It's a fun device that forms
the essence of this film as a playful but unflinching statement on the Financial Crisis.
Beneath all the shenanigans, the moms» moms provide the real
essence of the film as an ongoing conflict between mothers and their daughters.
Not exact matches
The
film represents a 27 - year filmmaking journey
as well
as a search for the
essence of his own faith.
The extremely complex equilibrium at display in this
film is pleasantly surprising
as it balances the critique
of certain aspects
of Holy Week with presenting a respectful view at its religious and cultural
essence.
But watching it is, distilled into a pure
essence, watching the
film debut
of one
of our national treasures, Willem Dafoe, in a
film directed by the woman who would next helm Near Dark, and
of the man who would play the Cowboy in David Lynch's Mulholland Drive and serve
as producer on Lynch's «Twin Peaks» and Wild at Heart, which reunited him with Dafoe.
A
film that touches on the
essence of love by throwing us into the abyss
of loss, The Sweet Hereafter marks the apex
of the English - Canadian
film tradition
as it navigates the empty space left in the wake
of tragedy with a gentle, but unsentimental eye.
This movie is, in -
essence, a 123 - minute trailer for The Hunger Games: Mockingjay Part Two
as it spends a great deal
of time getting us up to speed with our protagonists and accustomed to new characters whilst building toward the
film's only true reveal which is certain to have fans lining up to see the final instalment.
Sadly, it still wouldn't amount to much,
as the
film barely broke even at the box office, and the only reason fans wanted to see another sequel would be to restore some semblance
of the vital
essence of the first two
films, and a happier conclusion to the Ripley saga.
For a
film mainly guided, stylistically, by feeling more than by thought, Wong Kar - wai's In the Mood for Love opens rather pragmatically: A simple exchange in an apartment hallway between a landlord and her two prospective tenants, Mrs. Chan (Maggie Cheung) and Mr. Chow (Tony Leung Chiu Wai), introduces the principal elements
of what is, in
essence, a straightforward story
of star - crossed lovers and their unconsummated relationship — a romance thwarted
as much by tragic circumstance
as by the story's central cinematic contrivance.
Starring Ayame Misaki
as a young woman working in the audio description
of films for the visually impaired and Masatoshi Nagase
as a photographer who's losing his sight, the
film touches on the
essence of communication and the subjective nature
of art I find captivating.
I would gather that the producers were equally at a loss
as to what made the first
film a phenomenal success, so to make sure this second
film captured the
essence of the first, no box was left unchecked in trying to recapture the «magic».
Luckily, this remake
of the 1943
film My Friend Flicka (that starred a very young Roddy McDowell
as the main character) has stayed true to the
essence of Mary O'Hara's story, even if the lead role was given to a girl instead
of a boy.
That it succeeds in capturing the
essence of the hokey adventure and horror
films of the 1930s, I'll grant you, so long
as you grant me the fact that its source material isn't exactly quality filmmaking either.
Though the
film, with the strong assistance
of cinematographer Dick Pope, succeeds in capturing the look and feel
of the time
as well
as the
essence of Turner's beautiful landscapes and...
In
essence, the makers
of this
film don't concern themselves so much with the characters or plot, except to provide ample time for its superstar, Jim Carrey, to chew up
as much scenery
as possible.
Crossfire Edward Dmytryk, USA, 1947, 35 mm, 86m This adaptation
of writer / director - to - be Richard Brooks's novel The Brick Foxhole, about a group
of vets, led by Robert Mitchum's Sergeant Keeley, searching postwar Washington for their amnesiac friend (George Cooper) so they can clear him
of a murder charge, embodies the
essence of what has come to be known
as «
film noir» — moody, troubled characters; nocturnal action; chiaroscuro cinematography; low - key acting spiced with bits
of bravura eccentricity; and a plot so crazy that it feels like a nightmare.
Someone, probably Christopher Plummer, announces the winner in this category and the award goes to Sally Field, for illuminating through her two excellent meltdowns in Lincoln, one opposite Tommy Lee Jones, the other opposite Daniel Day - Lewis, the
essence of the Steven Spielberg
film as a study
of the conflict between public and private modes
of behavior in the arena
of American politics.
Wes Anderson «s «Moonrise Kingdom» seems like an odd choice to open the 65th Cannes Film Festival, with its deadpan Americanism, retro - set timeline and movie - star cast; at the same time, Anderson is clearly influenced by the New Wave, both cinematically and personally, he's a distinctive authorial voice
as a director (which is the
essence of auteur theory) and while his
films are defined by near - silent moments
of comedy and human frailty, there's also something mournful and wounded about them.
1984 is certainly an interesting take on Orwell's novel, and while it can be enjoyed (if you can enjoy a
film this dour) completely
as its own entity, it is still just the
essence of the book.
The
film's first half is essentially a send - up
of the first Paranormal Activity
film (for those who can recall it), with Wayans
as Malcolm Jones, a new homeowner welcoming his long - time girlfriend, Kisha (
Essence Atkins) into his man - world.
The transformation
of Penn's character
as he slowly opens up during the course
of the
film is astonishing and thus showing us the
essence of a person uncloaked.
The biggest distinction between the two makes the new
film feel like some kind
of unintended treatise on the indescribable
essence of movie stardom,
as Cavill and Hammer are no Robert Downey Jr. and Jude Law.
The producer added that a sequel would not be
as dark in tone
as the 2015
film, and would instead «try to be truer to the
essence of the tone
of Fantastic Four» which is «brighter, funner, more optimistic.»
The disappointing level
of production in Cuban cinema was mitigated by the award - winning director Carlos Lechuga's Santa y Andrés (Santa and Andrés, Carlos Lechuga, 2016); a low budget production (
as most current independent Cuban
films are), which came to fill a gap in Cuba Cinema, a return to our
essence and roots through a commitment to the cultural soul
of the nation.
Kristen Stewart is both too old to convince
as a virginal vision
of purity and too small to be an armour - clad leader
of misfit revolutionaries, but she makes it work; there's a lean mid-section to the
film that belies its meagre fairy tale origins, but the padding - out
of these scenes is expertly done; and,
as the evil witch - queen Raveena, who yearns to consume the
essence of her fairer foe, Charlize Theron chews the scenery like a termite plague — and is all the more awesome for it.
«Grainy and rough» is how I would characterize the photographs themselves,
as well
as the
films and videos made in these early years — it's almost the
essence of their style.
In 1973 he created the first
of his Yellow Movies by painting screens on paper with white houseplant, which would grow yellow over the course
of years — a
film that, in
essence, will continue playing for all time, or at least
as long
as the works continue to exist.