Sentences with phrase «fiction film from»

The new science fiction film from director Luc Besson (The Big Blue, The Fifth Element) stars Scarlett Johansson in a much anticipated role.

Nominated for 8 Academy Awards, this gorgeous science fiction film from Denis Villenueve follows linguistics professors Louise Banks (Amy Adams in a career - best performance) as she aids the military in interpreting the language of the aliens that have come to earth.

For a long time, all we knew is that it was an original science fiction film from Christopher Nolan, who co-wrote the script with his frequent collaborator, younger brother Jonathan.

On the one hand, a big budget original science fiction film from director Brad...

Just as these three films were eye - opening because of how they allow viewers, 50 years later, to witness the emerging student movement and its rapid radicalisation, so a feature - length fiction film from the same year, Tätowierung (Tattoo, Johannes Schaaf, 1967), proved to be a real discovery and, in my view, one of the festival's true gems.

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.

When it comes to science - fiction films from the 50/60's, I have a certain weak spot.

Ghost in the Shell, on the other hand, is a rare breed of tech - minded blockbuster that radically engages with the conditions of the zeitgeist, while also working as a pastiche of notable science - fiction films from the last 35 years, including Mamoru Oshii's 1995 anime of the same name.

Not exact matches

From singing show tunes in Grease to playing a ruthless hitman in Pulp Fiction, Travolta's talent has transcended many decades as he continues to take on A-list roles in blockbuster films.

First of all, it's not apparent when watching Suburbicon that fact and fiction are being blended, either from the marketing of the film or in the movie itself.

I took this from a discussion of Jesus» bloodline that is in wikipedia - «Differing and contradictory versions of a Jesus bloodline hypothesis have been promoted by numerous books, websites and films of non-fiction and fiction in the late 20th and early 21st centuries, which have almost all been dismissed as works of pseudohistory and conspiracy theory.

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.

«Humans have long been fascinated with the idea of replicating nature through machines, from Leonardo da Vinci's famous mechanical knight to speculative fiction of future androids like Philip K. Dick's «Do Androids Dream of Electric Sheep» that inspired the Blade Runner film,» Gu says.

If the server decides that there are objects with geographic coordinates that fall within the camera's field of view, it superimposes these objects on the picture from the phone camera, in a fashion similar to the way the director of a science fiction movie might use special effects to add a spacecraft to a filmed scene.

In the typical science fiction film circa 1950, there's that scene in which scientists return from the just - landed flying saucer and tell the Army brass that no tool known to humankind can cut, burn, bend, or otherwise scar the hull.

Events will include a film festival of science fiction films «before and after the discovery of DNA», in Italy, an overnight camp at the Science Museum in London for children from all over Europe, science contests in newspapers, and a «scientific ballet» organised by CERN, the centre for particle physics near Geneva.

The world's last unexplored continent — not a bad setting for a new science fiction movie, once Cameron returns from filming the further adventures of the Na «vi on their native Pandora, in the Alpha Centauri star system.

In other words, the popular conception of the term psychopathic, from crime fiction or slasher films, for example, doesn't always apply in clinical settings.

Time travel has always been a thing of science fiction but the rules for time travel in this film, as well as from the book, seem very reasonable and the whole idea of killing something off that shouldn't be, will kill everything.

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?

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.

Its actors, its costume design, its music, and countless other facets of the film are drawn from all over the continent and its diaspora, in a science - fiction celebration of the imaginary country of Wakanda, a high - tech utopia that is a fictive manifestation of African potential unfettered by slavery and colonialism.

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

Annihilation follows the familiar form of science fiction horror found in films from Alien to The Cloverfield Paradox, with a cast of characters in isolation, slowly being picked off by a force they don't understand.

To anyone new to Stranger Things Imagine ET, Aliens, The Goonies, The Thing, IT and many other 80's -90's Science Fiction / Horror films books mixed together that was infused of so many pop culture references from the same time that they become hard to keep track of at times well THAT is pretty much Stranger Things in a Nutshell!

It comes from writer - director Alex Garland, whose previous film, «Ex Machina» (2015), was unusually effective speculative fiction involving artificial intelligence and Oscar Issac's dance moves.

