Sentences with phrase «early cinema as»

Not exact matches

The Saudi government plans to begin building hundreds of permanent cinemas, the first of which may open as early as March this year.

The building's elegantly restrained colonial architecture, the gray sky, the stately camera movement and music all convey an austere gravity, which, together with Schrader's use of Academy ratio (inspired, he has said, by Pawel Pawlikowski's «Ida»), point us back not only to an earlier era of American religion but also to such European cinema models as Bergman's «Winter Light» and Bresson's «Diary of a Country Priest.»

He studied art and cinema as a young adult, often spending a considerable amount of time on his father's movie sets, and honed his skills in his early twenties not in the arena of directing (as might be expected), but in that of painting.Danny Huston's directorial assignments began inconspicuously, at the age of 24, with the 1987 made - for - television comic fantasies Bigfoot and Mr. Corbett's Ghost (the second of which featured John Huston in the cast).

Mexican filmmaker Guillermo del Toro returns to the phantasmagorical cinema that defined such early fare as Cronos and The Devil's Backbone with this haunting fantasy - drama set in the aftermath of the Spanish Civil War and detailing the strange journeys of an imaginative young girl who may be the mythical princess of an underground kingdom.

He begins by exploring the director's early life and career in his native Hungary, revealing how Curtiz shaped the earliest days of silent cinema in Europe as he acted in, produced, and directed scores of films before immigrating to the United States in 1926.

Irma Vep (1996) channels the glamour of Hong Kong action movies, as represented by the film's star Maggie Cheung; but it also looks back to early French cinema and the serials of Louis Feuillade.

If we'd known about its existence six months earlier, do you think anyone would have cared as much by the time it arrived in cinemas?

Although he supposedly retired to Tasmania in the early 2000s, it is very difficult to see a substantial decrease in his level of engagement or activity, though it did give him more time to write for such outlets as Senses of Cinema and communicate his passion for film history, as well as contemporary cinema, in a series of lectures or talks (I'm sure he'd prefer the latter term) held over a ten - year - period at the State Cinema in Hobart.

This is a genuinely interesting and well - made film that fits neatly into a current trend in American cinema (as mentioned earlier).

As a 3D film I wonder if I like it more than the film that I saw earlier this year, How to Train Your Dragon, which was the film that reminded me that 3D can be great in the cinema.

This tribute to Schepisi's important contribution as an Australian and international filmmaker, a distinctive auteur and jobbing filmmaker, covers his early work in documentary (his fascinating short on The Age newspaper, People Make Papers), the mercurial critical reception of his groundbreaking opus The Chant of Jimmie Blacksmith, the representation of landscape across his first three Australian features (specifically in the partisan and compassionate Evil Angels, 1988), his initial project in the United States (the elemental and mythic Western, Barbarosa), the now iconic Six Degrees of Separation, and the importance of adaptation and collaboration across his cinema.

It's clearly early days — there's as yet no word if the film will be a straight - up biography of Ebert or something more wide - reaching about cinema, but either way it's exciting news.

But in his new introduction, his observations about slow cinema from Tarkovsky to Kiarostami to Tarr are every bit as compelling as his earlier insights into film noir.»

While the more critically esteemed New Wave cinema of Walkabout (Nicolas Roeg, 1971), Picnic at Hanging Rock (Peter Weir, 1975) and My Brilliant Career (Gillian Armstrong, 1979) presented a refined image of Australia, early genre films like Stork (Tim Burstall, 1971), The Adventures of Barry McKenzie (Bruce Beresford, 1972) and The True Story of Eskimo Nell (Richard Franklin, 1975) were seen as portraying a more crude side of Australian society.

Unceremoniously dumped in scant few cinemas last September, Stolen finds its rightful place as an early - January, home - video dump.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

Those distortions are given a life of their own with his digital tools and even become cinematic devices of their own, morphing from one image to another as if released by the ghosts of early cinema.

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.

As his latest intoxicating effort, Dog Eat Dog, arrives in cinemas, it's this earlier effort which seems most ripe for a revisit.

Known as an inventive poet of early sound cinema in France, thanks to such sharp, creative films as Under the Roofs of Paris (1930), Le million (1931), and À nous la liberté (1931), Clair had a reputation that preceded him to Hollywood, and I Married a Witch overflows with the same comic irreverence and fleet storytelling as his earlier films.

by Bill Chambers Two Family House and Panic, a pair of overlooked films hopefully not destined to become overlooked DVDs, have more in common than a passing glance suggests, and their joint failure to earn even a pittance sounds the death knell for independent cinema as we knew it in the early -»90s.

When, early in the piece, eldest son of the Friedman clan David addresses the camera directly in what he warns is a personal journal, Capturing the Friedmans subverts the exploitive voyeurism that defines cinema, particularly pornographic cinema, in a way that is as cannily, uniquely, ironically filmic as Michael Powell's Peeping Tom.

Scheduled to hit cinemas as early as February 2018, Chadwick Boseman's Black Panther will mark the 18th installment in the Marvel Cinematic Universe, and promises nothing short of thrilling, as a band of raiders aim to find the secret kingdom of Wakanda, fought at the brink of what can only be assumed as an impending global war.

