Sentences with phrase «fantasy films from»

Earlier this week, I visited the Los Angeles County Museum of Art to see a screening of The Shape of Water, the newest fantasy film from director Guillermo del Toro.

This Japanese animated fantasy film from Masaaki Yuasa seems more oriented toward adults than children.

Not exact matches

The buddy - cop film, with elements of «Lord of the Rings» - style fantasy, only got positive reviews from 12 % of top movie critics on Rotten Tomatoes.

«Bright,» a buddy - cop fantasy film, received a 26 % «Rotten» rating from critics on the reviews aggregator Rotten Tomatoes after its December 22 premiere.

Deniers, as both Lipstadt and Vidal - Naquet show, seem to have an endless supply of polemical tricks and dodges: they simply discount Jewish testimony out of hand as lie or fantasy; inculpatory testimony from the Nazis themselves is said to have been coerced by the triumphant Allies; documents confirming such testimony are said to be forgeries; Nazi statements and memoranda about the Final Solution are taken at face value if they are euphemistically phrased, but are interpreted as hyperbolic or figurative if they are blunt and explicit; photographs and films of executions are dismissed as fakes.

Yet in making iniquity obvious and uncomplicated, the film departs from Tolkien's heroic fantasy in lamentable ways.

This three - minute film from The Unquiet Film Series, published by The Times, shatters the fantasy that slavery is a thing of the past and forces you to confront the issue of modern slavery.

Editor Emmanuelle Alt's cover is so soft and Technicolor dreamy it might as well be a still from a fantasy film, but Sasha looks stunning.

Harry Potter and the Deathly Hallows, Part 2 is the eighth and final installment of the long - running film series adapted from the children's fantasy novels by British author J. K. Rowling, centering on the titular half - human boy wizard and his adventures at Hogwarts School for Witchcraft and Wizardry.

In the ten years since Rings, cynicism seems to have grown exponentially, especially online, where fans and haters from all over the world congregate to determine the worth of a film, and certainly a big budget 4,000 - theater holiday season fantasy film.

For the rest of us - the scornful, the uninterested, those too old to fully believe - the films derived from J.K. Rowling's seven best - selling fantasy novels have waxed and waned, moving from the formulaic fun of the early entries to the darkening adolescent gloom of the middle installments to the grim Wagnerian conflict of the final haul.

The Potter films have never gotten the accolades that Lord of the Rings did, but from the beginning, I've seen the two fantasy series of comparable quality.

What's perhaps most amazing about E.T., what distinguishes it from many of the other fantasy films of its era, is its ability to put an audience under a spell of childlike wonderment without infantilizing it.

Director Nora Twomey changes the film's style for the fantasy story, transitioning from the sharp lines and solid colors of the real - life scenes to animation that looks like paper models in motion.

There is real wisdom and honesty in every moment of the film, and that's refreshing in a genre that is built largely on fantasy every bit as disconnected from our reality as any superhero film.

In almost every facet of production, from wardrobe and costume design to the film's score, Coogler's Black Panther takes that thread of power and spins it into a diaspora's fantasy.

A violent fantasy set during the Spanish Civil War, this magical film from Guillermo del Toro manages that intellectual high - mindedness, even as it resonates on a primal, mythic level.

The best - selling novel by J.K. Rowling (titled Harry Potter and the Philosopher's Stone in England, as was this film adaptation) becomes this hotly anticipated fantasy adventure from Chris Columbus, the winner of a high - stakes search for a director to bring the first in a hoped - for franchise of Potter films to the screen by Warner Bros..

Following the series» demise in 1991, Helgenberger returned to television guest - star status on ER, where she had a four - episode - long recurring role, and in the miniseries The Tommyknockers.A presence on the big screen since 1989, when she made her feature - film debut in Steven Spielberg's romantic fantasy Always, Helgenberger has played a wide variety of roles in films ranging from Species (1995) to the moody The Last Time I Committed Suicide (1997) to Steven Soderbergh's widely acclaimed Erin Brockovich (2000).

