Sentences with phrase «fiction film about»

In 1996, director Roland Emmerich released the military science fiction film about an alien invasion - to put it simply - it was INDEPENDENCE...

What do you get when you take what is probably the greatest baseball film ever made («Eight Men Out»), a magical Irish fairytale («The Secret of Roan Inish»), a strange science fiction film about a mute, black alien who lands in Harlem («The Brother from Another Planet») and one of the best mystery / suspense films in recent years («Lone Star»)?

In 1996, director Roland Emmerich released the military science fiction film about an alien invasion — to put it simply — it was INDEPENDENCE DAY and that main star alongside Jeff Goldblum, was the Fresh Prince Will Smith.

As a reward for making what might be the greatest fiction film about the lives of Chinese citizenry during the Cultural Revolution, The Blue Kite director Tian Zhuangzhuang would be exiled from his country's movie business for nearly a decade due to the supposedly subversive nature of his work.

Roman Polanski's Based on a True Story, contrary to its title, isn't: It's a fiction film about a successful author who avoids her past and an eerily obsessive fan who pushes her to write the «hidden book» her previous work seemed to promise.

I don't think I do but will say its a science fiction film about a kid with special powers.

We've sat through an entire generation of fantasy and science fiction films about a protagonist gifted with extraordinary powers who first Resists, then Accepts The Call, which almost always involves saving the world, defeating a powerful villain, and re-establishing the status quo.

Reportedly something of a cold fish, he has nevertheless made three of the warmest and most thrilling fiction films about animals of all time: the undisputed classic The Black Stallion, the messed - up but still remarkable Never Cry Wolf, and the exhilarating tear - jerker Fly Away Home.

Not exact matches

The series, now produced by Netflix, presents science - fiction short films about how tech could change the world in the near future.

«Ready Player One,» director Steven Spielberg's science - fiction thriller about a grim world where people seek escape through virtual reality, opened as the top film in North American theaters, delivering the first No. 1 debut this year for Warner Bros..

At the time, O'Connell was working on a poster for a science - fiction and horror film festival featuring John Carpenter's 1988 cult classic «They Live» about aliens living incognito among humans.

Oscar - winning films like the abuse - survival tale Precious, the 2016 Best Picture winner Room, about a kidnapping victim, may not be straight - ahead biopics, but both stories were pulled from the headlines and spun into fiction.

Knowing of my interest in crime fiction and detective stories my late father - in - law, John Thynne — who had supported Arsenal from before the war — was always talking about a film made in 1939 called The Arsenal Stadium Mystery.

Yet as the examples above demonstrate, there's nothing very new about fiction - whether books, plays, films or TV - taking aim at politicians as either fools or knaves.

Empire State Development Takes Home Emmy Award for Best Corporate Welfare Reclaim New York Initiative offered the following statement in response to Empire State Development's shameless bragging about taxpayer - financed productions winning Emmy awards: «The state's film tax credit job claims are a fiction straight out of the Hollywood productions they're forcing New York taxpayers to finance.

In this wide - ranging, humorous talk, Seth Shostak takes a look at Star Wars and other science fiction films from the point of view of a skeptical scientist, tells stories about the movies he has been asked to advise, and muses about aliens from space and how we might make contact with them.

I enjoy talking about the universe, socio political issues, science fiction, cult films, mathematics, art, and music.

Director James Cameron's 1986 blockbuster follow - up to Ridley Scott's Oscar winning science - fiction / horror flick that became one of the biggest grossing films of 1979 asks a good question to a successful hit... How do you make a successful sequel to a film in which much of the suspense comes from learning about the mysterious monster?

It's a science fiction film that gives you a lot of plot to chew on and some genuine moral dilemmas — about sacrifice, guilt, heinous crimes to protect the greater good and what not.

District 9 is an incredibly effective parable about human rights abuses against refugees, while also functioning as a thrilling science - fiction action film.

If Quentin Tarantino had just cloned Pulp Fiction in Kill Bill would anybody have cared about the film?

Perhaps one of the reasons why it has taken a science fiction film to speak so directly and truly about South Africa — and South African reality to make SF seem so real.

I have gravely mixed feelings about every movie on Marc Forster's résumé, from «Monster's Ball» to «Stranger Than Fiction» to «The Kite Runner» to the 2008 Bond film «Quantum of Solace,» but the guy is undeniably a stylistic virtuoso with a Michael Winterbottom - like ability to jump around from one genre to another.

Glazer puts all this into scenes that play out like a classier version of a science - fiction / horror film — one of those cheesy ones about a monster in human form.

