Sentences with phrase «even by genre»

The story is paper thin, even by genre standards.

Not exact matches

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Surviving remains of ancient Persia were first brought to notice by Rabbi Benjamin of Tudela We will pay special attention to the early formation and origins of different literary genres in Persian works, even though the very notion of literary genres

Even though the questions raised by the movie frustrated me as I left the theater, I have now accepted that there are no definite answers to them, and this makes War of the Worlds even better, setting it apart from other movies in the genre in which there are no lingering questions when the credits start to rEven though the questions raised by the movie frustrated me as I left the theater, I have now accepted that there are no definite answers to them, and this makes War of the Worlds even better, setting it apart from other movies in the genre in which there are no lingering questions when the credits start to reven better, setting it apart from other movies in the genre in which there are no lingering questions when the credits start to roll.

By never falling into the trap of allowing spectacle to supersede character, Costner's Dances with Wolves restores depth, idealism, poignancy and even wonder to a genre that had long seemed moribund.

The game brings the stealth genre to new heights and should be played by anyone who is even slightly interested.

In short, expository flashbacks cast Angela's awkwardness in a new light even before the justly - famous closing image, one of the most baffling and incongruous climaxes in a genre known and celebrated by devotees for its WTF factor.

Taylor - Joy claims never to have even seen a scary movie before The Witch, but as I chat to her about my decreasing faith in Hollywood horror, she's surprisingly well aware of the formulaic approach to the genre that seems to have been adopted by so many.

Penned by Max Landis and directed by Josh Trank, while «reinvention» would be too strong a word, «Chronicle» does a nice job of twisting the standard genre tropes into a pleasantly refreshing, highly entertaining story that features no costumes, no villains, no score, and even at less than 90 minutes, a fair amount of substance.

Horror vets won't question its rightful place on the outskirts of the genre once the fisticuffs begin and even the most stomach hardened amongst us will find their psyche broken and bruised by the carnage.

A glorious return from the definitive band of the 21st century, A Moon Shaped Pool finds Radiohead relatively comfortable, even content territory, exploring their past by blending genres together in a whirlpool of masterful songwriting, subtle experimentation and always flawless execution.

David Cronenberg entered this kind of genre territory with The Brood (1979, not to be confused with John Frankenheimer's Prophecy, promoted as heavily around the same time) with Art Hindle as a man investigating how his ill wife (Samantha Eggar) is being treated by an unusual doctor (Oliver Reed) for her problems, but the result is that it may be unleashing her Id monsters and possibly something even more terrifying none of them could ever expect.

The film paints a strikingly hostile portrait of its Latin American characters and some of its mayhem is vicious, even by the debased standards of today's action - movie genre.

That's excessive even by standards of the genre.

References to older films of the genre, witty dialogue (including a monologue delivered by Carradine near the end that is probably the best thing Tarantino has ever written), extreme violence, a soundtrack filled with all kinds of extraordinary pop songs; even an entire backstory sequence completely done in Anime.

By its very existence it begs the question of whether this (or the upcoming Kevin Costner vehicle Dragonfly) would even have been considered if not for the success of the supposedly non-influential The Blair Witch Project: a mainstream horror film that flies in the face of conventional genre wisdom (at least since The Exorcist) in refraining from gore as steadfastly as it refuses to show its bogeyman.

In fairness, she does end up needing to be rescued by the men at one point, but like everything in The Man from U.N.C.L.E., even this expected trope of the genre is slightly turned on its head with a few twists that keep audiences guessing and keep all of the players on their toes.

Two years ago, South by Southwest gave the red - carpet treatment of Duncan Jones's entertaining time - travel thriller Source Code, but last year Drew Goddard and Joss Whedon's irritatingly snarky horror - genre deconstruction The Cabin in the Woods got the top honor, and now this year we have The Incredible Burt Wonderstone, which, in spite of a nasty concluding punchline, can't even claim the kind of cleverly subversive comic gusto The Cabin in the Woods has in abundance — for better and for worse.

In an age of constant sequels, remakes, reboots, and adaptations, it's a small wonder when even blatant genre pastiches such as Pacific Rim are touted by the movie - going public as «original.»

The Hobbit: The Desolation of Smaug by Hope Madden The fantasy film genre boasts some great sequels, even when those... read more →

Even by Ben Wheatley's genre - busting standards, this film is a triumph, centring on comedy and romance in a road movie about two violent serial killers.

«Public Morals» is proof that even in this time of television's Great Overcrowding, one should never judge a show by its genre.

The film looks good much of the time, but even that has been done better by others in this genre.

However, period films about Prohibition Era gangsters are nothing new and it's important to consider that long before Live By Night was even on anyone's radar, the gangster genre arguably had more flops than Oscar caliber hits to its credit.

Even the storylines are greatly influenced by the genre, including mash - ups of «Inception» and «Nightmare on Elm Street,» as well as «Jurassic Park» and «Innerspace.»

But even by the striking standards of the genre, Chris Kennedy «Äôs work as production designer is remarkable.

