Sentences with phrase «film aesthetic looks»

The game's silent film aesthetic looks absolutely gorgeous, and its developers have already won enough awards to fill a trophy shelf, including four Best of E3 awards from GameSpot and IGN.

Not exact matches

This exhibit of photographs, films, and models from the University of Texas's collection offers a look back at Bel Geddes's futuristic design aesthetic and the many ways it has shaped our present.

The circumscribed aesthetic of the cheap thriller film - within - the - film that Binoche is shooting — made clear from the shot - reverse shot editing and close - ups antithetical to the look of the rest of the film, shot mostly in single takes — signals that we're somehow outside of Haneke's world, even though we're actually buried deep within its layers.

It was important to director Phil Lord and Christopher Miller to give the film an accessible hand - made look that rings true to the do - it - yourself aesthetic of Lego construction.

But in the context of the film, what's of course a striking and great - looking aesthetic isn't grounded in anything more than a desire to rustle up some novel effects, and that emotional paucity shows.

An animated film with a look — a kinetic aesthetic honoring its product line's bright, bricklike origins — that isn't like every other clinically rounded and bland digital 3 - D effort.

I'm a big fan of film noir and the noir aesthetic that permeates a lot of old Hollywood melodramas where men are corrupted by femme fatale characters who look like the platinum blonde that Rachel McAdams plays.

Most of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camera).

At home, Jane (Kim Cattrall) complains about feeling like one of Liam's acquisitions, and when her husband's long - lost twin successfully (and incredulously) infiltrates her bed, sending Liam to the loony bin, the film collapses under the dual weight of its soap - operatic premise and ugly - looking aesthetic.

While I can admire, from an aesthetic standpoint, the look of each of the MAZE RUNNER films being strikingly different from the last, there's not much left holding them together.

Del Toro's Victorian Gothic aesthetic lends Crimson a certain sense of authority and makes his film looks blisteringly good on the big screen.

Will Beall's script is relentlessly posturing but authentically hard - boiled and the film more than looks the part, boasting a rich digital aesthetic, to - die - for costumes and fabulous sets; the recreation of Cohen's real hang - out, Slapsy Maxie's, being a particular highlight.

The amber / yellow tinted look of the film gives an impressive aesthetic uniformity to the film that matches the cultish subject matter, and certainly marked her as someone to watch.

The film's director, Luca Guadagnino, masters this juxtaposition, with the audacious editing (Walter Fasano) and cinematography (Yorick Le Saux) creating an aesthetic that is beautifully alluring to look at and yet borderline dangerous.

Much of the film looks visually striking especially on the big screen, so at least there's that to hold your attention on a purely aesthetic level.

This makes Nossiter's use of digital video an unfolding discovery, just as Trinh's use of it is — though his decision to shoot on video was made at the last minute, reportedly for aesthetic rather than economic reasons, in particular his intense dislike of the look yielded by Kodak film.

But that's not all: Using plenty of gorgeous footage from some of your favorite recent films, Saladino delves deeper into the appeal of his favorite format, which he calls the «perfect middle ground between the retro aesthetic charm» of 8 mm and the more polished look of 35 mm.

The director's working with a whole new style here, and thanks to DoP Benoit Debie, the film looks legitimately fantastic — a colourful, neon - lit nighttime aesthetic highly reminiscent of this summer's other Florida - set picture, «Magic Mike» (the two will make a hell of a double bill one day).

The 2.35:1, 1080p image is mostly, but not entirely, free of celluloid blemishes, with a wash of softly undulating grain ever - present — in fact, the precise look of the film's transfer contributes to its sterling late -»60s aesthetic.

Directed with a rare combination of aesthetic vigor and emotional delicacy by Barry Jenkins, and based on a play by Tarell Alvin McCraney with the beautiful title In Moonlight Black Boys Look Blue, this is a film that resonates in our culture and moment not because it was manufactured to matter, but because in its every breath it has clearly stayed true to itself.

The film looks gorgeous, and I've seen lots of critics compare its aesthetic to a painting.

Refn uses his trademark bold neons throughout the film — he's colorblind and has to saturate colors in order to better see them — and on a purely aesthetic level Demon is stunning to look at.

Fashionable, gorgeous and fearlessly attuned to what they want, these girls always look cool, whether they're cheerleading, casually strolling their twitter feeds, or hacking through a corpse, and the film's snazzy slang and edgy aesthetic calls to mind killer teen movies of the past, from Heathers, to Scream, to Jennifer's Body, but falls just shy of matching their greatness.

Between the labyrinthine plot following the complex and competing interests of various governmental agencies, and the handheld digital film aesthetic adopted by Liman and cinematographer Cesar Charlone — slightly grainy, cutting frequently to close ups that foreground and slightly fisheye the faces in focus — American Made occasionally felt like a through - the - looking glass version of the adventures of Sonny Crockett (Colin Farrell), a chronicle of semi-competence and good old fashioned greed.

Julien's contextual depth and aesthetic vision can be seen again in his latest exhibition that refers to his earlier film, ««I dream a world» Looking for Langston» at Victoria Miro Gallery.

Through a series of reference points ranging from torture methods employed during the Spanish Civil War to repetitive music used to brainwash victims in Stanley Kubrick's seminal film Clockwork Orange the exhibition looks at the manner in which artistic production has migrated from an aesthetic pursuit to the soft - coercion of government and institutions power.

Sketches, stage costumes, and excerpts from films, runway shows, concerts, dance performances and televised interviews will all provide a look at the couturier's world and will explore how his avant - garde fashions challenged societal and aesthetic codes in unexpected, and often humorous, ways.