Sentences with phrase «engaging film from»

ACADEMY AWARD ® Winner Michael Caine joins OSCAR ® Nominee Harvey Keitel in this beautiful, engaging film from Paolo Sorrentino.

1950s Hollywood is the backdrop for this engaging film from Warren Beatty.

Not exact matches

The named companies have been engaged in ventures ranging from a major solar - panel factory in Buffalo to a film hub in Syracuse to a dormitory in Albany to a power plant in Orange County.

From engaging histories and research - driven treatises, to provocative exhibitions and popular films, to mobile applications and podcasts, Science book and media reviews feature smart commentary on a wide range of timely scientific topics.

Mutz filmed professional actors engaged in a mock political debate from a medium distance and in extreme close - up.

Among the activities, in addition to the From Billions to None film and project website, is a new book; K - 12 curricula; numerous museum and cultural displays and exhibits; outreach programs and engaging presentations including many that rely on the visual and performing arts.

Some might see the film as lionizing Gore, but it's a fascinating primer on how to engage and train citizen activists, from the grass roots to the corridors of power.

But there's absolutely no flow to the film's screenplay - which is based on a series of short stories by J.T. LeRoy - as it lurches from one vignette to the next, without any thought to keeping the audience engaged.

If you're a true movie fan, you'll instantly be engaged by the sheer beauty, the divergence (from ordinary films) of this movie.

The actual Sherlock Gnomes film I sat through wasn't actively painful but it wasn't particularly engaging or rewarding either, a mediocre children's movie that will vanish from memory upon the ride home.

I also detested the title character a bit more than perhaps the writers intended or would have wanted, since it kept me from engaging more with the film.

Sanctum is the perfect example of a film that's style over substance, it looks great, but the plot is paper thin, and relies on recycled ideas from previous films in order to create an engaging film.

The wait is more than worth it and I found myself engaged in this film from beginning to end.

While Anon doesn't boast a superior story, it's engaging in the way many B - grade noir films from the «40s and «50s were — pulpy excursions into the dark side of human nature with hard - bitten heroes and duplicitous femmes fatale.

It is this ability to crossover from potential niche status - a huge risk for a film with a mammoth budget - to billion dollar behemoth should light a fire under the asses of studios to show them that stories about anyone can be successful as long as they are well made and engaging.

In Basterds, however, Tarantino was engaged with an exhaustive canon of World War II movies, from Casablanca to Schindler's List, while the subject of Django Unchained — slavery in the American South — is one that has been conspicuously absent in Hollywood films in the century since D.W. Griffith's The Birth of a Nation.

If there's a knock on the film it's the episodic structure that follows Django and Schultz as they move from one adventure to the next, but it always has connective tissue and never ceases to be engaging.

Thanks to tight direction by Brian Goodman and lively performances from Antonio Banderas and Jonathan Rhys Meyers, the film's engaging even when it's ridiculous.

This was something like a miracle: Haneke's gracious affability aside, his has always been, openly and decisively (he's quite literally said as much) an oppositional cinema — often abrasive (his one noble failure, 1997's Funny Games, and its shot - for - shot English - language remake from 2008, being the prime specimens), always painstakingly conscientious and morally committed to disturb (all of his films from The Seventh Continent through The White Ribbon) art films that mean to engage and provoke the audience, not please or reassure in a way that could ever be mistaken for award - grubbing.

The film engages both the head and heart and should be seen by anyone looking for a thoughtful respite from the summer's car chases, hyperactive aliens and gratuitous

In this lively, illuminating and unexpectedly moving documentary, directors Noah Baumbach and Jake Paltrow engage in a personal and candid discussion with De Palma, exploring not only his life and work but also his singular approach to the craft of filmmaking and his remarkable experiences navigating the film business, from his early days as the bad boy of New Hollywood to his more recent years as a respected veteran of the field.

When Anne (Riva) experiences a moment of lost time one day at the breakfast table across from her husband of over 40 years, Georges (Trintignant), it's fleeting, but it signals the end of the active - senior's life — proudly attending concerts starring world - famous former piano students, doing the shopping, being generally engaged and mobile in their affluent retirement — we've briefly glimpsed at the beginning of the film.

The film engages both the head and heart and should be seen by anyone looking for a thoughtful respite from the summer's car chases, hyperactive aliens and gratuitous bloodstained mayhem.

Apparently it's already been and gone from British cinemas, but I don't remember noticing it was there; a pity, because it sounds quite engaging, the kind of lighthearted caper film which used to come from these shores on a frequent basis in days gone by.

Even when the film gears up for one of its many tonal shifts, from its Old Boy-esque hallway action set - piece in a lavish upmarket Georgian town house, to its intense abandoned warehouse finale with The Businessman (William Houston)-- who seemed to be channelling the foreboding gunslinger in Westworld, ensures the film has a wonderfully rich and engaging backdrop throughout.

The film is a many - sided and meditative work that's at turns delightful, saddening, yet always deeply personal, filled with uniquely Vardian chance encounters with people and places from Varda's past while also focused on JR's ability to use his art to engage people.

