Sentences with phrase «feature film debut do»

Bill Taylor's feature film debut Don't Get Killed In Alaska is an intriguing melodrama that depicts a young woman's attempt to carve out her own path in life and make amends with her fragmented family members.

Not exact matches

It wasn't long after her 1998 graduation that the aspiring actress made her feature debut in the 2000 drama Our Song, with nominations for the film at the Independent Spirit Awards and the Sundance Film Festival serving to increase her exposure among cinephiles, even if the film did go largely unseen by the masses.

Rees, whose one and only feature film until now was her 2011 debut, «Pariah,» has said she set out to make an «old - fashioned» movie, and she's done that, allowing her story to unspool at a refreshingly deliberate pace and her characters to find their own footing within the story and with one another.

Skinny, bug - eyed Steve Buscemi, the twitchy actor du jour of American independent films, makes a striking directorial feature - film debut with «Trees Lounge,» in which he also stars as a twitchy, hyperkinetic loser.

I Don't Feel at Home in This World Anymore is perhaps most notable as the debut of Macon Blair as a director, who gained notoriety primarily as an actor featured prominently in the films of Jeremy Saulnier (Green Room), to which this film attempts to emulate to some degree.

From Humpday and Touchy Feely director Lynn Shelton, her first feature based on a script she didn't pen (that credit goes to first - time scribe Andrea Seigel), Laggies debuted at this year's Sundance film festival to mostly positive reviews.

Fredrik Edfeldt's feature debut is the type of film I long for and rarely get: a beautifully shot film which captures as much emotion and story from silence as it does from any dialogue.

His even more complicated relationship with Patsey (Lupita Nyong» o proving herself to be the film's scene stealer in her feature film debut), the «Queen of his field» demonstrates how McQueen doesn't leave a single character one - dimensional, and their respective demons and qualities are equally fascinating.

While Dippold unfortunately gave into stereotypes and cliches in her feature film writing debut, the characters» free - spirited nature did garner genuine laughs.

«I Give it a Year»: «Borat» scribe Dan Mazer makes his feature film directing debut with this romantic comedy about a young couple (Rose Byrne and Rafe Spall) who are doing their best to stay married despite the doubts of their friends and relatives.

To label Francis Lee's feature directorial debut as Yorkshire's answer to «Brokeback Mountain» does the film and its actors a disservice.

So, I'm really excited for Joel, because this is his feature film directorial debut, and he did a great job.

While we didn't see it ourselves, buzz on the film was mixed, but there are definitely a lot of people impressed by Ruairi Robinson «s feature debut.

Nyong» o (who made her feature film debut with this movie, never mind being a first - time nominee) snagged the Screen Actors Guild prize, but Lawrence did win the Golden Globe and British Academy of Film and Television Arts prize.

Interesting casting sees singer Norah Jones in her feature film debut, and while you certainly won't see anything in her performance to suggest big things in her future from an acting standpoint, she does a decent enough job in a relatively undemanding role.

The Iron Giant (Brad Bird, 1999) Brad Bird's feature debut was traditional 2 - D animation when computer animation was the craze, released by studio folk who didn't realize just how special a film they had on their hands.

You can't turn away wondering what Epps is going to do next from attacking Solomon to lusting after his top cotton picking slave, Patesy (Lupita Nyong» o, who is also generating serious award buzz for thanks to an incredible feature film debut).

All of that didn't leave much time left over, but I did get to see one other film, a debut feature by directors Alex and Benjamin Brewer called The Trust, starring Nicolas Cage and Elijah Wood as crooked Las Vegas cops who try to pull off a daring heist.

It makes sense, in a way: they're trying to make the audience as paranoid as the protagonist, but the one thing that «The Conjuring,» the film in which evil doll Annabelle made her feature debut, did so well was balance the light with the dark.

In the feature, Donaldson effectively compares and contrasts the career trajectories for Mimi Leder, who made her name through her Emmy - winning work on «ER,» directed the one of the top - grossing films of 1998 with «Deep Impact» and then went to «movie jail» and didn't direct another film for nine years after the middling performance of her 2000 family drama «Pay It Forward,» to those of Trevorrow, who made his feature debut with the Sundance hit «Safety Not Guaranteed,» won the choice gig helming «Jurassic World» on director Brad Bird's recommendation and managed steer to the reboot of one of the most popular film franchises of all time to giant box - office success.

While the headline of my review for David Lowery's feature debut was «Ain't Them Bodies Saints Sure Is Pretty, But It Ain't Quite Divine» I do think it's a film that folks really need to get out and see as I'd rather have more American indies like this than The Spectacular Now or Kings Of Summer.

Filmmaker Brett Haley has a thing for the underdog, a theme and topic he's explored with grace and honesty throughout all of his films (don't sleep on his 2010 feature debut «The New Year,» which treads similar ground in an even more confined package).

After growing up in the political tumult of France in the sixties and seventies, Assayas followed a path similar to the one traveled by several titans of the French New Wave, first working as a critic for Cahiers du cinéma, then moving on to film projects, including collaborations with André Téchiné and his own feature directorial debut, the 1986 Disorder.

You wouldn't think that it'd be very hard for someone like David Chase — who helped reinvent the TV drama with «The Sopranos» — to get his feature film debut off the ground, but then again, «Not Fade Away» feels so hastily thrown together that it's not surprising it took five years to do so.

I still remember my astonishment, sustained throughout the film, at his feature debut The Element of Crime — this blasted black - and - white world served up in curry - sauce monochrome, with an obviously English detective making his way through an obviously not - English city trying to solve a series of crimes — a climate of crime, really — which as I recall never did reach any identifiable conclusion.