The breathtaking, richly eloquent, and visually - poetic film - deliberately filmed at a slow pace - about space travel and the discovery of extra-terrestrial intelligence (many years before Star Wars (1977), Close Encounters of the Third Kind (1977), and E.T.: The Extra-Terrestrial (1982)-RRB-, was based on the published 1951 short story The Sentinel, written in 1948 by English science fiction author Arthur C. Clarke.

All films are a work of fiction, that much is obvious, and a lot of them are prone to exaggerations, even biographical films, but there's something just so heavy - handed about the way this film presents its story, its world and its characters that's really off - putting.

2001: A Space Odyssey (1968) is a landmark, science fiction classic - and probably the best science - fiction film of all time about exploration of the unknown.

In a bizarre twist, it becomes clear that the Church is also making a film about Louis Theroux... My Scientology Movie is stranger than fiction.»

Mike Birbiglia's sensitive, funny, sad, honest film Don't Think Twice, which has more affection for and understanding of a certain kind of comedy person than perhaps any piece of fiction that's ever been written about them.

The decade after provided us with several entries in this vein of high concept romance — Stranger Than Fiction, Lars and the Real Girl, 500 Days of Summer, Ruby Sparks, 2013's About Time — all films I enjoy and admire.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

As in David Cronenberg's films, Annihilation seems to be about cancer as a science - fiction metaphor.

While cult films range from campy science fiction to highly graphic horror movies and just about everything in between, there are a few characteristics that most cult films share:

How many times has someone else been outraged about a particular film and you said «It's just a movie... it's a work of fiction?»

Ironically for a film about taxonomy, Annihilation refuses to be categorised: is it science fiction, or horror, or a psychedelic safari?

The film says as much in its Ziggy Stardust - inspired opening title card: «Although what you are about to see is a work of fiction, it should nevertheless be played at maximum volume.»

The best thing about the film, though, is that even though it's all about real events and real people, it still feels like a very well - written piece of fiction — not to say it feels unrealistic, it's more to say that the characters are more developed and intriguing than in most biopics.

Some of the greatest science fiction films of all time were made in the 1970s — and we're not talking about Star Wars.

Q: A lot of science fiction films have to balance being informative about their worlds while also not pandering or relying too heavily on exposition.

As the official synopsis puts it: «Part road movie, part science - fiction, part real, it's a film about seeing our world through alien eyes.»

Rian Johnson's Looper is a smart and unique science fiction film set in the future about time travel that is controlled by mobsters.

In addition to running original fiction by major authors (Stephen King was a regular), the magazine contained features about older writers such as Lovecraft and Machen along with book reviews by Thomas Disch, film reviews by Gahan Wilson, interviews and more.»

In its swirl of violence and emotion, the new movie feels like a summation of those two most recent pictures, even as it braids together settings and story elements from Jia's earlier films «Unknown Pleasures» (2002) and «Still Life» (2008), his surreally tinged docu - fiction about the incalculable impact of the Three Gorges Dam project.

Being such a massive phenomenon has made The Hunger Games an easy target to tilt at but the truth is that, staying close to the Suzanne Collins novel, this film adaptation is a lean, smart science fiction thriller that there's much to like about.

So while Vernon, Florida has become something of a Medium Cool for a new generation of film brats (All the Real Girls director David Gordon Green cites the work as one of his all - timers), The Thin Blue Line has become the moment that many point to as the definitive modern reintroduction to the debate about the matter of degrees that separates fiction from non-fiction cinema.

Though the film begins with a snappy history lesson about the circumstances that led to the Iranian hostage crisis in 1979, this thumbnail history just provides the context for an audacious, stranger - than - fiction CIA mission to extract six American hostages from their tenuous hidey - hole in the Canadian ambassador's home.

But there's a real, intoxicating idea burning in Mann's films: his end - of - civilization masterpieces like Heat, Last of the Mohicans, and even Collateral are science - fiction about the last real men in a spiritual vacuum, surrounded by their booty of playthings.

Ending a frustrating nine - year absence from the screen, during which Martel began and ultimately abandoned a science - fiction project, «Zama» is, fittingly enough, a film about waiting: It brings you deep into the world of Don Diego de Zama, a servant of the Spanish crown longing for a transfer from his soul - sapping Paraguayan outpost.

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.

South African - born filmmaker Neill Blomkamp returns for his third science fiction film in the last 6 years, Chappie, a film about a a robot who becomes the first of his kind with Read More →