Sentences with phrase «end of the narrative film»

Not exact matches

This turned out to be a ham - fisted and theologically suspect film about a possible scenario at the end of the age, utilizing a lot of the imagery and the narrative as found in the book of The Revelation of John.

This film is a satire about the lack of real communication found in contemporary high - tech society.With no real narrative, beginning, or ending credits, it centers on Munson, his wife, and a bizarre orange - clad goggle - wearing exterminator named Elmo.

And though Christian's pride and apparently misplaced sense of power are the cause of all of Fifty Shades Freed's goofy narrative curlicues, the film ends with a few earnest appeals to his character.

Django Unchained may not be one of the great Tarantino films and it loses some of its narrative drive towards the end, partially due to Tarantino's most unnecessary cameo to date.

Through the personal lives and music of Sderot's diverse musicians, and the personal narrative of the filmmaker, who ends up calling the town home, the film chronicles the town's trauma and reveals its enduring spirit.

In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

The end result is a head - spinner to be sure — not only does it not make any sense in the traditional definition of the word, it doesn't even attempt to do so — and those who demand that their films offer up some kind of conventional narrative structure will no doubt throw up their hands and leave early on in the proceedings.

If you don't recognize the name of Seth Gordon, he also directed one of my favourite documentaries of the last decade — The King of Kong: A Fistful of Quarters — and I can't wait to see what he ends up doing with a full narrative film.

At times, this congeals into intoxicatingly energetic and disturbingly violent moments of survival play, but whenever the narrative returns to moments of static calm the film has a nagging sense of perfunctory ornamentation, it's more important elements given short shrift in an effort to balance a variety of odds and ends.

But in the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

When you're watching a [narrative] feature film, you're often given bits of information at different times, not understanding [the whole story until the end].

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

It is, in the end, not difficult to see why V.I. Warshawsky was unable to kickstart a series of movies involving the central character, with the film's profound failure due almost equally to Turner's nails - on - a-chalkboard performance and the narrative's paint - by - numbers execution.

The final act is a slight copout; It's a pet peeve of mine when films end in a exposition - fueled narrative explaining what happened in the aftermath.

Despite a clichéd and overexposed narrative that weighs it down, the film delivers precisely what fans of the newfangled, action star expect and ends up being a fun time at the movies.

That this is the note on which the film ends lends a conclusive element to what in its early stages seems to be a more free - form narrative careening between depictions of place and circulation which is notable in its exclusion of the global north as a central point of reference.

In the end, it is by no means a truly awful piece of work, but the big problem is that it was originally conceived as a short film, and has clearly suffered from the expansion of the narrative that has led to it cropping up on the big screen.

The meta - narrative is wound up beautifully and one wonders if they could have simply used this act at the end of the second film and saved us all two hours of torture.

And so it's difficult to remember that Weekend, the last remotely traditional narrative feature he'd produce until the release of Every Man for Himself, in 1980, isn't the film of a man at the end of his artistic rope, but rather of a man intent on taking a match to it.

It inhabits a wonderful narrative that may seem familiar but translated as a film haiku of sorts that by movie's end, you won't realize the ride you've just endured.

At the end of the narrative's first act, Philip walks out on his girlfriend (without giving up the keys to her Brooklyn apartment) to spend the summer upstate with his mentor Ike, whereupon Perry seems to lose interest in him and refocuses the film on the abandoned girlfriend, played by the marvelous Elisabeth Moss.

I would be cheating my own rules for this annual exercise if I were to crown Howards End as my film of the year - I have in fact seen it many, many times before and loved it for a long time (although never before was I able to enjoy the finesse of its narrative structure, and admire its sumptuous mise - en - scene and art direction - actually delivered on a shoestring budget - on a big screen).

With a collage of interviews with real - life survivors following the end of the film, it makes a strange shift from narrative feature to an almost documentary - like structure that just feels misplaced.

Tagged With: aging parent, cinema, death scene, end - of - life decisions, film, Laura Linney, movie, narrative, plastic bag, risks, suffocation, THE SAVAGES

Lacking the authenticity of the first film and missing the quick humor of the second film, Pitch Perfect 3, directed by Trish Sie, struggles to find its narrative footing and falls flat comedically, ending as by far the weakest film in the trilogy.

In the end, that decision, along with cinematography that injects small moments of beauty into an otherwise bleak narrative, as well as strong performances, make for a compelling film.

