Sentences with phrase «film critics almost»

Not exact matches

Critics have almost universally praised the film, which is produced and directed by black men and stars a who's who of black acting talent, including Chadwick Boseman as Black Panther, as well as Forest Whitaker, Angela Bassett, Lupita Nyong» o, Michael B. Jordan, and Danai Gurira.

Going into the weekend the big news was the almost universal bashing of the film by critics.

Anyone familiar with the more intellectual forms of pop criticism (whether of music or film) will recognize it as a parody of the Rolling Stone critic — a parody so good that, for a moment, one is almost convinced the piece is the real thing:

Those films were widely rejected by critics, who had almost unanimously celebrated Rossellini's prior works.

His latest, Nocturnal Animals, sounds like a real trip, almost like two films in one that, according to critics, calls to mind the works of Douglas Sirk, Alfred Hitchcock, and Sam Peckinpah.

Now that almost every single film critic in the country has published their top ten list, we can sit back, relax and think about the upcoming year, a year which will bring forth more sequels than ever before and an industry that — supposedly — keeps shrinking in ideas and creative freedom.

The prominent American film critic spent almost 40 years at Time Magazine, as well as a library of books and created many documentaries about film.

As probably the most celebrated and beloved film critic around, a man whose work has appeared in the Chicago Sun - Times for 45 years, who co-hosted «At The Movies» with Gene Siskel for almost 25, and who was the first film critic to win the Pulitzer Prize, it's almost surprising that Roger Ebert has never been the subject of a movie himself.

As a daily film critic, I see almost every film of any consequence that plays in this country.

Adding almost an hour to the running time of «Infernal Affairs,» the film on which it's based, «The Departed» does indeed fill in some of what one critic called the «ellipses» in the plot of the original film (and opens up at least as many other holes in the process).

Although the common trend among critics, when faced with the decision over which cut of the film is better, is to choose the director's vision, it's a tough call with Payback, primarily because the theatrical release has had its day in the sun for almost eight years, and has been thoroughly digested and accepted as a release worthy of admiration and praise.

The Almost Famous and Jerry Maguire director released Aloha, which on paper had a lot going for it, such as a talented cast, but ultimately was hailed by many critics as one of Crowe's worst films and a box office disappointment.

The Margin Call director went out on a limb with All Is Lost by making a film with one character and almost no dialogue, but he stuck the landing and critics have taken notice not only of Robert Redford's performance but of Chandor's direction.

Almost without exception, Martin sustains with absolute grace the juggling of a frequently vast array of reference points taken from a copious array of film critics, theorists, and audiovisual texts, and the author's always interesting commentary thereon in developing his thesis.

It's almost a cliche at this point to mention that the films the end up on critical best lists (whether print critics or bloggers), the films that end up the year's box office champions, and the films nominated for Oscars are pretty much three different groups of films.

I almost didn't post them because this is the kind of thing that makes me really hate film critics or even fake film critics masquerading as real film critics; don't tell me how your collective minds work because I don't really want to know!

Labor Day is almost here and we're deep enough into the calendar year that when a film critic declares a picture to be «light - years the most entertaining movie of the year,» we sit up and take notice — even if the year as a whole has been almost entirely...

I'm not at all surprised that so many critics hated this film (see here), it's almost expected at this point.

Hailed by the LA Times as an «implausible feat of sustained imagination,» and the Wall Street Journal as «an almost perfect movie with flawless performances,» Nancy Oliver's screenplay was nominated for an Oscar, while Gillespie's film won numerous critics» awards and festival prizes.

He's done impressive work in Happiness, The Talented Mr. Ripley, Almost Famous and every Paul Thomas Anderson film, and now he outdoes himself in «Capote», for which he's deservedly been receiving accolades from practically every critics association.

Interviews with the filmmakers and film critic Rich Holloway are interspersed with overwrought voiceover to make sure we remember that, yes indeed, the film is but a single, intense, almost technically impossible shot.

Labor Day is almost here and we're deep enough into the calendar year that when a film critic declares a picture to be «light - years the most entertaining movie of the year,» we sit up and take notice — even if the year as a whole has been almost entirely bereft of «entertaining» movies, or, at least, the kind of movies that aspire to merely entertain and not make you dwell on tragedy («Fruitvale Station»), the emptiness of our culture («The Bling Ring») or the struggles that come with aging and evolving with someone you love («Before Midnight»).

