Sentences with phrase «done as a film critic»

I'm going to do something I've never done as a film critic, and will never do again.

Not exact matches

On the other side are critics who have long disliked the film tax - credit idea since New York City is already viewed as a major film and TV hub that doesn't need to incentivize itself.

For National Public Radio and LA Theater Works Alma performed in the radio versions of Zoot Suit and Nilo Cruz's Pultizer Prize winning play Anna in the Tropics opposite Jimmy Smits.As a 25 year member of El Teatro Campesino (ETC) founded by Luis Valdez, she has appeared in landmark ETC productions of; Zoot Suit, both the film and play (1979 Los Angeles Drama Critics Circle Award - Best Play); Corridos, both the TV version (1987 Peabody Award) and play; I Don't Have to Show You Any Stinking Badges; and Mummified Deer (Back Stage West «Honorable Mention» for her role as Mama Chu), all written and directed by Valdez.Ms.

While most critics dismissed the film, it charmed a handful of others (such as Kevin Thomas and Rita Kempley) and did outstanding box office for a programmer, grossing several times its original budget.

The film did only a fraction of the business of, say, the previous year's Nightmare on Elm Street 3: Dream Warriors, but it did earn a few favorable reviews even as it repulsed critics such as Roger Ebert.Thereafter, Fleming's career waxed extremely uneven from a critical standpoint, though his grosses remained generally favorable throughout and the projects kept rolling in.

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.

Written by Bird and Damon Lindelof (Lost), the film is as shrouded in mystery as any release this year, but Bird's track record at the box office and with critics (see sidebar) bodes well for his latest, as does the strong supporting cast of Hugh Laurie, Judy Greer, Kathryn Hahn, and Keegan - Michael Key.

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.

Critics have seemingly cooled on Tarantino's pop culture patchwork technique over the years, mistaking cleverness for ironic detachment and his singularly innovative mode of theory - to - practice film geekery for plagiaristic slapdash kitsch just as Tarantino is reaching personal heights as an auteur, and it begs the question: did Shakespeare have to deal with cooler - than - thou backlash from his detractors?

Now, I do think that some critics are going overboard in their praise of the film (probably because they've been beaten down by a genre that has given them such horrendous fare as «Bride Wars» and «Something Borrowed»).

Adapted from a play called A Vampire Story, Byzantium stars Gemma Arterton and Saoirse Ronan as a mother - daughter vampire duo who pissed off the wrong vampires a few centuries ago, and those leads both earned praise from multiple critics, as did the film's visuals.

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

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, that is).

In Screen Daily's critic» scoreboard, «The Square» did not score as highly as «Loveless,» which topped the poll, or «You Were Never Really Here,» the runner - up, but it was solidly in the top rank of films.

Of those, A Scanner Darkly does get some actual commentary from critic and New York Film Festival honcho Kent Jones, where he posits it as considerably underrated, but the group's otherwise just put out there as something of a dark stage in the man's career, where he had a string of films failing to be embraced by audiences, critics or both, but with little extrapolation as to why those films were made, or what Linklater thinks of them.

Adding almost an hour to the running time of «Infernal Affairs,» the film on which it's based, «The Departed» does indeed fill in some of what one critic called the «ellipses» in the plot of the original film (and opens up at least as many other holes in the process).

The documentary on Eros + Massacre provides plenty of context from French film critics Mathieu Capel and Jean Douchet, and, even better, lets Yoshida lay out his own philosophical and political intentions for the film, as do Yoshida's separate introductions to Heroic Purgatory and Coup d'Etat.

Monitor film critic Peter Rainer called «Wind,» which was billed as Miyazaki's final film and the story of which is partly based on fighter plane designer Jiro Horikoshi's life, «visually as beautiful as anything he's ever done,» though he noted that «the collision between poetic fancifulness and grim reality, between peace and war, never falls into focus.»

Critic and Kazan interviewer / biographer Jeff Young appears to be the only one of the principal participants (save Bouzereau, naturally) seated before the film as it unspools, though he does not, as the others do not, offer much in the way of scene - specific commentary.

I suppose he doesn't really have to worry about repeating himself to a certain extent, as many audiences in the US and other countries may not be intimately familiar with his previous works, though they certainly have been lauded by critics and film buffs alike.

Miyazaki's film is technically a 2013 movie as it did get an Oscar - qualifying run and ended up on a few of our Best of 2013 Top 10s as well as many other critics» list, but it also technically doesn't get a proper U.S. release until February 21.

Most critics are saying that the film features a lot of hi - jinx that kids are sure to enjoy, even if it doesn't reach the same emotional heights as other animated films.

They had awarded «The Godfather» Best Picture two years earlier, but much of the precursor circuit (and all of the critics groups) largely ignored the sequel, opting instead for films such as «Alice Doesn't Live Here Anymore» and «Chinatown,» among others.

I did not stay long enough to witness what other critics have described as the film's «torture porn» moments, precisely because I felt tortured enough just by the film's first hour — one that felt as tedious to me as reading Heidegger (but considerably less profound).

His swan song, Parade, sorely underrated by the small number of critics who've actually seen it, was a clean break from Hulot, and as such, feels more free than anything else Tati ever made — it's a difficult film for people who may be expecting another lighthearted, whimsical comedy, instead of an experimental film that uses a circus performance as its foundation, but in its own way, it's the ultimate Tati, an undiluted expression of what he loved to do and to see, and what hats to put on.