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.

The film has a unique narrative structure, as Gilroy continuously loops us around a never - ending search for the soul of this fascinating character.

Trainspotting doesn't have a plot as such, and only tacks on a «big drug deal» narrative at the end of the proceedings to bring the film home.

Many fine films (Identity and Shutter Island spring to mind) could be ruined if it became obvious that a twist was coming, because from a few strokes of narrative setup, it was possible to guess the so - called «surprise» ending.

The explosion of violence at the end of the film recalls the iconic final sequence from Bonnie and Clyde: violence and death suddenly become much more than a plot point in the narrative of their lives.

Emblematic of the festival's initiative to spotlight films on a global scale is its «Global Visions» section, which boasts an array of narrative and documentary films from Japan (Wonderful World End), Brazil (The Second Mother), Germany (Stations of the Cross), China (Red Amnesia), the United Kingdom (Luna), South Korea (A Hard Day), France (Fidelio: Alice's Odyssey), New Zealand (The Dark Horse), and many more countries with exciting, emerging filmmakers and films worthy of our undivided attention.

The most disastrous such veering off - track, and the film's worst failure of narrative nerve, comes near the end, when the narrative is taken over by a showdown between the red - and - blue guy and a huge lumbering green monster emitting bolts of energy, making for a son et lumière as drearily digital as Electro's in the last Spider - Man pic.

Overall, Finding Your Feet does possess some of the narrative qualities seen in recent films within this genre, such as Joel Hopkins» Last Chance Harvey or Roger Michell's Le Week - End.

Characters from those films pop up during Thor «s main narrative and after the end credits, living up to Marvel's commitment to populating their films with the same bland versions of perfectly acceptable characters.

As it turns out, the refugees are even more peripheral, almost invisible (including the Moroccan household staff members) to the film's narrative, which suggests Happy End is pointing a wagging finger at the entirety of white, privileged Europe, a continent engaged in her own foolhardy, manipulative dramas, happily ambivalent to anything beyond the safety and convenience of self - imposed blinders.

You can kind of see why Netflix ended up with the third film, the narrative matching their slow - burning roundabout way of telling stories.

And though On Chesil Beach missteps a little by shooting too far into the future at the end, I admire the way McEwan was prepared to depart from his novel's narrative in the service of the film.

At various points, the film feels like The Village, The Truman Show, and an episode of Rod Serling's «The Twilight Zone», but it just doesn't have the narrative oomph to take its momentum right to the very end.

[4] Writing in 2005, David Braben described the narrative structure of current videogames as «little different to the stories of those Harold Lloyd films of the 1920s», and considered genuinely open - ended stories to be the «Holy Grail we are looking for in fifth generation gaming».

As gamers make matches, cards called CineBits appear along the bottom of the screen, relating to individual movie stars (based on real actors and actresses), narrative pieces and even film bonuses (like happy endings or pre-launch buzz).

More recent works include puppet films telling open - ended narratives about the abuse of power.

Lahuis silkscreened and burnt two film stills as a reference to 8 1/2's dealing with the deconstruction of narrative and the never - ending greed for image production.

For Barney, sculpture is an emanation of places, performances, films, photos, drawings and ephemera that together create complex, open - ended and symbolically charged stories, characterised by an innovative artistic idiom, aesthetics and narrative structures.

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

Irmgard Emmelhainz writes in her 2015 e-flux essay «Conditions of Visuality Under the Anthropocene»: «films about the end of the world [in the last decade] have been characterized by a doomsday narrative that may end with moral redemption» citing World War Z (2013) and The Day After Tomorrow (2004), where the capacity for action is always propelled by the hope for new life.

Together they make short films and photographs about the construction of narrative time and space, without the context of a traditional story line; their open - ended, enigmatic narratives elicit multiple readings.

In Siegel's hands, Black Moon, which Malle described as a ``... strange voyage to the limits of the medium,» becomes a present - day science fiction without dialogue, traversing multiple film tropes — action, guns, lonely campfires, the end of the world — and, like its band of armed female revolutionaries, resists taking up residence in a fixed narrative or genre.

The film's continuously evolving narrative is guided by a custom - made algorithm that edits in real time from a server loaded with thousands of clips, creating a never - ending movie.

In the mythic narrative that has come to surround the artist, the filming represents the beginning of the end.