Niccol's tech - heavy view of the future strays far from the dystopian wasteland and ultra-flashy perspectives favored by science fiction films.

Late in the film the head of the Democratic party proclaims that he doesn't understand God's plan - of course he doesn't have the perspective of the true insiders who shape and twist fact and fiction to achieve their desired goal... from the campaign manager's point of view, God's plan is all too obvious and the morality... win at all costs as long as you believe in the cause.

From A Trip to the Moon (1902) to Arrival (2016), science fiction cinema has produced a body of classics with a broader range of styles, stories, and subject matter than perhaps any other film genre.

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).

Deja Vu is the latest film to employ tampering with the past in order to secure a different outcome in the present, but by the time you realize that it is highly illogical as a film, you've already gained enough enjoyment out of the film from a thriller standpoint to forgive the shaky foundations in science fiction.

In fact, the only real science fiction in the film is used to keep the characters locked in an apartment from fear of alien invasion.

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.

Journals Elliott Stein reports from the 5th Miami film festival on the excitement surrounding Nestor Almendros» Nobody Listened, and Pat Aufderheide discusses the emerging aesthetic gene - splicing between fiction and documentary praxis, thrown into sharp relief the San Francisco film festival.

«Ridley Scott did the first film, and he inspired an entire generation of filmmakers and science - fiction fans with that one movie and there have been so many films that stylistically have derived from it, including my own Aliens, which was the legitimate sequel and, I think, the proper heir to his film.

German - born Forster has directed a string of films including The Kite Runner, adapted from the best - selling novel, and the comedy Stranger Than Fiction.

Lucas» only previous experience was TH 1138, a science fiction thriller, which he had developed from a student film he had made while at USC.

Adapted by Almereyda from Jordan Harrison's 2014 play of the same title, the film is a seamless, unshowy weave of chamber piece and speculative fiction; at times it suggests a lo - fi companion piece to Spike Jonze's «Her» or perhaps an unusually soothing episode of «Black Mirror.»

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.

But perhaps it was the six award - winning films in MIFF's 50th Shorts Awards that most fittingly captured the hybrid nature of MIFF 2011, a selection of old and new forms of filmmaking, from a myriad of countries on a range of issues: A Fine Young Man (Kevan Funk, 2010) from Canada, winner of Best Short Film; Best Australian Short, The Palace (Anthony Maras, 2011); Andrew Kavanagh, winner of the Emerging Australian Filmmaker Award for At the Formal (2010); Green Crayons, (Kazik Radwanski, 2010) from Canada, winner of Best Fiction Short Film; Nullabor (Alister Lockhart, Patrick Sarell, 2011) from Australia, the Best Animation Short Film; Leonids Story (Rainer Ludwigs, 2011) from Russia, the Best Documentary Short; and A History of Mutual Respect (Gabriel Abrantes, Daniel Schmidt, 2010) from Portugal, winner of Best Experimental Short Film.

In order to qualify as an international narrative feature film, the submitted project must be either scripted or improvisational fiction, and more than half of the project's financing must originate from outside of the United States.

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.

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:

Steven Spielberg's return to blockbuster genre fiction comes in Ready Player One, and it's definitely an enjoyable movie, albeit without the emotional development that one comes to expect from a Spielberg film.

Quentin Tarantino's films (Jackie Brown, Pulp Fiction) have mostly borrowed ideas from other filmmakers that he admires and mixed them together into a new, hybrid form, taking the best of what those B - films had to offer and punching it all up with ingenious, sparkling dialogue.

The new science fiction action film from Bong Joon - ho («The Host,» «Mother») defies the odds by turning yet another dystopian future into something thrilling and distinctive.

This engaging film blends a true story with fiction, morphing from a rom - com into a moving drama as it goes along.

What sets it apart from similarly themed works is its expert storytelling — at times feeling more like a Roman Polanski film than a first swing from a relative newcomer at fiction.

Throughout the film Kaufman experiments with varying degrees of fiction (Cage also plays Charlie's made - up twin brother, Donald) and nonfiction (actual events from «The Orchid Thief» are acted - out by Meryl Streep, Chris Cooper and other supporting actors).