Unlike series co-star Biel, Mitchell remained with the program throughout its run, and through many character changes that found Lucy marrying Kevin Kinkirk, working as an associate pastor, giving birth, and surviving both a miscarriage to twins and clinical depression.Although Mitchell branched out from television into cinematic work as early as 1996, with a turn in the fantasy - action thriller The Crow: City of Angels, and continued intermittent film appearances (such as a supporting role in 2005's slasher movie Saw II), she made no secret of her real passion: performing country music as a guitarist and vocalist.

He did not simply depart from the facts of history, inventing, in the title characters, a squad of mostly Jewish - American killers led by a United States Army lieutenant from Tennessee; he rewrote the past in the vivid, visceral language of film fantasy.

Christopher Reeve got away from Superman and related costume roles in this dramatic fantasy film, adapted from Richard Matheson's 1960s vintage novel Bid Time Return.

Within seconds the film goes from being a really decent sensible fantasy to dumbed down superhero crapola just like the original trilogy, in places.

For our first show of 2018, we welcome writer and critic Dr Eloise Ross, who joins us as we check out some of the key films from this month, including Steven Spielberg's paean to press freedoms The Post (01:04), Guillermo Del Toro's dark romantic fantasy The Shape of Water (05:46), Don Hertzfeldt's animated science fiction sequel World of Tomorrow Episode 2: The Burden of Other People's Thoughts (10:23), and Ridley Scott's Getty dynasty biopic All the Money in the World (13:16).

The stars of that film: Russell Crowe and Jennifer Connelly, join Colin Farrell in this romantic fantasy, adapted from a 30 - year - old book.

In the midst of all the franchises coming from studios today, there's one unlikely collection of films that has just as loyal and rabid a fanbase as any comic book, young adult or fantasy series.

David Ayer's fantasy blockbuster, which stars Will Smith and Joel Edgerton as a human - orc cop duo, was met with mixed reviews from critics, but Netflix is confident in the movie's franchise potential, with Bloomberg reporting that a sequel had been given the green light before the film had even been released.

We kick off the show looking at some of this month's key films, including Steven Spielberg's literally - ripped - from - the - headlines true story The Post, Guillermo Del Toro's dark romantic fantasy The Shape of Water, Don Hertzfeldt's animated science fiction sequel World of Tomorrow Episode 2: The Burden of Other People's Thoughts, and Ridley Scott's ambitious Getty family biopic All the Money in the World.

The film strains credulity even for a vid - game fantasy by letting the leading lady recover awfully quickly from bad injuries, but other than that Vikander commands attention and is the element here that makes Tomb Raider sort of watchable.»

There's an undeniable power to its fantasy, but the film has a sophisticated enough narrative and shape that it deserves more credit than the simple, dismissive «I'm glad it exists, but...» response I've anecdotally heard from more than one gay viewer.

The Witch Who Came from the Sea is a rape - revenge fantasy couched self - consciously in Jungian / Freudian symbolism, going so far as to illuminate the castration mythology ancillary to Botticelli's «Birth of Venus», giving the film its name and Molly both her modus operandi and inspiration.

«Revenge» is the film we need right now, from a filmmaker we need right now: French writer / director Coralie Fargeat, who makes her stunning feature debut with a rape - revenge fantasy that's as brutal as it is thrilling.

Resnais constantly blurs the line between fantasy and reality shifting the actors from the couch where they watch the filmed play so that they take an active role within stylized dreamlike scenes, where the fiction of the play becomes their reality.

Far more of a hyperactive fantasy film than anything remotely historic or realistic, Prince of Persia is about the quest by the adopted prince Dastan to clear his name and stop a mystical dagger, which has the power to turn back time, from falling into the wrong hands.

«Gay» and «Cal» are both very funny improvisations, while the fantasies are some of the dirtier material cut from the film.