As such he fulfilled his promise as a cinematographer early on, since Paramount, then under the influence of Ernst Lubitsch and Josef von Sternberg, was the home of great photographers of black - and - white cinemAs such he fulfilled his promise as a cinematographer early on, since Paramount, then under the influence of Ernst Lubitsch and Josef von Sternberg, was the home of great photographers of black - and - white cinemas a cinematographer early on, since Paramount, then under the influence of Ernst Lubitsch and Josef von Sternberg, was the home of great photographers of black - and - white cinema.

Still, part of the reason why The Big Heat looms large even in the incomparably rich spectrum of cinema that is film noir is its recognizability as a studio re-creation (specifically, mid-Fifties Columbia, as Man Hunt represents early - Forties Fox craftsmanship at its highest).

The film is full of both marked and unmarked point of view shots, allowing us to both get a sense of the subjective view of certain characters as well as allowing us to view the scene through a camera freed from some of the imposed restraints of restricted movement that are characteristic of early sound filmmaking and classical Hollywood cinema generally.

This is a film about cinema, specifically an early proponent, magician - turned - filmmaker, Georges Méliès, who made films such as A Trip to the Moon / Le Voyage dans la Lune (1902), and The Impossible Voyage / Voyage à travers l'impossible (1904).

During this time in cinema, the late 19th Century and early 20th Century, the film points out directors felt as if they were putting their dreams on film, such was the expansion of the craft and its ability to capture one's imagination.

Covenant also lacks the claustrophobic tension of the earlier films and as mentioned above, the amount of cannon fodder characters that we have ensures that no one leaves an impression on you when you leave the cinema.

The film opens in the UK in cinemas and on Netflix October 13th, following its UK premiere as the Laugh Gala at the BFI London Film Festival early next month.

Earliest among these is 1957's Eight Hours of Fear, Suzuki's fifth film as a director, and it's as pitch - perfect a distillation of pulp cinema as the best works of Samuel Fuller, Andre De Toth, or Anthony Mann.

This week, David is still off at Cannes, so Da7e and Patches digested Netflix's new true crime series Evil Genius, Katey celebrates Brooklyn 99 living through its cancellation by Fox, then Patches and Katey dig into Tully and The Letdown as examples of cinema about early parenthood.

They've only appeared in two film vehicles together, but it doesn't seem too early to herald Pegg and Frost as one of cinema's great duos.

Though an early 3D title, MGS was not the first third - person game influenced by cinema, nor was it Hideo Kojima's first time as director, and it wasn't even the first game in the series.

As my interest in early cinema continues to grow, so too does my curiosity.

His latest, «Happy End» (don't believe that title for a second), feels like a kick in the teeth of the earlier film, as though someone had accused European cinema's high - minded provocateur of going soft and his response has been to reprise the suffering of «Amour» but cancel the warmth completely.

In a recent article for the The New York Times, Dennis Lim wrote: «There was a time when the Academy Award for best foreign - language film reflected the state of world cinema: Fellini films won back - to - back Oscars in the mid 1950s, as did Bergman films in the early»60s.

It harked back to an earlier, postwar era of Italian film - making and demonstrated Swinton's passion for cinema as art form rather than box office.

Although Robert Altman is now widely regarded as one of the key figures of New Hollywood cinema, he was also a significant director of mainstream US television in the late 1950s and early 1960s.

And if you thought it was just me, last night we held a special early screening of Game Night at ArcLight Cinemas Hollywood as part of the Collider screening series and it played like the crowd was on laughing gas.

The film premiered in the Midnight section at the Sundance Film Festival earlier this year, and is described as a «gritty, grisly homage to the glory days of grindhouse cinema.»

It holds an unparalleled collection of cinema equipment and memorabilia as well as the last surviving copies of early British films.

And after a 2011 that turned out to be a pretty decent year for cinema (if not necessarily one for the ages), we're now staring out across a few months that seem fairly barren, as the early months of the year always do.

As the undisputed king of Spanish cinema returns with his sumptuous low - key melodrama, Julieta, we've decided to leaf through the Almodóvar archives to celebrate his early, funny work.

The first (and probably the best) horror film from master Mario Bava works as both an homage to the Universal monster classics and an early harbinger of the graphic violence that would eventually become a large part of Italian horror cinema.

More US cinemas are signing up to Paramount's landmark early VOD deal, although some big players still dismiss the proposal as nonsense.

While its cast, from its talented young leads to a never - better Ben Kingsley as Méliès, was regrettably snubbed, the film vied for Best Picture, Director, and Adapted Screenplay honors and likely wound up the runner - up in the first two of those categories to The Artist, a kindred French production which took its love for early cinema in a drastically different direction (full - on emulation) to nonetheless comparably delightful results.

It's as if the stoic / pragmatic spirit of that earlier time, also to be found in English literature (think of Ford Madox Ford's World War I — era Parade's End), had survived the transposition to modern cinema, specifically the strain initiated by Alain Resnais with the somber uncertainties and temporal splintering of Hiroshima mon amour (1959).

You know I've known him since he was at the vanguard of the new queer cinema in the early 90's His perspective as a queer man and the way he tells stories about outsiders, I knew would be the perfect perspective for telling the story about these three children in «Wonderstruck» who are each outsiders in their own way.

Just as Keaton used his early two - reelers and features to explore the illusions of the cinema (his first impulse on getting into movies was to tear a camera apart and figure out exactly how it worked), Kovacs seized on the optical tricks of the new video technology and mined them for every conceivable laugh.