Sentences with phrase «does mainstream cinema»

And make no mistake: The Exorcist is most definitely a horror film: though it may be filled with rigorously examined ideas and wonderfully observed character moments, its primary concern is with shocking, scaring and, yes, horrifying its audience out of their wits — does mainstream cinema contain a more upsetting image than the crucifix scene?

Not exact matches

That's because of a strange anomaly that divides mainstream American cinema from that of other Western countries, which is: graphic violence at its most explicit and creative is fair ball and freely available to impressionable young minds but DO NOT DARE to show anything as explicit as male or female genitalia.

Certainly, the film does introduce a new viewing experience to mainstream cinemas but for the most part, while this is an intriguing viewing experience, it is hardly the revolution and, if it is, it is a polished and somewhat superficial one.

In movies, gay has never truly gone mainstream, and, considering the state of our cinema, not to mention our country, at this point it never might (as Mark Harris wrote in the November / December 2016 issue of Film Comment, «they don't include gay people in their movies because they don't have to; we don't move the needle on revenue, and we rarely protest our absence»).

Also, while overlength is an issue in mainstream cinema (I don't mean «mainstream» in a negative sense at all)- eg.

Never mind that a purchase of the Legacy collection whole (essaying Dracula, The Wolf Man, and Frankenstein) proves to be far better for the soul than shelling out a few bones to catch Stephen Sommers's latest assault on sense and cinema, even if doing so feels a little like letting Universal have its cake and eat it, too: There are worse things in the world than a mainstream shipwreck inspiring a vital resurrection.

Between Moonlight and the upcoming Call Me By Your Name, some are calling this the golden age of gay coming - of - age cinema; Beach Rats» slow pacing and dreamy verité style doesn't feel made for quite that level of mainstream appeal.

I can't think of much mainstream cinema that goes to the lengths to appall that this 1978 film does.

Of course, this doesn't qualify as mainstream cinema, certainly not in this unrated 101 - minute director's cut that this week resurfaced on DVD and premiered on Blu - ray from Anchor Bay Entertainment alongside an unlikely remake's home video debut.

Mainstream cinema doesn't get much better than this.

Nuri Bilge Ceylan weaves a tale that speaks to human morality and mortality in a way that American cinema, mainstream or independent, doesn't like to think about anymore.

Yet, uncritical of the cinematic medium and unconnected with moral concerns, it does not offer the spectator a different position from what mainstream cinema or counter-cinema offers.

Unfortunately for Haneke, this cinematic critique doesn't make a compelling case; in many ways the film contradicts itself, and makes bold assumptions about mainstream cinema that aren't nearly as reproachable as he presumes.

But I do feel that to dismiss The Skelton Key — or Munich or Syriana or any movie that might be grouped under the heading of «mainstream popular entertainment» — simply because it isn't as complex in its arguments or as subtle in its art - making as some other movie that probably won't even reach cinemas in most cities across the country is to risk compromising one's own relevancy as a critic.

Set in the medium's native city of Lyon and captained by cinephiles Thierry Frémaux and Bertrand Tavernier, the Lumière Festival, which hosted its 9th edition in 2017, unfolded like an ethereal, kaleidoscopic journey through cinema joining the living and the departed, the modern and the classical, the marginal and the mainstream via an eclectic lineup of new releases, revivals, and restorations, including American westerns selected by Tavernier, from John Ford's My Darling Clementine (1946) to King Vidor's Man Without a Star (1955); Henri Decoin's Monelle (1948); Jacques Rivette's Le Pont du Nord (1981); John Cassavetes's A Child Is Waiting (1963); and Barbara Loden's Wanda (1970).

Increasingly, contemporary artists work with cinema's scale and distribution formats: collaborating with Hollywood actors, as artist Candice Breitz has done, or making mainstream feature films themselves (such as Omer Fast's Remainder, 2016).