Sentences with phrase «fiction film ever»

IndieWire spoke with Garland's scientific advisor, Dr. Adam Rutherford, about the science of «Annihilation» and the most accurate science - fiction film ever made.

It would take a director as visionary and daring as Denis Villeneuve to make a sequel to what is arguably the greatest science fiction film ever made.

The film, starring Walter Pidgeon, Leslie Nielsen, Anne Francis and the timeless Robby the Robot, is considered one of the best science - fiction films ever made and was a strong inspiration on such future projects as «Star Trek.»

Often regarded as one of the greatest and most thoughtful science fiction films ever, Solaris won the Grand Jury prize and esteemed Palm d'or at the 1972 Cannes Film Festival.

Not exact matches

Michael Apted, who turned the simple BBC documentary Seven Up into the most remarkable documentary series ever created, takes another stab at fiction with the British mathematician equivalent of a spy film, Enigma.

She Demons is another triumph from director Richard Cunha, whose science - fiction quickies of the 1950s are among the worst films ever made.

Pulp Fiction is certainly no different and is now widely considered one of the best films ever made.

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.

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.

«Children Of Men» For a film which is, ostensibly at least, science fiction (it creates one of the most coherent, fascinating futuristic dystopias ever seen on screen), «Children of Men» sums up our War - on - Terror, immigration - panic era better than any contemporary drama could.

It was a hit that got overlooked when another 20th Century Fox science fiction film, a little thing called Star Wars, opened just a few weeks later, but a cult following kept it alive through revival house, college campuses, and video releases ever since.

Villeneuve sat down with me for an in - depth conversation in my new video series Behind the Lens, and we covered the waterfront with topics ranging from his lifelong interest in science fiction movies, why Kubrick's 2001: A Space Odyssey may be the greatest ever, how he came to an agreement with Ridley Scott during the filming of Blade Runner 2049, the beauty of Roger Deakins, and the darkness that permeates many of the films he directs.

Jacques Rivette's dazzling 750 - minute Out 1 (1971)-- an eight - part serial in 16 - millimeter still unscreened in this country that remains one of the boldest experiments in film narrative ever attempted — was conceived as a kind of parody of Bazin's ideas in its deft mixture of documentary and fiction, its improvising actors working through a dense plot built around real and imagined conspiracies, and even its extended takes, one of which lasts 45 minutes as it records a theater group's exercise.

Lacking any definitive understanding of how the pieces fit together (or if they ever will at all), we are left with the film itself, which is a passable science fiction thriller with some intriguing, although never fully developed ideas.

There isn't a bad film in the bunch, and really, this is some of the greatest mystery fiction ever written.

Santa Claus Conquers the Martians is a 1964 science fiction film directed by Nicholas Webster that regularly appears on lists of the worst films ever made and in the «bottom 100» list on the IMDB, and also marks the first documented appearance of Mrs. Claus in a motion picture.

It's taken Sharon 15 years to make Brown Girl Begins, the first ever Canadian - Caribbean science fiction feature film.

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»)?

Ever since John Cassavetes started directing movies, indie films have wrestled with the tension between fiction and nonfiction.

The Third Man One of the finest films ever made, Carol Reed's The Third Man stars Joseph Cotten as a disillusioned fiction writer and Orson Welles as an enigmatic war profiteer in post-war Vienna.

The script for the film, which boasts two writers with cultish followings, Neil Gaiman (Stardust, Mirrormask) and Roger Avary (The Rules of Attraction, Pulp Fiction), had been in the works for almost a decade, finally coming to fruition with one of the more visually stunning films you're ever likely to see.

But the making of «The Room,» largely considered the worst film ever, is stranger than fiction.

Westerns and outer space science fiction are two genres of films that have barely ever been able to reside within the same story without being a complete mess of a movie.

A «nonfiction film» that creates the poetic aura of a narrative film, David mixes most of the audiovisual genres of expressionism, documentary, fiction, avant - garde, video art, visual arts: posters, collages, drawings, to offer the most complete and multi layered vision of a popular hero ever rendered in a film.

While Part I: Dreams addressed film's ability to transport viewers out of their everyday lives and into the darker recesses of the imagination, Realisms explores the irony that in an age where documenting «real life» is made ever easier, the line between fact and fiction becomes increasingly complicated.