When you're Rob Marshall and only have two other feature films on your directing resume, it takes some guts to embark on a project like Nine, even if you did manage to win a Best Picture Oscar for your directorial debut Chicago (an award that many film critics strongly disagree with, incidentally).

Following in the footsteps of Studio Ghibli (which co-produced the film), Michael Dudok de Wit's «The Red Turtle» is a surprisingly poignant feature - length debut that proves animation can be just as effective as live action when done right.

Without a word spoken, the first two shots in Thief, Michael Mann's groundbreaking 1981 feature debut, announce a simultaneously grim and dreamlike vision that seems, in retrospect, perfectly poised between the great urban crime films of the 1970s and the formal aesthetics of the 1980s — the «style decade» that Mann's subsequent cinema and television work did so much to help shape.

But did you know that Danielle briefly reprised her iconic role as Michael's niece Jamie Lloyd in her own feature film directorial debut Among Friends?

This was the feature film debut of director Justin Kurzel and he does an astonishingly good job at creating a solemn mood.

It didn't quite, although he's rarely out of work, and when Polley came to make her feature debut with «Away From Her,» Montpellier was her only choice, and his haunting wintry images are almost as crucial to the film as Julie Christie «s astonishing performance.

Two other Turkish films from noted auteurs were in the retrospective section: Semih Kaplanoglu's Süt (Milk, 2008), a rich story of a young man's quest to become a poet, done with sharp social observation by the director, but degenerating into hazy symbolism by the end, a device that also marred the director's next film, Mal (Honey, 2010); and Kasaba (Small Town, 1997) by Nuri Bilge Ceylan, the director's debut feature, already displaying his steady hand and broad compassion.

Finally, writer - director Kate Barker - Froyland will make her feature film debut with «Song One,» also showing in the U.S. Dramatic Competition at Sundance and starring Anne Hathaway as another young woman with some growing up to do.

Don't Think Twice is the latest film written and directed by comedian / actor / filmmaker Mike Birbiglia, who made his feature directing debut with the indie hit Sleepwalk with Me in 2012.

In the 1960s, his feature film debut, he plays the haunted and pale Boo Radley in To Kill A Mocking Bird; in the 1970s he immortalized his love for the smell of napalm in the morning as a general who like to surf and plays Wagner when going into battle; in the 1980s he plays a quiet, down - on - his - luck country singer who does odd jobs for room and board while trying to put his life back together; and in the 1990s his turn as the bombastic Apostle E.F. might just be the best single performance of that decade.

Just this evening at the San Diego Comic - Con I caught up with Don't Be Afraid of the Dark (review) helmer Troy Nixey, who made his feature - length directing debut with the film, a remake of the 1973 made - for - TV movie of the same name about a family that discovers murderous tiny creatures living in the basement of their new home.

With his debut feature film, writer - director Ryan Coogler does not simply shoot the puppy, he shoots two puppies.

McG's stock has gone done since his promising feature film debut with Charlie's Angels in 2000.

It seems that director Spike Lee is doing just that with his 1986 feature film debut, She's Got ta Have It, which he's adapted as a 10 - episode series for Netflix.

Co-written by Jeremy Saulnier go - to actor Macon Blair, who recently turned heads with his feature - length debut I Don't Feel at Home in This World Anymore, the film follows a disgraced cop who's released from prison, only to enter a world of trouble when a dying mob boss decides to confess his sins before he keels over.

Last but absolutely not least is Sofia Coppola's The Virgin Suicides (1999), her remarkable feature film debut that was one of the best releases of its year and not only does it hold up, but it has been given a top grade reissue by Criterion and Paramount (I'm still celebrating the studio finally working with Criterion on a regular basis) in a Blu - ray edition as strong as when I first saw the film theatrically.

Directing duo John Francis Daley (you know him from Freaks and Geeks and Bones) and Jonathan Goldstein made their feature film directing debut with the thoroughly mediocre Vacation, and Game Night is a significant step up but I'm not sure that has a lot to do with them.

A Bigger Splash is directed with a fetishistic eye for the human form and exotic locales by Luca Guadagnino, following up after six long years from his highly regarded 2009 film, I Am Love (which also features Swinton, as does his 1999 debut feature, The Protagonists).

Why: If you think of the writing categories as the ones where Academy voters give consolation prizes to films they like but don't want for Best Picture, then expect to see Jordan Peele on stage early in the evening, picking up the hardware for his feature debut as writer / director.

It's too bad that Tarantino didn't save «The Hateful Eight» for his last film, because there's definitely a feeling of coming full circle from his debut feature «Reservoir Dogs,» which has a similar, one - room premise.

The new film marks Baruchel's feature directing debut, although he's done TV (Trailer Park Boys) and short film (Edgar and Jane) before.

The intriguing documentary marks the feature film directorial debut of Randall Wright, who does a great job of humanizing his subject to the point where you really feel as though you know this inscrutable, if charismatic public figure.

The feature debut of writer - director Andrew Renzi, the film introduces a type of character we don't normally see on film: one who is both noble and, at times, as wildly inappropriate as a character in an Adam Sandler movie.

In 2008 she was selected for the Cannes CinÉfondation RÉsidence du Festival in Paris where she developed and co-wrote The Other Side of Sleep, her debut feature film, which premiered at the Cannes Film Festival in 2011.

The success of Ted, his feature directorial debut starring Mark Wahlberg as a man who smokes pot with a living, foulmouthed teddybear, which earned more than $ 500 - million worldwide, guaranteed that MacFarlane could do anything he wanted with his follow - up film.