Sentences with phrase «dramatic film by»

The first dramatic film by Woody Allen comes to high definition on 14th February 2017.

Not exact matches

The overt sexualisation of society has proceeded with dramatic pace aided greatly by television soap operas, advertising, film entertainment etc..

By the end of 2012, 35 mm film in movie theaters is expected to decline to 37 percent on a global scale, which is a dramatic decline from 68 percent of global cinema screens in 2010.

Rihanna wore a similarly dramatic dress also by Giambattista Valli at the Los Angeles premiere of the film.

I think this beautiful adaptation gets no justice, the melodic storytelling and dramatic performances don't seem out of place in this tragic film, it keeps to the Shakespearean roots by maintaining the language which in its form sounds poetic, the story has however been updated to suit

I think this beautiful adaptation gets no justice, the melodic storytelling and dramatic performances don't seem out of place in this tragic film, it keeps to the Shakespearean roots by maintaining the language which in its form sounds poetic, the story has however been updated to suit today's audience.

He also starred in and received a Golden Globe Award nomination for HBO's dramatic film about the Lindberg baby kidnapping, «Crime of the Century» directed by Mark Rydell.

Gina Lollobrigida has top billing in Four Ways Out, but the film's dramatic weight is carried by its male stars.

In contrast to part 1, which was a ponderous exercise in stage - setting and dramatic incipience, this film, directed by David Yates and adapted by Steve Kloves, is a climax worthy of the term.

By no means can I promise that everyone will embrace this film, as its script is so problematic, and its strengths aren't particularly upstanding, but their subtle impact goes a long way in overcoming shortcomings through quality aesthetic and dramatic value which make this a worthy epic.

What human intrigue there is finds itself secured by consistently inspired performances, the highlights of which include the dashing, then - up - and - coming Jude Law as Lord Alfred «Bosie» Douglas, - a man who must choose between embracing his lover and escaping the tragic fate of this lover - and, of course, leading man Stephen Fry, whose capturing of Oscar Wilde's classic charisma, broken by a profound vulnerability which Fry captures through striking dramatic layers, molds a leading man more consistently engrossing than the film itself.

Retardation to momentum is further well - secured by unevenness to pacing, because, at 106 minutes, this film's seemingly tight runtime is achieved through a combination of thinning and bloating, placing little attention to exposition, and plenty of attention to repetitious, almost episodic filler, which wear down momentum until aimlessness sets in, slowly, but surely wearing down dramatic bite.

There is indeed a certain immersion value even within the film's style, subtle though it may be, and when it comes to substance, no matter how thinly or formulaically it goes handled, it carries a potential that is reflected in the film carrying wit and dramatic elements as a portrait on man's interactions with his environment and his peers, anchored by memorable characters who are themselves anchored by memorable performances.

After making a cameo as herself in The Muppets in 2011, Silverman went a different direction by taking on a dramatic role in Take This Waltz, a film following a married couple whose relationship begins to crumble when one half of the pair forms an emotional bond with a neighbor.

The original film turned suspense levels to 11 by playing with dramatic irony, showing the audience the location of the three strangers far more often than the characters are aware of it.

The threatening invasion of the mighty Spanish Armada is the dramatic centerpiece of the film, which provides plenty of outlets for Kapur's blood - and - thunder penchant, as does all the conniving intrigue going on in Elizabeth's court, replete with gory moments of torture presided over by Geoffrey Rush, happily reprising his role of Sir Francis Walsingham, ruthless advisor to the Queen.

The [not really] dramatic elements provided continuity, as a sequel, and gave the film just enough substance to distinguish itself in a genre dominated by pointless fluff.

A very impressive dramatic debut for comedian Stiller, and a well - crafted and directed film by Veloz.

But it's also a film that lacks dramatic or emotional insight, and advertises itself as an art film - therefore promising abnormality - and ultimately lying by delivering normality in the worst degree.

1987's other Allen film was the strenuously dramatic September, and the question of influence versus the merely derivative arose again: «Chekhovian» was how Richard Schickel described the «humourlessness,» echoed pejoratively by Vincent Canby at The New York Times («neo-Chekhovian») and all the way down to Premiere magazine journalist Marcelle Clements, who predicted this fixation on a single adjective before the movie was released — «You can bet your boots that the word «Chekhovian» will be uttered at least once by everyone at the table».

One of the most impressive things of Bahrani and Bahareh Azimi «s script is that it sets up scenes which could have followed into much more dramatic outcomes but the writers chose to take the road less traveled and in an odd way, by taking the less dramatic approach, the film removes itself that much further from the majority of indie films that concern themselves with cramming the most amount of drama into the least amount of time.

It's funny, but it's also Phillips» most dramatic and political film, owing to the fact that it takes place during the Iraq War and tells the insane true story of a pair of cocky, Scarface - aspiring gun runners (played by Jonah Hill and Miles Teller) who bite off more than they can chew.

A dramatic script at AFI, however, led to a prestigious Chesterfield fellowship award - overseen by Steven Spielberg - and was made into a feature film starring Kevin Bacon and Evan Rachel Wood.

Granted by France's Society of Dramatic Authors and Composers, the SACD Award for best French - language film went to Pierre Salvadori's screwball crime romcom «The Trouble with You.»

The film is a dramatic adaptation of the murder of Cobra Studios producer Bryan Kocis by porn performer Harlow Cuadra and his boyfriend Joseph Manuel Kerekes.