Critics have so far viewed almost all of Payne's films with favor, reaching a peak with Sideways, which no fewer than seven urban critics associations, including New York, San Francisco, Chicago, and London, named the best film oCritics have so far viewed almost all of Payne's films with favor, reaching a peak with Sideways, which no fewer than seven urban critics associations, including New York, San Francisco, Chicago, and London, named the best film ocritics associations, including New York, San Francisco, Chicago, and London, named the best film of 2004.

The Blu - ray duplicates almost all of the extras from the last DVD, and these start with an audio commentary from actors Celeste Holm and June Havoc plus film critic Richard Schickel.

Critics are already hailing the film as one of Joaquin Phoenix's landmark performances with the The UK Telegraph raving, «Joe comes to life in an almost gruelingly subtle and interiorised performance, up there with Phoenix's very best work for James Gray or Paul Thomas Anderson.»

If they did, Amy Ryan's chances probably wouldn't be so overdetermined, because if there's anything more eternal than Oscar's penchant for snubbing a critic's darling, it is its tendency to give the cold shoulder to loathsome, almost irredeemable female roles (like Something Ronan's sniveling brat from Atonement, who is redeemed by film's end, but by two other actresses!).

My best explanation for this is that the film ultimately found itself betwixt and between: too big to be the kind of arty film that critics love to champion, but not big enough (its domestic box office was almost exactly $ 100 million) to force its way into the conversation, à la Avatar, in a «the people have spoken» fashion.

This is the first feature from Jonathan Glazer since Birth (a film that had its share of critics but has grown to almost cult stature in some circles since its 2004 release) in part because he did not want to compromise his vision.

His now iconic performance was almost swept under the carpet, in a film that on its initial release was treated like an abandoned child by audiences and critics alike.

Hoberman («emerges from the mists of time... as a career - capping epic tragedy») to the New Yorker's Anthony Lane («lovers of cinema should reach for their fedoras, turn up the collars of their coats, and sneak to this picture through a mist of rain») to Newsweek's David Ansen («the best foreign film of the year»), critics from across the spectrum, who almost never agreed, rallied around Melville's neglected masterpiece.

Here we are, several years into the Great Recession and the slow death of film criticism, and I am able to access almost three dozen professionally authored and edited reviews of a movie that can barely inspire critics to shrug.

I will admit that, generally speaking, I find these lists by critics to be annoying in that they almost tell you more about a generation that reports on and writes about film than they do the films themselves but I'm finding it hard to find fault with this list.

Almost all critics and bloggers are guilty of it at some time or another — when one is suitably impressed by a particular film or performance, they often express their approval in Oscar - related terms.

Howard Hawks» Rio Bravo -LRB-» 59) is almost always the first film critics and cinephiles use when analyzing John Carpenter's brilliant, blistering solo authorial debut Assault On Precinct 13 -LRB-» 76).

Multiple viewings are almost mandatory for a film like Synecdoche, New York and critics seem to be divided into two obvious camps, those who enjoyed the unique ride and those who despised it.

Noted Magnolia Sunday: «It was clear to us over the last week that critics were really liking Little Men — the film received more — and better — press than almost anything we've opened this year.

The 2018 Critics Choice Awards for film and television were announced tonight and they were almost a carbon copy of their higher profile counterpart, the Golden Globes.

But the fanboy movement and the internet did something to alter the tone of film criticism — it blew the demographic wide open so that now almost anyone can be a critic.

Edinburgh International Film Festival There's a slightly condescending tendency among many critics to brand almost any British film set on a working - class council estate as «miserablist» simply by virtue of the aesthetics of its setting, despite the fact that many thousands of people live functional, three - dimensional lives in precisely such conditions.

Leigh passes that test with flying colors; his latest film received almost universal high acclaim from critics.

A film about a man who is addicted to pornography hardly sounds like your usual rom - com fare, but critics almost unanimously conclude that Joseph Gordon - Levitt, the writer, director and star of Don Jon, pulls it...

Then the great film critic J. Hoberman weighed in with the following: «A survival drama set almost entirely in the unfathomable abyss of outer space, Gravity is something now quite rare — a truly popular big - budget Hollywood movie with a rich aesthetic pay - off.

As the majority of critics will never have played an Uncharted game in their life, their reviews will undoubtedly be coloured by their memories of the good Dr. Jones (the closest cinematic analogue) which, combined with the almost universally negative perception of video game movie adaptations that already exists, could severely limit the film's box office success.

If you want to apply for jobs to work as a film critic, film producer, film director or work with almost anything related with the film industry you can use this sample resume to help you write your own.