«The unique combination creative talents from music, film and technology all in the same environment has once again set an electric backdrop for our films, and across the board, the combustion of new talent, fresh perspectives, and the engaged community has been exhilarating.

And while the storyline, characters and sets could only come from the quirky imaginations of the Coen brothers, the film remains critical and engaged with the world we live in — a world where the little guy struggles to change their own tough situation, let alone the world at large, and the big ones who don't give a damn.

There is a very clear sense in which I am being unfair to The Congress as I am writing about a dramatic film rather than a philosophical essay but Folman's decision to critique dramatic artifice whilst engaging in dramatic artifice means that The Congress draws your attention away from the drama and towards the film's flawed philosophical argument.

Adapted from the short film by director David F. Sandberg and adapted by horror - centric screenwriter Eric Heiserrer, Lights Out may be a quick, simple, and slightly familiar piece of PG -13-level horror, but it's also a well - made and unexpectedly engaging thriller as well — with an ending that's sure to generate at least a small amount of debate among horror fans.

We see the destruction of Metropolis from his ground - level viewpoint in a genuinely tense and engaging opening sequence (after the contractually obligated retelling of Bats» origins during the credits), that does far more to convey the true horror and damage of that fight than the previous film.

The film starts off rather promisingly with an engaging performance from Fabian, but eventually degenerates in style and content to a pastiche of other horror films such as The Blair Witch Project, The Exorcist, Children of the Corn, and so on.

500 Days of Summer is an accomplished film, one that is well acted and directed and it's a thoroughly engaging picture from start to finish.

It's not a particularly subtle film — some of the supporting characters, notably Black's dogged but witless Rayette, are written and played a little broadly — but it is a magnificently insightful and engaging one, flipping effortlessly from icy realism to heated melodrama while always maintaining a darkly comic, at times quietly satirical undercurrent.

This film will keep viewers engaged from beginning to end with its soundtrack too.

This engaging film blends a true story with fiction, morphing from a rom - com into a moving drama as it goes along.

The actors engage in the exaggerated performance style of silent movie melodramas and comedies and Maddin digitally «ages» his films with scuffs and scratches and cracks and even distorted frames as if they were from decaying nitrate prints from the 1920s.

Maybe my expectations were duly lowered but director Francis Lawrence, who took over the series from filmmaker Gary Ross and raised the bar, and screenwriters Peter Craig and Danny Strong turn out a surprisingly engaging film about rebellion, propaganda, media, and the emotional and psychological scars of war, all seen from the point of view of a young woman (Jennifer Lawrence) who becomes a symbol of resistance simply by surviving with courage, dignity, and compassion.

It's hard to believe that any film that starts so promisingly, with Ryan Phillippe full - on punching Sarah Silverman in the mouth, can go so far downhill, but despite its gonzo and engaging opening half hour, the film soon sinks under its own weight, hampered by thin characterization, ludicrous overplotting and a director way, way too much in love with the prose on the page to bother trying to make it sound like dialogue from a human mouth.

So the film remains an homage to archetypes and techniques from yesteryear, but still manages to stay fresh and engaging.

Formerly known as that blonde girl who was once engaged to Brad Pitt, Gwyneth Paltrow has made a name for herself without the help of past beaus (Pitt and Ben Affleck) by maturing from Hollywood's princess into one of today's more classier actresses, willing to take a chance on smaller art films for the improvement of her career rather than her bank account.

As Kevin said in Toronto, the film «matches its visual consistency with a narrative rhythm that is utterly engaging,» with a gorgeous look from DoP Erik Wilson, and a great score by Andrew Hewitt.

From Žižek's take on the Coca - Cola brand to how Beethoven's «Ode To Joy» has played an important across the 20th century, the film is thoroughly and equally engaging, whimsical and startlingly.

It even has engaging (not to say great) performances, especially from a creepy Merritt Butrick (Star Trek II: The Wrath of Khan), a cool Rosalind Cash (The Omega Man) as a cop, and Brenda Bakke (later in L.A. Confidential), who spends much of the film emoting with bandages covering her eyes.

While Jesus» Son is overlong - the final section dealing with Fuckhead's redemption is disappointingly prosaic - the film is, for the most part an engaging, idiosyncratic and long overdue contribution from an increasingly assured director.

This back and forth in tone makes the film difficult to latch onto, and keeps the audience pushed back a bit from really engaging with the characters.

Aside from the failure to engage the audience that essentially dooms the film as a romantic drama, or perhaps because of it, Smart People justs feels so lacklustre.

To capture elements of the battles and storms at sea, despite the replica vessels at his command (Surprise was a replica of HMS Rose, bought by 20th Century Fox after filming, it now resides at the Maritime Museum in San Diego; Acheron was constructed for the film from digital scans of the USS Constitution, the oldest floating commissioned vessel in the world), it was necessary for Weir to engage with a greater degree of VFX than he was used to previously.

The film is the latest release from acclaimed filmmaker Martin McDonagh (In Bruges) and stars Frances McDormand as a woman who goes to war with local police, as she engages in a quest to avenge her daughter's murder.

Throughout the Lab, Fellows engage in one - on - one meetings with advisors as well as view advisors» films to spark discussions about the journeys of their stories from script to audience screenings.