Sentences with phrase «done film homage»

Not exact matches

The film, as most Tarantino films do, pays homage to several particular genres of movies.

I understand that doesn't necessarily make it bad, there are plenty of examples where films have deliberately gone down the homage route or retro design / vibe which can work wonders giving a great charm factor.

Comedy, sci - fi, horror, romance, adventure, action, drama, and thriller, it covers quite a lot of territory in a short amount of time, and does so with its own sense of style that makes it different from any other film, even if it is an homage film at its core.

The film is such an homage to The Endless Summer, the old documentary that turned the planet onto surfing just as much as the Beach Boys did.

A godard style graphic, a homage to don't look back and the graduate and a blatant copy of wes Anderson and transporting don't make it like those films.

Essentially a subversive homage to the B - movie creature features of the era, the film doesn't even try to pretend that the monster — which has been dragged up from a river in South America — is going to be the bad guy.

Medium jumps are never an easy thing to do, whether it's today's commonplace practice of remaking an old television series as a film residing between homage and parody, or as in the case of The Muppet Movie, simply bringing characters who found popularity on TV to a cinema audience.

Such rules would normally be frowned upon (and even ignored by many), but in fact, this film does such a masterful job of paying homage to the first, while enhancing the characters and story, that we are eager for every viewer to experience it with fresh eyes and clear mind... no matter how tempting it is to talk about!

Watching Gangster Squad put me even more in mind of The Untouchables with a climax centered on a set of hotel steps that reminded me of The Untouchables» famous sequence in Union Station (itself an homage to the Odessa Steps sequence in Eisenstein's Battleship Potemkim), but it had been long enough since I watched The Untouchables that I didn't even realize how very many things Gangster Squad stole from DePalma's film.

Borrowing from Takashi Miike's Audition (seminal J Horror film) source material, Nicolas Pesce had time to dress, finesse his highly anticipated sophomore film and boy did he deliver with what comes across as a Cronenberg's Crash like love story featured in hotel room spaces rather than car wreckage and works as an homage to a plethora of influential filmmakers including De Palma and the Giallo set.

Refreshing would be a cheap teensploitation flick that resisted making copious references to Casablanca (homage particularly self - important as the demographic for garbage like this most likely doesn't remember any film more than two years old), and just served up the prurience with pace and technical proficiency.

However, when it does work, it works well, touching all of the required bases in order to pay homage to the men and women of the Coast Guard, restoring its reputation in the minds of anyone that views the film that it is much more than a place to avoid more dangerous military service.

The film opens with Lara Croft doing desperate battle with a deadly robot, in what turns out to be a homage to the openings of the Pink Panther movies where Clouseau took on Kato.

Fox's Blu - ray combo pack offers a dynamite presentation of the film and an unusually entertaining and comprehensive collection of bonus features including some paying homage to the characters» legacy as the film does not.

The film, on the other hand, is an homage to a very specific type of cheesy slasher film that I don't at all care for, but others might find joy in.

But does all the referencing and homage — and not just to Demy, but also to Golden Age Tinseltown productions like An American in Paris, jazz greats like Miles Davis, and even (in the film's funniest scene) the English new - wave band A Flock of Seagulls — add up to much of anything original?

And it doesn't help that this time director Sam Mendes treats this 24th (official) Bond film as an homage to those that came before.

The films scare tactics were awesome.I havent jumped in my seat so much in years.The film was totally a Spielberg homage right down to the fact that the films kids were making their own movies as Spielberg did as a kid.

Alas, the plot does rear its ugly head all too often, especially in a very tiresome finale on top of «Mt. Richmore», which is meant to echo a similar scene in Hitchcock's North by Northwest, a film that is paid homage to at least twice (a television shows the famous crop - dusting scene, perhaps as a bit of foreshadowing).

The first film felt like a fun little movie to pay homage to some classic horror movies, and seeing the success, it felt like Wirkola put in everything he had to make sure that this movie stood on its own and it sure a fuck does.

Roday did not set out to make a homage slasher film from the 1980s.

Excellent (4 stars) Rated G Running time: 83 minutes Studio: New Video Group 2 - Disc DVD Extras: California Quail Bonus Short; Urban Legends; Origins of the Flock; Special Homage to Connor; Mark Bittner's Home Movies; Please Don't Feed the Birds; Music Video: Ballad of the Brooklyn Parrots; Behind the Scenes; Parrots Around the World; Flock Updates; Mark Bittner and Judy Irving Update; Original Theatrical Trailer; plus two new films by director Judy Irving «Christmas at the Bait Shop» and»19 Arrests, No Convictions»; and much more.

From here on out, the film is a gleefully bloody homage to B - grade horror films of the past as the Gecko brothers and their hostages, with the aid of bar patrons Frost (Fred Williamson, doing a fun sendup of his image as a blaxploitation action icon) and Sex Machine (Tom Savini) fight for their lives.

