Sentences with phrase «film culture took»

The success of such movies and their imitators has been identified by many as one of the reasons why American film culture took a nosedive in the 1980s, but his career has always alternated between blockbusters and more serious fare.

Not exact matches

Wes Anderson's «Isle of Dogs» has received near universal acclaim from film critics (the movie currently has a 93 % on Rotten Tomatoes), but even some who have enjoyed the stop - motion film have taken issue with the director's representation of Japanese culture.

Later, God the Father takes on the form of a Native American wiseman (Graham Greene), and leads Mack on a New - Agey «healing trail to bring closure to [his] journey» — the most egregious example of racial essentialism in a film that takes shallow assumptions about foreign cultures as its starting point.

As part of the programme Lakes Culture, working alongside some of the region's key arts organisations, has commissioned a number of unique art pieces: Harmonica Botanica, Point To Point, Take Me Back to Manchester film, as well as PaperBridge.

Take Magazine features in - depth stories of people in New England who are making culture happen in the fields of visual art, music, design, literature, film, dance, food, fashion, and theater as well as the timely information you will need to plan your cultural consumption throughout New England.

The film points out that the culture of financial malfeasance at Enron was evident as far back as 1987, when Lay apparently encouraged the outrageous risk taking and profit skimming of two oil traders in Enron's Valhalla office because they were bringing a lot of money into the company.

But like the best work of Aardman, these touches or little sight gags take a back seat to the plot, and the film still works whatever age or however culture - literate you may be.

It was a sprawling, ambitious film, that took sharp aim at Hollywood culture and fame.

Having an understanding of jazz and drumming will definitely allow moviegoers to dig deeper into the film and take away even more, as it is filled with little references and nods to the culture.

Taking Lives is a socio - political horror film trapped in the body of a game show hostess; smart in spite of itself, it's a statement on a bedazzled culture forever reaching for enlightenment with one hand and distractedly fondling the contents of its corpulent crawlspaces with another.

The screenplay by Rogen and Evan Goldberg (from a story co-written with producer Apatow) doesn't really take us anywhere we haven't been before, but it offers a sly take on stoner culture and an accidental buddy film that works...

Ed Howard: In all of his films, Todd Haynes takes elements of gaudy tabloid culture and warps them to his own purposes, because he sees — in the lurid stories about sexuality and decadence and violence that we like to tell ourselves, in the celebrity gossip rags and TV news and hyped - up movies — deeper truths about identity, gender, politics, entertainment and sexuality.

Ready Player One is a novel which loves»80s pop culture, and as you're probably aware, Steven Spielberg is a big part of»80s (and»70s, and»90s, and» 00s) pop culture — so when it was announced that he would direct the adaptation of Ready Player One, which takes place in a virtual reality simulation called the OASIS, the question as to whether he would reference his own films was brought to light.

That doesn't excuse the fact that the film's premise took inspiration from Asian cultures only to cast a Caucasian actress, while as talented as Tilda Swinton is, there was no point in having her in the role.

The screenplay by Seth Rogen and Evan Goldberg (from a story co-written with producer Judd Apatow) doesn't really take us anywhere we haven't been before, but it gets stoner culture in a way movies haven't really done before, and it offers an accidental buddy film that works.

Pixar's 19th feature film takes us to Mexico as Lee Unkrich and Adrian Molina create a dynamic and colorful tribute to Mexican culture.

Another thing that was a bit off - putting (and I mean this in a strictly historical and filmcraft way), the film seemed to go out of its way to stamp our current morals, mores and politically - correct culture to events supposedly taking place in 18th - Century France (with minorities holding high positions in the Parisian Court and even an openly gay character introduced).

«With such a successful body of work as a commercial and video director, he is ready to take the next step forward and make this incredible film that will be on the cutting edge of youth culture.

With his new film «While We're Young», Noah Baumbach (Frances Ha) takes a complex look at the impact of youth culture on the previous, older generation.

Where much talk of film culture necessarily targets the social conditions enabled (and disabled) by government, institutions, big business, etc, an older tradition in film criticism takes a step away from this «materialist» fray, to revel in the visions of special auteurs.

Coming from the US, I take as much as I can from films that depict a culture I am unfamiliar with, but having the opportunity to discuss the technique and story of a French drama with someone who is more than familiar with the director's work and the social commentary surrounding a film brings about a whole new understanding and experience from what I initially left the theater with.

The Wind and the Lion (1972), the sophomore feature of the film school - trained screenwriter turned director, takes on a romantic tale of rebellion and response, honorable ancient codes and modern military might, and the first stirrings of the United States of America, the modern, maverick young country in a political culture dominated by the history - seeped empires of old Europe, as a world power.

In the films that have become the face of this comedic tradition, lowest - common - denominator pop - culture references take the place of jokes, and gratuitous raunch takes the place of zany cleverness.

