Sentences with phrase «emotional world of the film»

Not exact matches

If you're looking around for something to watch this Sunday evening that complements the Oscars, the World Science Festival has a great video which features the Coen Brothers, film composer Carter Burwell, Alec Baldwin, and neuroscientist Aniruddh Patel discussing the emotional effects and role of music in film.

This emotional coming - of - age story follows Owen Suskind, a young man who was unable to speak as a child until he and his family discovered that they could communicate by immersing themselves in the world of Disney animated films.

Nick Frost, on whether there's a relationship between the fact that there was general agreement that making «The World's End» was the most fun film «Three Flavors» film to make «in terms of having a laugh» and the substantially darker emotional tone.

And all of this would work just fine if the film's ending didn't throw real emotional revelations into the mix and expect us to accept them despite having spent all our time in a dream world until then.

Gone is the first film's svelte singularity of purpose, where world - building served up grace notes that accentuated or relieved narrative and emotional drive.

Although Dillon was already an established star by the time he made this film, having also appeared in such movies as «Over the Edge,» «My Bodyguard» and the S.E. Hinton adaptation «Tex,» «Rumble Fish» was perhaps the first that really showed off his considerable strengths as an actor in the way that he captures all the furtive, headlong energy and emotional turmoil of Rusty as he struggles to find his place in the world without simply giving audiences the James Dean impression that others might have supplied.

I like Marvel stepping away from world - ending climaxes to make a heist film that has an emotional core of father - daughter relationships.

The elemental nature of the fable and the film's quietly radical yet complementary merging of sound and image go hand in hand to summon a world that's as ephemeral as its protagonist's states of being, yet contains an emotional richness that remains ineffable.

Giving nothing for the audience to grasp onto or connect with is always a risky strategy especially in a film with such a simple narrative and although our protagonist has one redeemable quality, being a loving family man, it is only when Kuklinski's world starts to collapse around him that we are shown little pieces of reason, logic and humanity as he becomes emotional, desperate, abusive, and even panicky.

It's that slipperiness of creation and that psychosis that finds us repeating ourselves by repeating images of ourselves (Multiplicity is a trickier flick than given credit for) which informs a trio of new science - fiction films reaching North American movie screens simultaneously (though only one is American in origin)-- we are the world's new cultural / emotional wasteland and the films of our new millennium reflect that status.

The trailer is accompanied by Johnny Cash «s cover of «Hurt» to incredibly emotional results, as the film reveals a world in which mutants are nearly extinct, Professor X is very sickly, and Logan is no longer healing.

Talking of the emotional heft of objects, one of the things that I found immediately moving about the film is the sense it has of a world where images are scarce, and where something like a rosary bead can be invested with so much longing.

The streaming giant has made waves with documentary series like Making a Murderer, been Oscar - nominated for riveting films like 13th and Virunga, and compiled hundreds and hundreds of the most obscure, emotional, and bizarre documentaries available in the world.

Now, this film's message could certainly be seen as a «first - world - problem» by many, which perhaps is true, but the reality and emotional depth of the film overrides any criticism that could arise from this point.

Light Sleeper (1992) In Light Sleeper, one of Schrader's very best «man in a room» films, Willem Dafoe gives an emotional tour de force performance as John LeTour, a world - weary New York drug dealer who spends his nights making deliveries to his high - end clients and journaling in his notebook.

At the core of the film is a story about the physical and emotional abuse disgraced figure skating champion Tonya Harding endured throughout her life from her mother and her husband, but the film also explores the very traditional, staid world of competitive figure skating, while also offering a scathing indictment on the behaviour of the media.

Felix Thompson's writing and editing feature debut King Jack has the kind of bare - bones plot that inspires potential audiences to think «been - there - done - that»: The film focuses on lonely, weedy small - town 15 - year - old Jack (Charlie Plummer), who's trying to dodge bullies and his overbearing big brother, and carve out a little emotional satisfaction in his barren world.

The film Mitchell plays Syd, a straight art - world ingenue who becomes tangled up in the tense emotional web of Lucy (Sheedy), a famous and reclusive photographer in Cholodenko's debut feature.

Heaven Knows, Mr. Allison should move us with its intimate, emotional story set against World War II, but the usually magnetic Robert Mitchum doesn't sizzle and the film lags with its repetitive, uneventful design of Japanese comings and goings.

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Mining a visual aesthetic reminiscent of German Expressionist film, with Three Sisters Bock develops his own language and artistic vocabulary to create an emotional and highly idiosyncratic world in which connections are made between language, the built environment, and the individuals who inhabit it.

Provost is currently in pre-production of his first feature film «The Invader», a thriller about an anti-heroic African immigrant and his struggle for economic and emotional survival in the new world.

Location: Floor Three, Susan and John Hess Family Gallery and Theater Dani Leventhal's films make palpable the emotional life of disparate animate and inanimate worlds.

After an emotional acknowledgment of how much more meaningful it was to be paid respects in his hometown than it has been in Paris and other places that have already done the same, he castigated Hollywood for not leading the world in film - as - art.