Sentences with phrase «fantasy films like»
This film definitely has potential to serve audiences who previously flocked to fantasy films like Lord of the Rings and The Hobbit.
http://www.johnhanlonreviews.com/ Not exact matches
Like the hilarious but unironically fashioned book The Zombie Survival Guide (2003), here's a zombie tale for the 9/11 era, when fantasies of urban chaos and duct - tape - sealed apartment windows are no longer relegated to horror films; these paranoid scenarios became regular fare on CNN.
She is a human like you, not a fantasy girl out of a porno film!
And an interspersed sci - fi fantasy sequence that looks like it ate half the film's budget is lame.
This peculiar low - budget children's musical fantasy was directed by Herschell Gordon Lewis, who was best known for horror films like Blood Feast.
MovieMan, In Pan's Labyrinth it didn't bother me, because the Spanish Civil War was approached more like an atypical backdrop for a fantasy movie, unlike in District 9, where the film purports itself to be an allegory by having Johannesburg as the setting.
Who would have thought that it would be a master of fantasy like Steven Spielberg who would direct what might be the most wrenching film ever made?
The film had great set design and art pieces, but it's not really like a blatantly fantastical fantasy — it is shot and depicted almost like a historical fiction with some bizarre creatures in 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.
What is interesting is (like some original sci - fi concepts) back in 66 when this film was made the idea was of course deemed fantasy, these days I don't think it is, well with robots anyway.
The only fantasies Fifty Shades Freed convincingly fulfill are those of boutique publishers who would like to believe that a debut novel can acquire 250,000 preorders and that a local glossy can employ upwards of fifty full - time staffers, both of which occur in this film.
If you liked the first hobbit your probably going to like this, for those looking for a good fantasy film to see this year, this is a good choice to go see (though I think Thor 2 Dark world would be a better choice.)
Yet like the thunder god himself, the film is stuck between two worlds: the one where you want to tell a lively fantasy - adventure story, and the one where you have to make it tie in with the other movies.
The film peaks with a series of tests for Tris that play like a gamer's fantasy of virtual reality.
Within seconds the film goes from being a really decent sensible fantasy to dumbed down superhero crapola just like the original trilogy, in places.
However, while Warcraft looks like an epic, fantasy blockbuster, it just might be too niche of a genre film to appeal to a larger general audience who isn't familiar with the game.
My biggest problem is that the film was obviously trying to set up a trilogy-esque story, like many of the fantasy classics out there, with the characters of Soren and Kludd.
Try if you'd like to judge this simply as an adaptation (a measure it still fails), but it is impossible not to view Burton's movie as a wildly inferior remake of one of the most spectacular fantasy films ever made.
We don't accept or like each other or ourselves enough,» I believe that there is a light that shines through these films, whether it's told through satire («The Square»), through fantasy («A Fantastic Woman»), hope («The Insult») or humor («On Body and Soul»)
There was a time a decade or so ago when Spielberg, in his fantasy films, shucked his transcendent Pollyannaism and concocted scabrous, scary dystopias like «War of the Worlds» and «Minority Report.»
Occasionally, it veers into fantasy, with hand - drawn illustrations on top of the film stock when the narrative slides toward musical numbers, often comical covers of songs like the Talking Heads» «Psycho Killer» and Iggy Pop's «The Passenger» staged on public transit.
Admittedly the backgrounds of the four major fantasy sequences that anchor the film look impressive for a couple of seconds but like every other element in this film, the art direction is so conceptually underdeveloped it fails to sustain interest.
It feels like an extended trailer for a computer game and this is largely due to the absolutely flat and lifeless action sequences that are so crucial to the film's success (or lack thereof) as an action / fantasy.
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.»
Clocking in at a brisk 103 minutes, «The Great Wall» has very little on its mind beyond its B - movie premise, operating like a weird hybrid between a Hollywood swashbuckling adventure and a Chinese fantasy film.
But like Wormold himself, the film gives in to the fantasy to let him be a hero.
The film plays like a revenge fantasy, but it is really clever and never feels gratuitous.
In Ridley Scott's stunning sci - fi — fantasy sequel, Ford magnifies the gravitas and uncertainty in his original «Blade Runner» performance, turning Rick Deckard into the film's most human — or, if you like, least robotic — figure.
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.
Luckily, fantasy films are red hot, and it's better than other wildly popular, but inherently mediocre efforts like Chronicles of Narnia, Harry Potter, Pirates of the Caribbean, and all of their brethren.
That film was like a nostalgic fantasy of what the young Boorman might have wished the Blitz to be.
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.