The injection of Shazam, if we are indeed calling him that now, does offer some lightheartedness to help damp down the dust clouds, and he gets both the best line in the film and a metatextual homage to Mean Joe Greene's Coke commercial.

This, of course, isn't a bad thing, and the rest of the film doesn't feel like so much homage, so one needn't worry about any coattail riding.

As such, it isn't a film where the Coens strive to connect with audiences in a meaningful way, but it's more of an homage to a book they thoroughly enjoy, wanting the tale to be told, in as much as can be done in a film, the way they think it was meant to.

Perhaps if they didn't pay homage to two films I absolutely detest with every fiber of my being, or if they at least made obvious fun out of this type of filmmaking, perhaps it wouldn't have chipped away my tolerance in seeing re-enactments of scenes that weren't very clever or effective the first time.

Kevin Smith had once been on board for a soon - after cancelled remake of a classic 1980s comedy, Fletch, which, after seeing the type of effort he's turned in with this 1980s cop comedy homage (Smith does secure the once - retired services of Fletch's composer Harold Faltermeyer), may have been a blessing for that film's fans.

It's also a screenplay that pays homage to the original film in two key scenes, and is willing to write jokes that had nothing to do with the story, including one that was so silly it had to be delivered.

I must say I was distracted by the film's tendency to indulge in homage to other films a bit too much, particularly Don't Look Now and Pet Sematary but there is plenty to enjoy in this solid horror film.

But it's true that Wiseau and Sestero really did bond over the Rebel Without a Cause actor — in fact, one of The Room's most famous lines is an homage to that very film.

It's an homage to «slow - burning» horror found in films such as the first Alien movie, where the scary stuff «doesn't really happen on screen,» he said.

Don't get me wrong, it stands on its own as Turturro's work, but the homage is clearly present throughout the entire film.

This new version does enough right that it vindicates its own right to be a remake of an earlier horror film; sticking close enough to the original plot, characters and even dialogue to pay the proper homage (in a lot of ways it's more update than remake!)

What many Westerners don't know, however, is that Nigeria also boasts a thriving movie - making industry, dubbed Nollywood in homage to both Hollywood and Bollywood (India's film industry).

«The Curse of the Wendigo,» a story about a mysterious creature set during World War I, written by Mathieu Missoffe and illustrated by Charlie Adlard, the artist of «The Walking Dead;» «Josephine,» a romantic comedy by Penelope Bagieu, the creator of «Exquisite Corpse;» «Promethee,» a science - fiction story in the same vein as «Lost,» created by Christopher Bec, with an introduction by Mark Waid; «Iron Squad,» an alternate history sci - fi story in which new technology allows the Germans to win World War II, by Jean - Luc Sala and Ronan Toulhoat; «Spin Angels,» a tale of black ops and spies, a Catholic cardinal and the Mafia, by Jean - Luc Sala and Pierre - Mony Chan; «Come Prima,» a road story about two warring brothers, done in a style that pays homage to Italian films, by Alfred.

Not only did Avalanche Studio's homage to the dystopian world of Mad Max acutely capture the tone and style of its source material; it also made good on reinterpreting the film series» barren desert landscape as arich playground of distractions, filled with good ideas and high drama.

Until Dawn is a successful homage to the tried and true formula of the stereotypical slasher film genre, mirroring the likes of the iconic Scream series, I Know What You Did Last Summer, and the recent classic, Cabin in the Woods.

MICKALENE THOMAS «I was born to do great things» Kavi Gupta, Chicago Sept. 19 — Nov. 15, 2014 For her first exhibition at Kavi Gupta since joining the gallery in March, Mickalene Thomas is paying homage to her late mother and muse Sandra Bush — the inspiration for her glittering tributes to the beauty and power of women's bodies and the subject of her 2012 HBO film.

The exhibition brings together four works: «Looking for Alfred» (2004), an homage to Hitchcock's cameo appearances in his films, with a cast of look - alikes; «Hitchcock didn't have a Belly Button: Interview with Karen Black» (2010), a recorded interview of the actress recounting her experiences with the legendary filmmaker; «You Tube Me and I Tube You,» a two - channel interaction installation and web project initiated in 2010; and «I may have forever lost my umbrella» (2011), a color short with a narration based on Fernando Pessoa's Book of Disquiet underneath the images of YouTube videos of the 2011 earthquake and tsunami in Japan, which will be shown in New York for the first time in this exhibition.

The exhibition brings together four works: Looking for Alfred (2005), an homage to Hitchcock's cameo appearances in his films, with a cast of look - alikes; Hitchcock didn't have a Belly Button: Interview with Karen Black (2010), a recorded interview of the actress recounting her experiences with the legendary filmmaker; You Tube Me and I Tube You, a two - channel interaction installation and web project initiated in 2010; and I may have forever lost my umbrella (2011), a color short with a narration based on Fernando Pessoa's Book of Disquiet underneath the images of YouTube videos of the 2011 earthquake and tsunami in Japan, which is shown in New York for the first time in this exhibition.