original screenwriter Kevin Williamson come back for more, and do so with the willingness of an entirely new cast and the old one, an unprecedented feat seeing as how the last film was made eleven years prior.

John Krasinski demonstrated in his first film as a director that he has the ability to do things well and get it

His fame and prestige did nothing to quench his personal combustibility; notorious in cinematic circles as the only prominent director who ever actually shot a film critic, he later served six months of a four - and - a-half year sentence for manslaughter after killing a farm laborer during an argument.

It all makes for a baffling true Hollywood story, along the lines of what Tim Burton did for «Ed Wood,» but the «Plan Nine» director emerged from that film redefined as a passionate creator.

Director Stanley Kubrick, working from a script cowritten with Calder Willingham and Jim Thompson, kicks Paths of Glory off with an admittedly less - than - engrossing stretch, as the movie boasts (or suffers from) a somewhat talky first act that doesn't contain much in the way of compelling elements - although, by that same token, it's clear that the film benefits substantially from Kubrick's stellar directorial choices and a host of above - average performances.

Actor / director James Franco has created as unique a character in The Disaster Artist as Johnny Depp did with his Jack Sparrow creation in the Pirates of the Caribbean films.

It's ultimately clear, however, that Fear and Desire simply isn't able to justify its feature - length running time (ie the whole thing feels padded - out even at 61 minutes), with the movie's less - than - consistent vibe paving the way for a second half that could hardly be less interesting or anti-climactic - which does, in the end, confirm the film's place as a fairly ineffective first effort that does, at least, highlight the eye - catching visual sensibilities of its preternaturally - talented director.

I Don't Feel at Home in This World Anymore is perhaps most notable as the debut of Macon Blair as a director, who gained notoriety primarily as an actor featured prominently in the films of Jeremy Saulnier (Green Room), to which this film attempts to emulate to some degree.

John Krasinski demonstrated in his first film as a director that he has the ability to do things well and get it right with what he wants, and alongside Emily Blunt, his wife, he has achieved much more.

Ensemble films like this don't always work, but in the hands of a master director such as Meirelles, Peter Morgan's script comes to life in a vivid and evocative way.

For Hank and Jim, biographer and film historian Scott Eyman spoke with Fonda's widow and children as well as three of Stewart's children, plus actors and directors who had worked with the men — in addition to doing extensive archival research to get the full details of their time together.

Much like the kids in this movie who come of age, so too does Robert Kirbyson's skill as a writer - director in his debut film Snowmen.

Sean Penn «s third film as a director is a psychological murder mystery in which the central character is at once investigator, possible suspect, and angst - ridden carrier of the world's woes, and damned if Penn doesn't draw you inside this labyrinth of existential murk.

Ford became best known for his Westerns, of which he made dozens through the 1920s, but he didn't achieve status as a major director until the mid -»30s, when his films for RKO (The Lost Patrol [1934], The Informer [1935]-RRB-, 20th Century Fox (Young Mr. Lincoln [1939], The Grapes of Wrath [1940]-RRB-, and Walter Wanger (Stagecoach [1939]-RRB-, won over the public, the critics, and earned various Oscars and Academy nominations.

The film may live as little more than a supplement on a future box set, but Noah Baumbach and Jake Paltrow do well enough to give a sense of the breadth De Palma's career while letting the iconoclastic director write his history in his own way.

But he did manage to get the coveted «and as» position in the opening credits, billing above Joseph Bologna in the closing credits and more written about him in the film's presskit than the director.

How Do You Know, Brooks» sixth and latest film as writer / director, will go down not as a resounding return to form but as one of the biggest flops in cinema's history.

Capote and Moneyball director Bennett Miller returns with what many have described as his passion project, a film about the late John du Pont, whose attempt to support the US wrestling program in spite of declining mental health.

As much as I've enjoyed director Bennett Miller's last two films (Capote and Moneyball), for whatever reason I wasn't expecting this one to impress me as much as it diAs much as I've enjoyed director Bennett Miller's last two films (Capote and Moneyball), for whatever reason I wasn't expecting this one to impress me as much as it dias I've enjoyed director Bennett Miller's last two films (Capote and Moneyball), for whatever reason I wasn't expecting this one to impress me as much as it dias much as it dias it did.

Though the film isn't as kid - friendly as most animated movies due to Laika's typical gothic leanings, director Travis Knight does such a good job of balancing the darker elements with humor that they're not as frightening as they could be.

Pushing a message as frothy as this one with points scored along political lines and with an almost complete lack of syrupy sentimentality to gum up the works, the film's inevitable box - office victory (penguins are more of a sure thing nowadays than Harry Potter) is cause for celebration, in no small part because Miller is one of the few directors who deserves the freedom to do whatever the hell he wants.

Steven Spielberg serves as producer on this latest film from director J.J. Abrams, and if you hadn't seen the credits or been told beforehand, you might well think he'd done more than produce.

Alex Garland, who wrote and directed the film, has shown a lot of promise as a writer so I am curious to see what he can do in the directors chair.

... Another comic book movie reboot is gearing up to go into production this year in Spawn, and creator and director Todd McFarlane has been chatting about how the title character will communicate in the film, as well as speaking about its hard R - rated tone: «It's funny in Hollywood, if you say you want to do an R - rated movie, they go like «Oh like Deadpooland like Logan?»

It's an interesting case study in what can go wrong as a director struggles too hard to find a way into a work for hire, but this film surely doesn't deserve that level of scrutiny.

A year later, he returns to Sundance with his Ain't Them Bodies Saints costar, Rooney Mara, and their director, David Lowery, in a film about a haunted romance that extends beyond death (as all romances do).

Since his film was only screened for the Hollywood Foreign Press he wasn't able to earn SAG or Critics» Choice nominations but now that the film has been seen and Plummer is all over it (with just nine days of shooting and as many days of post-production) this may be the easiest and best way for the Academy to recognize the efforts and ability of director Ridley Scott (if they don't give him a Best Director nomination, tdirector Ridley Scott (if they don't give him a Best Director nomination, tDirector nomination, that is).