I believed this to be the way movies naturally were, unaware then that I was poised at the cusp of a decade of filmmaking that would redefine fantasy and science - fiction, setting precedents for the genre with films like Back to the Future and Predator, E.T., and Blade Runner, Near Dark, and Miracle Mile — the well was as deep for flights of fancy in the Eighties as it was for incomparable character - driven paranoia in the Seventies.
London Fields is a modern - day Pygmalion story split three ways, with femme fatale Nicola Six (Amber Heard) playing the stereotypical male fantasy whose chameleon - like dexterity allows her to manipulate each of the film's male leads.
It complicates the film's relation to history, so thinly veiled at times (Thornton's James Carville, Emma Thompson's Hillary Clinton stand out in particular, but also Kathy Bates's conflation of Betsey Wright and Vincent Foster), but ultimately this is not a docudrama of historical recreation (like Oliver Stone's W. or the Jay Roach / Danny Strong HBO movies Recount and Game Change, let alone a fantasy of a Hawksian White House as in its most direct descendant, Aaron Sorkin's The West Wing).
Mexican director Guillermo del Toro has built a reputation on his imagination: films like «Pan's Labyrinth» and «Hellboy II» are crammed with eyeless demons and flesh - eating fairies, tangling fantasy and horror in intoxicating fashion.
Perhaps because this is a film written and directed by men, cutting loose for these moms does not mean acting like they did when they were young and single, but rather a frat boy fantasy involving speeding in muscle cars, downing bottles of vodka and Jell - O shots, shrugging off any responsibilities, flipping their condescending boss the bird, throw wild and hedonistic parties, and trying to get laid with easy hookups at the local bar.
Although this sumptuous fantasy also involves a new Del Toro creation, a kind of Creature from the Black Lagoon - like figure played beneath the elaborate costume by Doug Jones, this is perhaps the most human, and humane, film yet to come from the mind of Del Toro.
From his attention - grabbing debut with «Reservoir Dogs» (1992), a deviously clever heist film where the heist is never seen and the drama is all in the conversation and the ingenious structure, to his acclaimed «Inglourious Basterds» (2009), his thrilling rewrite of World War II history as a magnificent movie fantasy, Tarantino has gone his own way, snatching up ideas strewn through decades of film history and hundreds of genre movies like a magpie, rethinking them completely, and weaving them into entirely new stories that unfold at a leisurely pace so he can enjoy every word and gesture along the journey.
Despite its October release date, «A Monster Calls» from visionary Spanish film director J.A. Bayona doesn't look like your standard horror - fantasy release.
When Marvel is willing to really embrace genre — for example, when Thor felt like an»80s fantasy, or Captain America felt like a 70s political thriller (or 40s war film)-- I think they are at their best.
Casino Royale is fantasy in a world that's earned its darkness, a mature film that doesn't demand to be taken seriously but doesn't expect you to believe that the world is the same as it was when Sean Connery leered at Ursula Andress walking out of the surf like Venus on the half shell.
Sucker Punch is a man's action movie fantasy — rolling everything a guy would enjoy in a film like hot women, heavy gunfire, a mother dragon who basically makes explosions come to her, and enough insanity injected into its most adrenaline racing scenes to keep you talking around the water cooler for hours.
Jeff Bridges may be doing a variant on his True Grit voice for his role in Seventh Son, but if this fantasy action adventure film is made up of recycled parts, at least they look like they've been assembled in a lively fashion.
It's easy to sneer at these films, which are at bottom sentimental, feel - good fantasies, but in fairness the Marigold films do tackle issues like ageing and death that rarely get an airing in Hollywood.
Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.
But yes it was like a fantasy he had — after doing these big amazing films that we know, he wanted to do a story about fantasy and love and it was like that for all of us actors who were involved in it.
It's like a Terry Gilliam fantasy directed by Zhang Yimou and reimagined by a child, with the fears and fantasies that mingle through the film becoming almost naively direct reflections of their respective emotional lives.
* Asked how he feels about going from very small indie films to a massive, effects - driven fantasy / comedy, Green said: «Well, just like probably all of you guys like to see different kinds of movies every week — a little of this, a little of that — it's fun professionally to, like, get in the ring and design creatures and have guys in suits and puppets and just, y ’ know, bring in all this stuff... I remember when I was a kid, and if something like «Behind The Scenes of Return of The Jedi» would come on, I'd just be glued to the screen, wishing that one day I'd be able to get my hands dirty doing something like that.
Not concerned with the more realistic take that was tried (and mostly successful) with Casino Royale and (the criminally underrated) Quantum of Solace, Bond's twenty - third outing still maintains the focus on story and character like the previous two films, yet also getting back to the more fantasy elements that has made the character thrive for fifty years.