Jacqueline Rose, in a beautifully written article that sniffs out more connections than most books on the subject, finds Marilyn Monroe the perfect embodiment of mid-century America — not the one
we dreamt on movie screens, but the sometime cruel, confused one most pretended wasn't happening.
Not exact matches
«I wanted to create a waking
dream on screen and show that horror is not to be found in the things around us but in our own subconscious,» said Danish film - maker Carl Theodor Dreyer, whose loose adaptation of two stories from Sheridan Le Fanu (Carmilla and The Room in the Dragon Volant) was initially conceived as a silent
movie.
But even from his humble roots, with
movies like the drug parable Requiem for a
Dream, through to his more recent efforts such as Black Swan and The Wrestler, he's continued to be a singular director who showcases the human psyche brilliantly
on screen.
Based
on the best - selling tell - all book about the making of the cult - classic disasterpiece The Room, «The Disaster Artist: My Life Inside The Room, the Greatest Bad
Movie Ever Made», by Greg Sestero and Tom Bissell, and written for the
screen by Scott Neustadter & Michael H. Weber, The Disaster Artist tells the hilarious true story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau — an artist whose passion was as sincere as his methods were questionable — into a celebration of friendship, artistic expression, and
dreams pursued against insurmountable odds.
This is a
movie that tenders the taming of Shampoo's co-writer, producer, and star Warren Beatty and then snatches the
dream of a SATURDAY EVENING POST existence from the domesticated beast's grip; Beatty's reputation as a ladies man has overshadowed his startling willingness to deconstruct that image and render himself impotent
on screen time and again.
from producers listening to the initial pitch, so it's to Chazelle's eternal credit that he continued to make whatever calls he could and knock
on as many doors in order to see this amazing
dream of a
movie come to life
on the big
screen.
Arguably the most ambitious project of the year, The Avengers (or Avengers Assemble as it's known here in the UK) saw Joss Whedon and Marvel Studios assembling Earth's Mightiest Heroes
on the big
screen as they brought together Marvel's four big
movie franchises to fulfill every fanboy and fangirl's
dream.
Eighteen years into the comic book
movie millennium, it's easy to take for granted that there now exists a whole cinematic universe full of characters that Marvel Comics readers could previously only
dream about seeing up
on the big
screen.
Directed by Clint Eastwood and based
on the book Playing the Enemy: Nelson Mandela and the Game that Made a Nation by John Carlin, this
movie brings to the
screen a pivotal point in history — giving a small glimpse into the difficulties of the South African people and the
dreams of their first Black president.
Behind «Holy Motors» — the strange, perverse and entertaining neo-noir film by Léos Carax — lies a near century of
movie surrealism: of deliberately fantastic, illogical and sometimes pathological filmmaking in which the cineaste (whether it's Luis Bunuel or Jean Cocteau or Maya Deren or Carax) tries to
dream on screen and carry us into the maddest of reveries.
Indeed,
movies and the wonder they inspire, «like seeing
dreams in the middle of the day,» are central to the story, and Selznick expresses an obvious passion for cinema in ways both visual (successive pictures, set against black frames as if projected
on a darkened
screen, mimic slow zooms and dramatic cuts) and thematic (the convoluted plot involves director Georges Méliès, particularly his fanciful 1902 masterpiece, A Trip to the Moon.)
Upon starting the game you are led by
on -
screen instructions, which introduce you to the basic controls and actions, a
dream section later turns into a
movie - like sequence where Riddick makes his first steps into the dangerous prison environment of Butcher Bay, accompanied by dramatic music and opening credits.