Sentences with phrase «facts about making the film»

While there are a few notable absences from the list of participants (like Tarantino, Uma Thurman, Bruce Willis and Ving Rhames), it's still loaded with tons of interesting facts about making the film.

Not exact matches

In fact, Paulist Pictures» Romero may be only the first of several films about the assassinated prelate; for example, director Gillo Poncecorvo (The Battle of Algiers) reportedly has a Romero project under way (tentative title: The Devil's Bishop) But however many such films are made, none is likely to be as much a labor of love as Romero was.

European concerns about Hollywood films are largely based upon the existing trade deficit with the USA in audiovisual trade and the fact that over half of the movies exhibited in European cinemas are made in the USA against only 2 % European films released in the USA.

What does make sense is using White Helmets, supposedly independent but in fact group with proven links with jihadists, to film some shoddy films about rescuing people in chemical contaminated zone without equipment and without repercussions.

And in this moment, the film makes clear what it is that is so compelling about him — perhaps as a person but surely now, as a mythic figure who went out into the mountains and died — the very fact that Chris makes choices, informed and not, eventually irrevocable.

Perhaps Jarecki could have completely discarded the facts of the Durst story and made a stronger film about family drama and possible insanity but the fact is that his subject matter ended his true story in such an unusual way that it doesn't necessarily support a dramatic retelling.

Fish - out - of - water stories can become tiresome very quickly if they're not anchored itoeither a witty script or good performances, but at the very least., most films which go down this route at least make an effort to emphasise the differences in culture, even if it's just a passing, off - hand comment about how fast people move or the fact that there's no phone signal.

The director is Jay Roach, who made the Austin Powers movies and «Meet the Parents,» as well as HBO's fact - based political films «Recount» (about the 2000 presidential election) and «Game Change» (about Sarah Palin).

This fact will be met with appreciation by those who don't enjoy seeing gay sex scenes, of course, but it does seem silly to make a film about a gay historical figure, keep referring to his gayness, show him pining for his gay lovers, and then never actually let him be gay.

The words «based on a true story» can strike dread in the heart of the frequent moviegoer, since so often a film is made no more interesting by the fact that it's about actual events.

Review after review has pointed out the faults of Twister director Jan De Bonts» latest film — not that it doesn't have some — but you can actually enjoy this movie if you make peace with yourself about the fact that it ain't trying to be art.

At the time, many of us knew nothing about the director other than the fact that he'd made a monster movie that was more than a monster movie but since then, he's become a recognizable name (at least among film fans) and the announcement of a new project brought much joy to my heart.

Throughout the film's production, Reynolds and Deadpool 2 studio 20th Century Fox have been very crafty about not revealing any potential spoilers for the film, and in fact, made normal procedures such as casting announcements - like the addition of Cable (Josh Brolin) and Domino (Zazie Beetz) to the film - feel like pop culture events.

Marketed with urgent desperation as a film exploring the persecution of homosexuality while making a marked statement about the recuperation of the facts concerning the genius of Alan Turing, the accolades bestowed on this otherwise well mounted but incredibly milquetoast production is the political statement that the film simply does not have the courage to muster on its own.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Thus the Coens» film: nominally a movie about the travails of a trio of chain - gang escapees making their way across Depression - era Mississippi; in fact, a picaresque musical romp and arguably their lightest cinematic fare to date.

13 Hours: The Secret Soldiers of Benghazi embodies about what you'd expect out of a marriage between the political firestorm that is Benghazi and Michael Bay, the action director everyone seems to love to hate, despite the fact his films make hundreds of millions of dollars.

More romantic is that fact that Malik couldn't care less about making money; as the film bears out, his only motivation is to get the girl.

The fact that Jimmy's a laid - off construction worker and Clyde a veteran with a conspicuous prosthetic hand gives the film an air of social relevance, and while Soderbergh seems enthusiastic about the idea of his characters banding together to take back from a society that's made them collateral damage, the attempts to draw any sense of sociopolitical import are the film's weakest spots.

That big moment charged the hype machine for the film in a way that major summer blockbusters aren't capable of achieving with an entire year of buildup and spoiler - filled trailers, making this film one of the most talked about projects in the past year simply due to the fact that no one knew what it actually was.

No one at the end of 1917 was debating whether the directing debut of John Ford or the first appearance of Vittorio de Sica augured longer careers to come (in fact, both would be making films for the next five - plus decades) or weighing the industry impact of Mary Pickford's box - office smash Rebecca of Sunnybrook Farm or (to the point of my own research) speculating about the future of slapstick star Roscoe «Fatty» Arbuckle's new sidekick, a vaudeville refugee named Buster Keaton.

While it does fit the mold of the gimmick films that have been the norm for the last several years, Memento succeeds by making no bones about that fact, since the way the narrative is developed (each scene takes place the day before the last one) is a gimmick in itself.

In fact, it so desperately wants to capture that beatnik - y place and tone where crime films and swinging London met that it just seems to try too hard, slathering the movie with music, trippy visuals and other elements that just can't make up for the deficit of a weak and blandly told story about a ex-con (Colin Farrell) hired to look after a reclusive young actress (Keira Knightley) who finds himself falling in love, which of course puts himself in direct confrontation with one of London's most vicious gangsters.

In fact, Judah will make his film debut in Uncle Drew, about a squad of geriatric basketball players, as a younger version of his father.

