Shot in the urban wasteland of downtown New York, Jonas directs the participants in a variety of choreographed actions that add up to a masterpiece of
early performance film and video.
Indeed, as Chang's practice has grown increasingly complex, many of
her earliest performance films now look like warm ups for her more holistic and sustained subsequent investigations.
at FAHRBEREITSCHAFT's reifenlager, haubrok foundation will be showcasing bruce nauman's
early performance films of the late sixties.
Not exact matches
Filming for the music video, which also features her daughter Blue Ivy, sparked
early speculation that a new song was coming, according to Spin, which reports the song will make its live
performance debut during the Super Bowl.
And just as Patagonia's
films have relied on extensive footage of Ewing and Navarro kicking ass at their various outdoor sports, Lee has wisely stocked «Journey» with plenty of
performance footage, showing Jackson at his artistic peak, «from the
early days of the Jackson 5 to the Jacksons» 1981 «Triumph» tour, according to the New York Times.
In an
earlier blog post about Christopher Nolan's latest blockbuster movie, Interstellar, I lauded the
film for its ambition, its visuals and the strong
performances of its cast.
The
film has already screened elsewhere in the world, and
early reviews have been positive, especially for Wasikowska's
performance.
A great deal of the impact in The Piano Teacher comes from Isabelle Huppert's
performance, which comes as her finest career moment, as well as one of the year's
early choices for 2002's Best Actress (personal list, of course: I highly doubt that the conservative Academy of Motion Picture Arts and Sciences will be able to make it through the
film).
There's a hint of camp pleasure to be gained from the
film's
early soft - focus domestic scenes and late hysterics, but «Elfie Hopkins» is sunk by a lame script and mannered
performances.
From his
early life to his journeys from New York, Cuba, and Paris, Crane's story and that of the loves that defined him is told with imaginative empathy, and with a no holds barred
performance - in a
film as introspective, rebellious, heartbreaking, and honest as Crane himself.
The
film skews young, to be sure, and it isn't as memorable as the new Disney classics of the
early 1990s, but there's still plenty here to hold the interest of viewers of all ages: delightful
performances (particularly by Dench, plowing Angela Lansbury terrain), zinging comic dialogue and a soundtrack that's a wealth of sonorous riches.
Moss» striking
performance led many viewers to question where she had been all these years; like many other fledgling Hollywood actresses, she had done time as a model and an actress in second - rate
films while waiting for her big break.Born in Vancouver, British Columbia, on August 21, 1967, Moss decided that she wanted to be an actress at an
early age.
As Lelio's
earlier films demonstrated, the director's style is restrained but potent, which helps the impact of the actors»
performances as well as the picture's fairly graphic love scene.
Miss Sadie Thompson isn't a bad
film by any means, it has some great
performances and even a
early small part for one Charles Bronson.
Just as Bill Murray did with his
early work in such
films as Meatballs, the roguish Rockwell effortlessly works well as a role model for a young troupe of misfit kids, and his warm and affecting
performance ranks as one of his most appealing character portrayals to date.
This
film, and his
performance, have regained much of the momentum they lost
early in Oscar season and now seem like strong threats all around.
The
film, set during Churchill's first term as Prime Minister in the critical
early days of WWII, is carried by an unrecognizable Oldman's assured, multilayered
performance.
Like that
earlier film — a thunderous historical epic about the American West and greed that deepens and darkens considerably with Day - Lewis's
performance as Daniel Plainview, an oil - prospecting Mephistopheles — Phantom Thread continually torques its own British midcentury grandeur.
Looking back at
earlier films like City by the Sea or Stone, it's invigorating to see the effect a decent script and a strong
performance to play against (from Frances McDormand and Edward Norton respectively) have on upping his game.
But this
film, despite the excellent lead
performance of Michael Fassbender (with a decent American accent — I'm American), moves too slickly between the technical, and often incomprehensible, history of Apple
early computing and Jobs» seemingly autistic behaviour in terms of his personal relationships.
He has the formidable task of matching Richard Attenborough's legendary
performance in the
earlier film, though it's exciting casting.
Atypical for a horror
film, there's not a single wrong - note
performance to be found, though unsurprisingly the performers who exit the screen
early impress the least.
But his career definitely got tripped up by his directorial debut «London Boulevard,» a
film in the would - be mold of the classic British gangster
films from the «60s and
early «70s like «Get Carter,» Nicolas Roeg's «
Performance,» and even Antonioni's «Blow Up.»
Early word has been strong for his
performance but the
film is said to be a «non-awards player» but we here remain hopeful of the
film's quality.
For a
film about
early onset Alzheimer's, this is a remarkably wry, honest and even hopeful drama, anchored by another staggeringly sensitive
performance by Julianne Moore.
It's entirely possible to want to question or discount the
early moments of A Quiet Passion as being just the sort of
film that it looks like it should be, but the script and an excellent
performance from Catherine Bailey makes it clear Davies is doing something a hell of a lot more interesting than expectations.
Though he used to be somewhat of a punch line, known more for his shirtless roles in flaky rom - coms than his promising
earlier work, recently McConaughey has been repairing his reputation with a string of outstanding
performances in
films like «Killer Joe,» «Magic Mike» and «Mud.»
You also fully believe the BFG's friendship with the little girl, Sophie, played by Ruby Barnhill, who
early in the
film threatens to be annoyingly bossy and stampy, but whose
performance gives way to something more sweet and vulnerable — steering well clear of cute.