This absence takes on a more instructive shape in subsequent films where the documentary filmmaker as objective observer begins to imply more forcefully that «we» (filmmaker / audience) are not the same (ethnicity, culture, class) as «them» (homeless person / child, unemployed, marginal «other»).

Orser is the sort of actor who has operated on the fringes of pop culture for twenty years, with notable bit roles in films like Seven and Saving Private Ryan and the Taken films, as well as quite a bit of television work, but Faults is a rare case of a director putting him in the driver's seat, and he proves himself equal to the task.

I actually appreciated the film's ambiguity... The film breaks down my own culture yet doesn't try to replace it with something else, leaving me as the viewer to think freely about what was just watched and what I will take away from it.

Unlike many of Hitchcock's studio - bound efforts, «I Confess» was filmed in Quebec, taking advantage of that city's Old World architecture and culture.

The cross-Atlantic culture clash is something that the film dabbles in, but ultimately never takes anywhere.

It's a story that really just happens to take place in Texas (although filmed in Utah) and not about life and clash of cultures in Texas.

These conflicts between the friends, the daughters and parents, as well as each individual character gives the film a depth that is both necessary in modern culture and takes Blockers a step beyond its predecessors in this niche comedy genre.

Perhaps Burger was trying to reflect the stoic culture of the period, but while we know the character's motivations, we never quite grasp their emotions — especially Eisenheim, who becomes quite distant and inscrutable during the second half of the film (this may explain why the ending takes some by surprise).

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»).

At the film's recent press day, MacLaine talked about coming to terms with her own legacy, why she's not afraid to take risks, the advice Joan Crawford gave her that will remain a secret, her surprise at meeting Alan Ladd at Romanoff's, how aging people are underserved in our culture and what she'd like to do about it, her impressions of her talented co-star Ann» Jewel Lee, her favorite scene, presenting the Best Foreign Language Film Award at this year's Oscars, why she wants to do an improvisation with Marlon Brando, and the unusual role she'd like to play next.

The film also takes shots at celebrity / fame culture, but pushing aside the earlier predatory male character in favor of a «women eat each other alive, but literally» story makes it fall short for me.

Similar moments all over the film skewer America's centuries - long fetishization and commodification of black creativity and black bodies, as critic Greg Tate wrote about in Everything But the Burden: What White People Are Taking From Black Culture.

Their films mix a perfect amount pop culture references for both kids and adults alike while also presenting themselves as an animation studio that takes their stories, action, and of course their animation styles seriously.

A highly intriguing but incredibly flawed action / adventure film that bases its story on the notion that Ancient Egypt was created by an alien named Ra, who took over the body of a young boy and developed the culture of that region.

The film allows everyone to be a little bit ridiculous and takes digs at an increasingly superficial mainstream American culture without ever being misanthropic or even particularly jaded.

The Screen Queensland collaboration and the role it plays in fostering talent and production activity is taken very seriously by Fisher, who states, «For the local industry, we develop future film professionals through screen culture and screen education, (including) dedicated screenings, career forums and workshops for high - school students.

It's amazing how older films can often take on new life as our culture evolves.

A Hamilton man is fundraising to make sure local kids will get to see the king of Wakanda take centre stage in a landmark film for black pop culture.

In general, these voters emphasized their desire to stay away from «hot take» culture and any social - media fervor surrounding these films so that they can look at them objectively.

The Last Jediis the latest picture from the Star Wars universe in it's plot to completely take over popular culture, one film / year at a time.

his clearest take on the mid-life crisis age of Generation X. Much of the conflict of the film comes from the sense that they are somewhat of a lost generation, sandwiched between the can - do hard working Baby Boomer attitude of those who came before (Grodin's character) and the less traditionalist, blunter millennial hipster culture (Driver's character).

For the most part, Baubach has aged alongside his protagonists, making While We're Young his clearest take on the mid-life crisis age of Generation X. Much of the conflict of the film comes from the sense that they are somewhat of a lost generation, sandwiched between the can - do hard working Baby Boomer attitude of those who came before (Grodin's character) and the less traditionalist, blunter millennial hipster culture (Driver's character).

Knowing that, however, does not change the fact that the film proves engaging and compelling, particularly in examining the culture clash of Squanto and the monks who take him in.

Mike Leigh's breakthrough is a funny film about serious things, and an emotional and slyly political take on consumer culture.

Culture and Islamic Guidance Minister Mohammad Hosseini said Iran would boycott the next Academy Awards «to protest against the making of a film insulting the Prophet and because of the organizers» failure to take an official position (against the film),» the Iranian Students» News Agency reported.

This low - budget arthouse crime thriller draws on the classic American cinema of the 1970s — films such as Dog Day Afternoon and Taxi Driver — when a new mood of pessimism was taking over politics and culture, but comes to articulate its own strange sweetness and hope.

When one watches a film that takes place in an actual totalitarian state — The Lives of Others, for instance, or 4 Months, 3 Weeks and 2 Days — it is easy to distance oneself from the events portrayed, blaming the system and the culture of capitulation on which it relies.