What You Need To Know: With director Paul Greengrass having made a name for himself in two relatively distinct areas — the tense conspiracy action thriller (the second and third «Bourne» films) and based - in - fact films about recent historical events («United 93,» «Bloody Sunday,») «Captain Phillips» seems like it could play to his strengths in both areas, as it's a gripping, tense, fight - for survival type tale that has added weight and heft for being lifted from a real - life incident.

Little is known about the film beyond its basic premise — a cryptic summary also makes mention of ghosts, drug dealers, and «a disgraced werewolf» — and the fact that it co-stars Paul Scheer, Atlanta's Zazie Beetz, and Stranger Things» Joe Keery.

Coming on the heels of last year's Hill Of Freedom — one of Hong's best films, and his funniest — Right Now may feel like a retreat, but the fact is that the director is still better than just about anyone at drawing out the complex subtleties of a missed connection, and having done it a dozen times before seems to have only made him better at it.

What makes the film ultimately compelling is precisely the fact that while it is based on a true story, its primary goal is not to represent historical events truthfully but rather to find aesthetic means by which to investigate how one can cinematically render visible past crimes that nevertheless are also suggestive about today without affording viewers the ability to assume the comfortable subject position of historical distance and moral superiority.

While he talks, I can't decide what's more telling: the fact that Lanthimos, the most talented Greek director of his generation, has just made a film about dead people; or the fact that he's now quit Greece to live in Britain instead.

During our wide - ranging conversation he talked about making his feature debut (he previously helmed the miniseries Top of the Lake), the challenge of casting a child actor, balancing fact and fiction, how he collaborates with his cinematographer, what he learned from test screenings, filming in India, and more.

Now, they are drawing on their combined years of experience in helping complete strangers pick out movies based on only the most vague of criteria — as well as the fact that they make their living writing about film for The A.V. Club — to put together a guide to some of the best and most interesting movies released so far this year.

Both films are about outsiders pulled unwillingly into a punitive closed society; they learn the rules of their new captivity brutally from both their captors and their fellow inmates, but their innate spirit — the fact that they haven't been ground down yet — makes them natural leaders.

Maybe it's because a great film like «Broadcast News» was in fact made by those who came from news production, so there was an authenticity about that that made it genuine.

She made it three times lucky at Sundance, arriving in 2013 with «Fruitvale,» Ryan Coogler «s based - in - fact drama that was one of the buzziest films of the festival in the last few weeks, and that should be talked about for much of the rest of the year.

Much has been made about the fact that Krieps, who at thirty - four has had extensive experience in European films, didn't know exactly what she was auditioning for.

Mike Leigh: If you are referring to the fact that «Topsy Turvey» is about theatre: I was making a film about what was part of my life, but also about filmmakers.

For fans curious about how he dealt with the previous movies, Waititi shared that he has «no idea» whether Ragnarok will meld well with the two movies as he «made an effort to ignore the fact that there are other Thor films.»

What is odd about their reaction though is that Universal made it blatantly obvious in their advertisements that Michael Myers would not, in fact, be in the film.

The only thing that grates about this film is the fact that these guys all made mega-bucks out of the financial collapse of 2008.

For a movie based on fact, it feels an awful lot like fiction, and that may be why it took so long for someone to make a film about Kuklinski's life.

Supporting Actor (I really try, but don't always succeed, to focus on the SMALLER parts that blow me away): Christina Bale — The Fighter — amazingly appealing and interesting as a real scum bag — he makes him fascinating, understandable, and sympathetic AND he does so with flair and power Andrew Garfield — Never Let Me Go — I know, I'm supposed to prefer him in Social Network, but I didn't — in fact, he sort of didn't do it for me in that film but in Never Let Me Go he was moving and had a lost, hopeless but yearning aura about him that I found very haunting Mark Ruffalo — Kids Are All Right — very joyous, very charming, very sexy, and totally believable — he made me want to sleep with him and then have a nice long heart to heart with him too!

We did and we threw quite the celebration where we learned a ton of fun facts about the film from the people who made it.

The filmmakers seem so happy and satisfied with the fact that they are making an Alien film that they don't bother about fleshing the plot, character and mood.

In fact, regarding the use of Dunkirk in the film, Churchill actually didn't want anything made about that at the time.

In fact, Thomas says that Clementine Churchill was such a strong woman that she believes a film should be made solely about her.

One of the strangest facts about In the Fade, Germany's submission for Best Foreign Language Film, is that it's the first time German actress Diane Kruger starred in a film made entirely in the German language.

An intellectually grizzled Liev Schreiber plays the new editor Marty Baron, who makes this case the paper's mission on his very first day — in fact he invests Baron with an enigmatic quiet that drives home the film's point about how it sometimes takes an outsider to be able to get inside a local story.

In fact the film never makes up its mind about Peter's destiny, as so much seems chance, but it feels like at one point this was way more of a Joseph Campbell / Hero's Journey - type story than it ended up.

European in style without being austere (it's a textured, tendered film, even funny in places), beautifully lensed throughout, it's perhaps above and beyond anything else a ghost story about how the past can haunt and change us long after the fact, how time shifts and changes us, and how unearthed secrets can make you reevaluate everything in your life.

The problems begin with the fact that as charming as Kravitz and Okonedo are in their few scenes, the film is almost entirely about the father and son, and neither one succeeds in making their characters engaging.