An Italian import from 1965, the film suffers from the string of similar bloodlust fantasies that followed in its wake and addressed the same concept much more interestingly and convincingly, from «The Running Man» all the way to an indie effort like «Series 7.»

Not only are «Get Out,» «The Shape of Water» and «Blade Runner 2049» some of the very best films of 2017, but from the no - budget indie realm («Prevenge,» «A Ghost Story,» «Transfiguration,» «Raw») to expensive studio epic scale («War for the Planet of the Apes,» «Kong: Skull Island») and newly blazed ground out of the predominantly formulaic superhero («Logan,» «Wonder Woman,» «LEGO Batman») and Star Wars («The Last Jedi») factory farms, fantasy filmmakers tried their hardest to be smart, visually adroit, sometimes startlingly innovative and — strangest of all for this escapist format — humanely, emotionally credible.

Achingly romantic and creepy - funny, this funereal fantasy from the director of La Chiesa (1989) is unlike any Italian film in memory.

The film opens on the island of Themyscira, a paradise island created by the god Zeus and hidden from the real world by a protective shield, and the film stays there for a while as we follow Diana from curious little girl to fully trained warrior princess but once Steve Trevor's fighter plane crashes there and Diana realises there is a war being fought in world she does not know of that is not too far away then we swiftly get brought into London in 1918 and this shift from fantasy into a «real world» scenario gives the film a greater sense of depth, and when combined with characters that you actually care about then Wonder Woman is head and shoulders above all of the other DCEU movies on the strength of that alone.

Check out three new images from Zack Snyder's highly - anticipated action / fantasy film, «Sucker Punch,» and admire the attention to detail.

Zeman's captivatingly innovative fantasy films are worlds away from Stevenson's clumsy mishmash of cutesy gnome - related humor, Holmesian mystery, and perfunctory action - comedy.

A grisly and heroic film, and a welcome surprise from a director best known as a creator of meticulous fantasies.

It does take a while before the thematic material starts to gel, but it does, with such interesting concepts as the fantasy elements that one gleans from porn being akin to those that some get from such films as romances, Barbara's favorite pastime.

In this respect she recalls the fantasy goddess figures of Jacques Rivette's Duelle and Noroit; it's also probable that Rivette's nervous collapse in the mid-70s — shortly after making these films and starting a third in the same series — was the inspiration for Vidal's departure from «Irma Vep.»

This definitely looks and feels like a Ghibli film, no doubt, from all the stunning background art to the animation to the fantasy elements and characters.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening November 23, 2007 BIG BUDGET FILMS August Rush (PG for slight violence, mild profanity and mature themes) Freddie Highmore stars as the title character in this escapist fantasy about a promising musical prodigy who runs away from an orphanage to New York City to find his parents (Keri Russell and Jonathan Rhys Myers) only to end up living with a Fagin - like wizard (Robin Williams) and lots of other kids in a makeshift shelter in an abandoned theater which was once the Fillmore East.

That the film works as anything more than an elaborate game of guess - the - citation is a credit to two key elements, the first being its imaginative visual sensibility, an expressionist approach to costuming and set design that comes as welcome relief from the grays - and - earth - tones look of contemporary tentpole fantasy filmmaking.

The film is an epic action fantasy that takes us into the vivid imagination of a young girl whose dream world provides the ultimate escape from her darker reality.

Disney's The Avengers and Guardians blend the nostalgic, fun sort of action that was prevalent in the mid -»90s with an unapologetic, wide - eyed sense of good and evil that we don't see on screen anymore, apart from high fantasy films and children's cinema.

This time he alludes to the art - cinema context much more directly by opening with music from Francois Truffaut's Jules and Jim and evoking the form of that film with offscreen narration (delivered by Baumbach himself) recounting the story in past tense and with old - fashioned devices such as irises and wipes and French New Wave devices such as fantasy inserts, fleeting flashbacks, freeze - frames, and jump cuts.