I've already discussed how many critics seem to be misinterpreting Mike Leigh's «Happy - Go - Lucky» and its protagonist, Poppy, by interpreting it as a sheer feelgood work — and in doing so, missing much of the film's complex, subtle social observation.

All of this is to say that I am probably not the target demographic for a film that is being touted as a corrective to the 1998 Roland Emmerich Godzilla (which fans of the famous monster hated, as did most critics), bringing the series back to its traditional roots, as director Gareth Edwards has claimed in interviews.

You often hear critics talk about certain films as being «personal» works, but what does that really mean?

After growing up in the political tumult of France in the sixties and seventies, Assayas followed a path similar to the one traveled by several titans of the French New Wave, first working as a critic for Cahiers du cinéma, then moving on to film projects, including collaborations with André Téchiné and his own feature directorial debut, the 1986 Disorder.

The metaphysical, stylistic, musical, and directorial steps Rivette takes have everything to do with his legacy as a film critic, despite the fact that he wrote and published criticism only between 1950 and 1969.

I finally saw «Doubt» this week, and as other critics are making clear, Streep does some of her best work in the film.

Mixed reviews from critics didn't keep audiences away as the film scored a 58 % on Rotten Tomatoes.

I almost didn't post them because this is the kind of thing that makes me really hate film critics or even fake film critics masquerading as real film critics; don't tell me how your collective minds work because I don't really want to know!

Guadagnino didn't originally design the three films — I Am Love (Io sono l'amore, 2009), A Bigger Splash (2015), and Call Me by Your Name (2017)-- as a trilogy, but after the release of Call Me by Your Name, he has referred to them this way and critics have followed1.

There isn't a critic alive who wouldn't feel, as I just did, a twinge of guilt after writing that, because of all the carping we do about thrill - driven American films.

At the end of the year, said critics will often pen a few words about how Pixar can never get any love at the big races at the Oscars, even when their films win big critics prizes (as did WALL - E).

ACTRESS Portman has been winning lots of critics awards but, strangely, her film (just as strong or even stronger than her eery performance) isn't doing as well.

Louis Allred reviews the film «Black Swan» and he doesn't love it nearly as much as other critics.

Although his reputation waned after the Cahiers du cinéma critics fingered him as one of the makers of retrograde «cinéma du papa» films, his work today looks formidable, even groundbreaking.

Just as there are not many filmmakers left who do anything of great interest, there are not many film critics who write anything of great interest.

As I did last year and the year before, I'm making a Best of the Year list following the conventional system for what counts as a 2016 film, mainly the nonsensical and ahistorical system that decrees that critics may only consider movies to have existed once they have played for a week in a commercial venue in New York City, or, in a new twist this year, on a television or streaming service in New YorAs I did last year and the year before, I'm making a Best of the Year list following the conventional system for what counts as a 2016 film, mainly the nonsensical and ahistorical system that decrees that critics may only consider movies to have existed once they have played for a week in a commercial venue in New York City, or, in a new twist this year, on a television or streaming service in New Yoras a 2016 film, mainly the nonsensical and ahistorical system that decrees that critics may only consider movies to have existed once they have played for a week in a commercial venue in New York City, or, in a new twist this year, on a television or streaming service in New York.

If you're only basing your decisions on what an 11 year old says, or three 30 somethings (hope I didn't just insult Jay, Sean and Gregg) or a 60 year old professional film critic, then you may as well be flipping a coin anyways.

As an eighteen year old I don't feel you can call yourself a critic before the age of 17 at that age you can build up both analytical and film knowledge.

received drubbing from critics when it released in 2008, but Colin Firth said it is one of his favourite films as it is «hard to do pure escapism».

Horror movie master John Carpenter returns with «The Ward» (Arc Entertainment), his first feature in ten years, and while MSN film critic Glenn Kenny finds the material wanting, he praises Carpenter as «comfortable, confident, ready to do what it is he does.»

Even if you did, you failed to recognize that even though you didn't personally like the remaining 28 films to even rate them as «really good», critics, audiences, and movie lovers in general did, and supported movies outside of the regular Oscar - bait and run - of - the - mill franchise films.

I couldn't believe the number of people, critics included, who wrote off Guillermo Del Toro's latest film with a clause along the lines of «Well, it looks amazing but...» as if looking amazing was A) Easy to do and B) Not worth praising.

The last time the critics» awards converged on one film to such an extent was in 1997, when they rallied behind «LA Confidential» as the discerning voter's alternative to «Titanic» — it didn't work that time, of course, but let it never be said that critics aren't as collectively calculating as the savviest Hollywood publicists.

The film doesn't appear to be the easiest of sells — but then again, the last three years have been kind to downbeat, female - led Sundance hits, as «Winter's Bone,» «Precious» and «Frozen River» were all embraced by critics and Academy voters alike.

was less than universally loved, and while the critics who favored it were outspoken, the ones who did not were just as adamant in their opinions, but even louder, making the film less of a coming out party than an odd blip in the filmography of an already conflicted performer looking to break free from the constraints of Hollywood's well - defined image of her.