This was a great scene and, like the stuff with Sully
early on, would have gone a long way toward a
performance argument for the
film amid all of the motion - capture debate last year.
The Gothams are always an
early - season highlight, refreshing in terms of their championing of
films and
performances selected by various juries of
film writers.
Starring the bandleader Paul Whiteman, then widely celebrated as the King of Jazz, the
film drew from Broadway variety shows of the time to present a spectacular array of sketches,
performances by such acts as the Rhythm Boys (featuring a young Bing Crosby), and orchestral numbers overseen by Whiteman himself (including a larger - than - life rendition of George Gershwin's «Rhapsody in Blue»)-- all lavishly staged by veteran theater director John Murray Anderson and beautifully shot in
early Technicolor.
A suitably tense and unrelenting chase movie, the
film is memorable for an
early pre-Terminator turn from Linda Hamilton as well as some genuinely unnerving child
performances.
Yet it's in style and tone that the
film comes alive, its prowling, dreamlike atmosphere, down - to - earth
performances and unerring visual confidence echoing
early Terrence Malick or the best of Harmony Korine.
As it is, the
film has its qualities, most memorably an
early, intense
performance from Drew Barrymore as a young girl with psycho - kinetic abilities, and a terrific score from Tangerine Dream.
It's very
early on and there are a number of other extraordinary
performances and
films that we haven't seen yet and that are being talked about.
Certainly, his latest
film exhibits many of his most characteristic features: an
early static shot of a concert audience once again emphasises spectatorship as a primary concern; we meet, as so often, a bourgeois family about to experience severe suffering; Emmanuelle Riva follows Isabelle Huppert, Juliette Binoche and Naomi Watts in giving an extraordinary
performance in response to psychological terror; and violence, with its attendant guilt, comes as a shocking intrusion into this world.
I have a fun, brand new rule to try out and I can't wait to see your teams (remember to pay attention to the
films used in this finale — you might have been banking on
performances in the movies below for an
early boost!).
And about good
performances in bad
films the first name that came to my mind was Ashley Judd and her fascinating
performances in Eye of the beholder, Bug and Come
early morning; and Jessica Biel is also pretty good in that awful mess named Home of the brave.
Fessenden, in one of his
earliest performance, brings energy to the
film.
Davis, of course, has been a familiar on - screen face since her small but memorable
early roles in eventual classics like «Tootsie» and «Fletch,» continuing through star turns in enduring iconic
films including «Beetlejuice,» «The Fly,» «A League of Their Own,» «The Long Kiss Goodnight,» «Stuart Little» and career high points like her Oscar - nominated turn in «Thelma & Louise» and her Oscar - winning
performance in «The Accidental Tourist.»
A 2003 version (Ned Kelly) starring Heath Ledger, Orlando Bloom and Naomi Watts holds the most prominent spot in modern cinematic consciousness, while those recalling Jagger's
early film career tend to reference his notable role in Nicole Roeg and Donald Cammell's
Performance, premiering only months before Ned Kelly (which Jagger has publicly professed as never having seen).
Early fan reactions from the
film have been immensely supportive of Ehrenreich's
performance, praising the actor's ability to honor Ford's
performance while making the role of Han Solo entirely his own.
While I didn't find enough here to satisfy me (in fact, I grew bored with it fairly
early), the
performances and the look of the
film were enough to keep my interest modestly throughout.
BOOM FOR REAL The Late Teenage Years of Jean - Michel Basquiat Description: Sara Driver's documentary is both a celebration of and elegy for the downtown New York art / music /
film /
performance world of the late 1970s and
early»80s, through which Jean - Michel Basquiat shot like a rocket.
If you read the review
earlier this week, Robin Wright delivers the
performance of her career in The Congress, an animation and live - action hybrid that is fully realized and completely spellbinding as one of the year's best
films.
As with the
film's
earlier segments, these scenes are ably staged and benefit from Gerwig's smart, appealing
performance, but they add nothing either to the story or the character.
A few obvious makeup changes make her resemble the woman we saw so often on TV (curly hair, darker skin, the swelling belly), but Jolie's
performance depends above all on inner conviction; she reminds us, as we saw in some of her
earlier films like «Girl, Interrupted» (1999), that she is a skilled actress and not merely (however entertainingly) a Tomb Raider.
Stage Beauty (2004) 3/5 I had expected a great deal from Richard Eyre which stars two great actors (Claire Daines and Billy Crudup)
early in their careers and thought the
film is entertaining enough and the
performances, particularly from the leads, are excellent, the
film as a whole is rather underwhelming.
Continuing the year of the vet,
earlier we saw strong
performances that could attract voters» attention from a past winner, 70 - year - old Helen Mirren, in Woman In Gold (a
film The Weinstein Company has already started campaigning for its star); and 72 - year - old Blythe Danner getting a full - bodied leading role in the hit adult indie I'll See You In My Dreams which has grossed over $ 7 million so far for new distributor Bleecker Street, which will probably be encouraged to launch an Oscar campaign on her behalf.
In his
early work Wyler already showed a tendency to hop from genre to genre, presiding over John Barrymore's most controlled
film performance, in the taut legal drama Counsellor at Law (1933), and an
early comedy script from Preston Sturges, The Good Fairy (1935).