Co-written by Pegg and Wright, the films» sharp and hyper - imaginative direction and well - crafted, sincere screenplays gave us all hope that the ancient art of dramatic comedy was undead, at least.

Carter Burwell's dramatic, drum - laden score was inspired by that of the 1964 John Frankenheimer film Seven Days in May.

Variety reports that Anchorman «s Adam McKay will direct his first dramatic film with The Big Shot, based on the book written by Michael Lewis of Moneyball fame.

Affleck's film takes dramatic license with the events to focus predominantly on the CIA's involvement, in particular the work done by disguise and extraction expert Tony Mendez, whom Affleck also portrays.

The inclusion of an incongruously dramatic finale leaves Accepted with an awfully sour aftertaste, and there's no denying that the film's positives are ultimately obscured by its more negative attributes.

The humanistic tone of this film gives it qualities of weighty dramatic films, by tackling racial and social parallels to the ones that actually take place between the whites and blacks in South Africa.

If Vince Vaughn thought he was on to a sure thing — and a chance to show some dramatic action chops — with comic book adaptation Term Life, his plans have been roundly thwarted by Universal, which has abruptly cancelled the film.

For top dramatic pictures, the selections made by the HFPA's fewer than 100 voters were the historical drama «12 Years a Slave»; the Somali piracy thriller «Captain Phillips»; the 3 - D space spectacle «Gravity»; «Philomena,» about a mother's search for her son; and the car racing film «Rush.»

As written by its trio of writers (with Jessica Goldberg joined by first time screenwriters Katie Nehara and Justin Shilton), its dramatic possibilities are severely downplayed, instead attempting to reflect meaning off intertextual echoes borrowed from Chekov's The Cherry Orchard (the play being staged within the film).

That approach includes focusing the spotlight on Evans» character (who leads a rebellion aboard a futuristic train that houses much of humanity in the film's wintery dystopian setting), in order to better utilize his star power as a selling point - in addition to emphasizing the movie's action beats, as accompanied by the expected dramatic musical cues in the post-Inception age of trailers.

Set between the two World Wars and inspired by actual events, «Bitter Harvest» is the first major dramatic film to convey the untold story of the Holodomor, the genocidal famine engineered by Joseph Stalin that killed millions in Ukraine.

It is by no means an unworthy film, shedding light as it does on an issue still with us today, but it treats the people on screen more as dramatic constructs than as actual human beings with their own agency.

In this film adaptation, the bleak streets of 19th Century London are recreated in dramatic detail, providing the perfect environment for us to observe the moral decay of Benjamin Barker, a barber who is sent to jail for fifteen years on false charges by Judge Turpin (Alan Rickman), who fancied his wife.

The conversation included the existential nature of the film, the Amish, the cinema of the early 1970s, as well as the unexpected dramatic turns taken by the film's traditionally comic stars: Owen Wilson, Zach Galifianakis, and Amy Poehler.

The animated family adventure film The Adventures of Tintin arrives first on December 23rd, followed by what appears to be his awards contender for the year, the dramatic and uplifting War Horse.

Whenever I see «inspired by a true story» in the credits, I translate that to mean that the idea for the film may be based on a real person, but the majority of the story and its characters are fictitious and made - up for dramatic purposes.

While I do think, from a story standpoint, it's a shame that Garrigan wasn't limited to being a mere witness to the events of the Amin era, as he was portrayed more in the book, instead of a constant catalyst for Amin's rage, considering he is a fictional character, we'll just chalk up his constant missteps as dramatic license taken by the screenwriters in drawing out Amin to commit some of the most heinous acts of torture shown in film this side of a Mel Gibson directorial effort.

The film is written by Peter Craig, who recently penned Ben Affleck's «The Town» with director Asger Leth making his dramatic feature directing debut after his 2006 documentary «Ghosts of Cite Soleil.»

The Cinematography Award: U.S. Dramatic was presented to Bradford Young for two films he was Director of Photography on: Ain't Them Bodies Saints, directed by David Lowery, and Mother of George, directed by Andrew Dosunmu.

Based on a Korean graphic novel series by Hyung Min - woo, the film has taken dramatic license with its source material, changing the baddies from fallen angels to vampires.

You might plan for the one moment where Ruth Negga's proud woman rises from silence to shout down her oppressors, or you might picture all of the dramatic build - up of the film coming to a head in a jubilant courtroom victory scene circled by shouting protesters on both sides.

A new boxing drama, Hands of Stone, about notorious champ Roberto Durán (played by Carlos's Edgar Ramírez), is now in theaters; start with these films for a fuller dramatic experience.

by Walter Chaw Manny Farber described the films of Robert Bresson as «crystalline,» and it's hard to argue with the singular idea of purity represented by that word: they're all of gesture and implication, reduced down to the purest grist so that the powder of dramatic movements, rubbed together, might hum in miniature perfection.

Very much a kitchen - sink drama — the family kitchen is the dramatic hub for much of the film — shot in a more or less documentary style and featuring terrific performances by nonprofessionals, the film takes a no - frills dramatic approach that could be roughly located on a Cassavetes - Dardennes spectrum, and uses it to intensely revealing and moving effect.

Since retiring from show business, Day has devoted herself to her first love with the Doris Day Animal Foundation.This documentary details her dramatic life story and career, guided by Doris along with famous friends (Betty White, Clint Eastwood) and admirers (film critics Roger Ebert and Molly Haskell).