Final Victory was written by Wong Kar - wai, one of the last screenplays he wrote before his 1988 directorial debut As Tears Go By, and in this intersection of genre film and full - blown romance, it is consistent with his later works, where the primal DNA of films like Days of Being Wild, Fallen Angels and even Chungking Express can be found in Hong Kong cop / gangster sagas (As Tears Go By is explicitly a Triad filmby Wong Kar - wai, one of the last screenplays he wrote before his 1988 directorial debut As Tears Go By, and in this intersection of genre film and full - blown romance, it is consistent with his later works, where the primal DNA of films like Days of Being Wild, Fallen Angels and even Chungking Express can be found in Hong Kong cop / gangster sagas (As Tears Go By is explicitly a Triad filmBy, and in this intersection of genre film and full - blown romance, it is consistent with his later works, where the primal DNA of films like Days of Being Wild, Fallen Angels and even Chungking Express can be found in Hong Kong cop / gangster sagas (As Tears Go By is explicitly a Triad filmBy is explicitly a Triad film).

Fans of both platform and Metroidvania genres will be pleased by its enjoyable gameplay and, even if you're not into those style of games, it may be worth a try - as it is one of the best indie games released on the Switch.

It doesnâ $ ™ t just revisit the genre, it glorifies it by taking it to dizzying heights and even more dizzying extremes.

As a result, the image has a vibrancy and liveliness that's rarely matched by transfers of indie genre pics, let alone big - studio Blu - ray titles, and the grain structure holds up, even when scrutinized on a frame - by - frame basis.

It's possible to be funny and make a horror film that deconstructs itself — I'm thinking not of The Monster Squad, probably The Cabin in the Woods» closest spiritual analogue (and even as I say that, I feel bad — while Fred Dekker is an idiot, he's our idiot), but of genuine genre masterpieces like John Landis's An American Werewolf in London, Sam Raimi's Evil Dead II: Dead By Dawn, and Edgar Wright's Shaun of the Dead.

Even when limiting themselves to a single genre and to films originally distributed by Warner Bros..

His previous work has made numerous nods to the western genre, so we're in no doubt he knows it backwards, but this is far from mere cut - and - paste, and by wringing some genuine emotion from the stirring subject matter it even shows maturation as a filmmaker.

Which is another way of saying that genre cinema is sometimes spawned by little more than a sausage factory mentality with even less style than substance.

Initially, these Transformer - like creatures that sound as though they could be voiced by Liam Neeson, or even Peter Cullen himself, feel as though they came from a completely different movie — and genre — but not only does Aronofsky eventually go on to integrate them into the narrative well enough to make them feel like a natural part of this world, but he also adds backstory and character features that make them one of the most curious and enjoyable parts of the film.

Directed by handsome drama maestro John Madden («Shakespeare in Love,» «The Best Exotic Marigold Hotel») and positioned as a cross between «Michael Clayton» and «All the President's Men,» the movie features morally bankrupt D.C. power players and blackmail scenes set in shady parking garages, making inspired use of genre clichés even as it offers a relatively fresh look at one of the most manipulative forces on Capitol Hill today: the special - interest lobbyist.

By keeping things small, intimate even, Cuse ups the emotional ante by leaps and bounds over many of the more recent entries in the genrBy keeping things small, intimate even, Cuse ups the emotional ante by leaps and bounds over many of the more recent entries in the genrby leaps and bounds over many of the more recent entries in the genre.

The film hits a lot of the genre standards but is in no way tongue - in - cheek and is not that scary, even by my lily - livered standards.

Adding a slick contempo sheen to the Texas Chain Saw Massacre template (thereby ignoring the grimy, low - budget look that made that 1974 classic so disturbing), this finds two college - age siblings (well - played by Gina Philips and Justin Long), stranded in the middle of Nowhere, USA, stopping to investigate when they spot a menacing figure dropping bodies down a pipe (their reasons for not calling the police are witless even beyond the low - ebb demands of the slasher genre).

But even as we are appreciating what is successful, starting with the impeccable work of Irons, Rampling and Schoenaerts, it's hard not to notice that the level of intensity, intelligence and involvement here does not reach the level of classic all - in spy movies like the Bourne films or Tomas Alfredson's «Tinker Tailor Soldier Spy» and Anton Corbijn's «A Most Wanted Man,» both based on novels by the genre's master, John le Carré.

Fans of the genre and newcomers alike will find the game to have a certain charm, but frustrations will creep in and I found myself appreciating the stalwarts of the genre even more by the time I saw the end credits.

A Midwestern farmer stays by the side of his beloved teenage daughter even as she slowly turns into a cannibalistic zombie, in this daring, genre - bending debut feature from director Henry Hobson.

And it features a script by Clive Dawson, based on a Sydney Bounds short story, that is so familiar to genre enthusiasts by now that if you can't predict who lives, who dies first, even what the last shot will be, well, you just aren't paying attention.

Even World of Warcraft, the silverback gorilla of the genre and the closest competitor to ESO in terms of high - fantasy MMORPGs made by top developers, has played around with free - to - play offerings from time to time.

Even while Cabin veers into parody territory, it remains faithful to the horror genre by still being an effective horror movie.

You might even say that the two nominal genres, as used by Lee and Schamus, effectively intertwine, mirroring each other: just as Jake must discover his character in the crucible of war, so does the nation itself attain a new maturity through its ordeal of division, violent conflict, and eventual reunification.

Refn earned the Best Director award at Cannes, a festival traditionally wary of genre cinema, but it's unlikely he'll be extended the same generosity by the Academy, which is even more squeamish.

Co-written by director Edgar Wright and star Simon Pegg, this gory zombie satire is filled to the brim with charming English wit, but even though the comedic duo (best known for the hit Brit TV show «Spaced») tirelessly pokes fun at their favorite zombie flicks, they still respect and follow every one of the genre's rules.

The early live action films made by the Disney studio during the 1940s and early»50s always - even when being of the adventure genre - remained rather quaint pictures.