Sentences with phrase «fiction film like»

A landmark collaboration between writer H. G. Wells, producer Alexander Korda, and designer and director William Cameron Menzies, Things to Come is a science fiction film like no other, a prescient political work that predicts a century of turmoil and progress.

Whilst I can't imagine a quasi - documentary / fiction film like this has much to offer in a second viewing, it's a unique experience — a must for Hitchcock fans and anyone interested in the blurring of fact and fiction.

I had never seen a science - fiction film like that, because nine times out of 10, science fiction deals with technology, or the level of technology.

Sean Baker directs fiction films like a documentarian hesitant to work within a journalistic framework, often casting nonprofessional actors in roles that draw upon marginalized experience.

Not exact matches

As the actor who redefined what it means to be The Man in Hollywood with films like «Pulp Fiction,» he simply put too much into the role, making the Octopus one of his least memorable characters to date.

He didn't want to make it look like just a mechanical mat... which is typically what happens with robots in science fiction films.

Saloons and shoot - em - ups, good guys and bad, the West of films like Shane and High Noon are all debunked as pure fiction.

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.

Counselors in rehab often warned me of watching films like Pulp Fiction or Requiem for a Dream, which have a reputation for glorifying drug use and could have led me to a relapse.

«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.

In what seems like a plot straight out of a low - budget science - fiction film, scientists have revived a giant virus that was buried in Siberian ice for 30,000 years — and it is still infectious.

Somber piano and unexpected saxophone solos feel like this is not science fiction, but a film noir.

But John's command does push the film further into the old science - fiction, doomsday territory of films like Five; The World, the Flesh and the Devil; and Night of the Living Dead, where the only way in the world the races could commingle was at its end.

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.

But amazingly for a 50's space flick its a very intelligent and deep adventure which has become a full top level cult and the quintessential science fiction film up alongside the likes of» 2001: A Space Odyssey».

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.

At no point does anyone in the film even vaguely resemble an actual 21st - century teenager; when these kids text each other, it comes across like science fiction.

Commercial movies like Black Beauty and The Yellow Rolls Royce have utilized the same format, and more recently, adventurous filmmakers have experimented with this structure in such films as Go and Pulp Fiction.

French filmmaker Luc Besson (The Family, Brick Mansions) writes and directs Lucy, a loopy, high - concept science fiction thriller that, like most Besson efforts, is actually just a dumb and goofy action genre film masquerading as a smart and insightful one.

The screenplay for this 1985 feature is so riddled with character inconsistencies and unmotivated behavior that it plays like science fiction: the unsuspected presence of body - snatching aliens is the only conceivable explanation for the bizarre twists of psychology the film proposes.

The fifth and last of the original series of motion pictures based upon author Pierre Boulle's imaginative novel Monkey Planet, this science fiction film was the least - liked by the series» legion of fans.

This felt like an old - school, big budget sci - fi film with massive special effects, great visuals and a concept that made you think in Director Joseph Kosinski's love letter to 80s and 90s science fiction trendsetters.

Like many of us, Drew Pearce misses the smaller, high - concept science fiction films of the 1980s like RoboCop and The TerminaLike many of us, Drew Pearce misses the smaller, high - concept science fiction films of the 1980s like RoboCop and The Terminalike RoboCop and The Terminator.

But I'd like to do a futuristic science - fiction film.

While never the most conventional screenwriter to begin with («Pulp Fiction» is a sprawling, ambitious jigsaw puzzle, for one), in recent years Tarantino's screenplays have pushed the envelope further, eschewing most cinematic narrative conventions, with his movies becoming more like filmed novels that don't bother with traditional structure.

It's the three pillars of science - fiction as defined by J.G. Ballard; the film plays like a western set on Mars, starring bugs pretending to be men.

Like that film, Annihilation uses the science fiction genre to probe some of the deeper recesses of the human condition, although it is not quite so philosophically attuned or thematically rich.

It's a score that re-defines what a science - fiction film can sound like in a way that's reminiscent of Vangelis revolutionary electronic composition for Blade Runner.

Mike Cahill's directorial feature - film debut sounds like a science - fiction movie, but it's not.

If the opening credits wasn't enough, the rest of the film looked and sounded like a Carpenter film while also felt like an homage to some of his science fiction themes.

(The elderly Ventura's claim to be «19 years, 3 months old» when asked his age early in the film connects directly to a later scene in an abandoned factory; mentions of a revolution that at first seem like science fiction are eventually revealed to be memories of the mid-1970s intruding into the present.

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.

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.

The criss - crossed film narrative is in a state of overuse, but writer - director James DeMonaco's droll, modestly stylish crime gewgaw «Staten Island» wrings a few suspenseful and comic pleasures out of a time - bending format that has served the likes of Quentin Tarantino («Pulp Fiction») and Sidney Lumet («Before the Devil Knows You're Dead») among scores of others.

The film seems like it fits into both Cruise and Blunt's fairly recent predilection for science fiction.

It plays like one of those films based on a true story, but it's really a fiction film that draws from some personal experiences of actor (and former pro soccer player) Andrew Shue (The Rainmaker, «Melrose Place») growing up and attending Columbia High School, the South Orange, New Jersey school depicted in the movie.

Like a pulp riff on Luigi Pirandello's play «Six Characters In Search Of An Author,» the film adds layer upon layer of meta - fiction to the hilariously slight premise of a gangster chasing after the three petty dognappers who swiped his Shih Tzu.

But Solaris is less a science - fiction film than it is an existentialist melodrama that, by winnowing itself down to the fierce romanticism at the heart of Lem's novel (and Tarkovsky's trance - like adaptation), locates the core issues of identity and love that plague the dark hours.

The setting feels very much like the Mars - in - fiction we've come to know over the years, and closely resembles Marauder territory in the Red Faction: Origins film released in 2011.

He's helped by a very entertaining cohort of co-stars which include holdovers from the previous films like Ving Rhames (Pulp Fiction), Simon Pegg (Shaun of the Dead) and Jeremy Renner (Kill the Messenger), and newcomers like Alec Baldwin (Still Alice), Sean Harris (Harry Brown) and Rebecca Ferguson («The White Queen «-RRB-.

Looking over the impressive crop of nonfiction films this year, it seems like the most noteworthy ones were those that collapsed the boundaries between reality and fiction, or passive documentation and active storytelling, or cinema and television.

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.

So while I do know of his science fiction work, I almost like to praise him more for his dramatic films, i.e..

It's not quite in the top tier of Tarantino films, like «Dogs» and «Pulp Fiction.»

All that time hanging out with Nolan has obviously rubbed off: Franklin's directorial debut, The Escape, is a handsomely filmed science - fiction short that wears its influences on its sleeve: it feels like something that Nolan might make over a few days while waiting for Hans Zimmer to finish scoring his latest blockbuster.

By way of its coolly detached and minimalist style, Funny Games was deliberately made as a nauseating antidote to films like Natural Born Killers (Oliver Stone, 1994) and Pulp Fiction (Quentin Tarantino, 1994), which (too) eagerly depict graphic violence for the viewer's entertainment (13).

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.

Weinstein cracked that he'd be more remembered for TV efforts like «Project Runway» than iconic indie films like «Pulp Fiction.»

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.