Sentences with phrase «film direction with»

Not exact matches

Probably more impressive than the direction of the film is Lucas's achievement with the script.

Mix ground pork, scallions, garlic, soy sauce, salt, wine, sugar, oil, ginger, and pepper with chopsticks in a medium bowl, stirring in one direction until it all comes together and a light film forms on the sides of bowl, about 20 seconds.

The movement is brought to life through «The Experiment,» a film debuting today, featuring van Buuren and under the direction of Philip Andelman — who has worked with Beyoncé, Rihanna, Jay - Z, John Mayer and Lenny Kravitz.

There are obviously several directions the next two films could go in, but I think that there is too much potential with Kylo Ren to leave him out of Episode IX.

«In the fine liquid film surrounding the hyphae, bacteria can move with much greater speed and direction and cover more distance than in soil water without hyphae,» says Tom Berthold, first author of the study and a doctoral researcher at the UFZ Department of Environmental Microbiology.

An image of the house, along with a film of Fuller's 1933 Dymaxion Car — a whalelike jet - propelled vehicle that could travel in any direction, in air or on land — appears in Best of Friends, a beautifully integrated exhibition that examines the friendship between Fuller and the sculptor Isamu Noguchi.

The spinning disc is covered with a thin magnetic film and a read - write head hovering above it which «senses» the direction of the magnetic regions (or bits) on the disc.

A fashion story from New York, starring Daniella shot on film by Emon Toufanian with creative direction by Jenni Hensler.

The key features of James Martini cinematogrpahy that most cetainly would appeal to a client whether an artist or production company is that not only will their film / video shine with the aid of a very creative artistic direction, story boarding and editing, but there is a highly professional full film making experience & service.

Despite an interesting premise and excellent cast, the film flopped, but Arquette continued to work steadily the following year, with lead roles in the black comedy Goodbye Lover; Stigmata, in which she starred opposite Gabriel Byrne as the unwitting target of a supernatural phenomenon; and Martin Scorsese's Bringing out the Dead, a film starring Arquette's then - husband Cage as a burnt - out paramedic.Following the weightiness of the creepy Stigmata and the disturbing Bringing Out the Dead, Arquette took things in a decidedly lighter direction with her next two projects.

A film with great potential but which is treated poorly by script and direction, the problem starts in this small village when Mastroianni is unable to consummate his marriage to the beautiful Claudia Cardinale and his virility comes into question.

The film's default state is an ambient inertia that gestures vaguely in multiple directions without concerning itself with the hard work of constructing an argument, a convincing milieu, or even a compelling mood.

With a decent script and direction picked up by the writer of the previous two films, this is definitely a step in the right direction after the second instalment, but I think this film has a nice cap as a trilogy and does not need to continue.

The cast here are well chosen in the parts they play and with effective direction, the film becomes a worthwhile viewing experience that is lots of fun from start to finish.

Corbijn isn't making a stereotypical Hollywood thriller, with the stakes spelled out in neon and the loud fight scenes spaced every few minutes, but he doesn't seem to realize there is such a thing as being too vague, and in his efforts to make some kind of art - house / thriller hybrid, he goes too far the other direction and creates a nicely rendered film with no emotional hook.

Without Ivory on the set, the Merchant - only Merchant - Ivory films are generally wrecks with great sets but horrible direction.

Aronofsky is never afraid to take risks with the story and his unflinching direction turns out to be one of the film's greatest assets.

Okay, the film's story is hardly needled - thin, but it is thin, with a limited sense of meaty consequence and direction that may be intentional, but is still kind of problematic, pumping the final product with natural shortcomings that it doesn't simply fail to dilute, but makes all the more glaring with the aforementioned issues in atmospheric and structural pacing.

The unanimously - praised film with a modest budget of $ 23 million deservedly won seven Academy Awards, including Best Picture, Best Director (the first for Spielberg), Best Cinematography (Janusz Kaminski), Best Adapted Screenplay, Best Original Score (John Williams), Best Editing (Michael Kahn), and Best Art Direction.

With 1970's Husbands, Gazzara made the first of four film appearances under the direction of his old Actors Studio buddy John Cassavetes.

One of those «look at me, I'm so trendy» early 90s films that flirted with bisexuality and / or a girl - guy - girl love triangle; the desperation here is palpable and the writing, acting and direction are all sub-sub-par.

The direction by Marc Forster (Quantum of Solace, Stranger Than Fiction) delivers a fast - paced zombie thriller, and with Brad Pitt front and center, there is a grounding of the film in seeming more intelligent and plausible than your typical scare flick.

Dax Shepard, who serves as co-director, one of the several producers, writer, and star of Hit and Run, appears to be heading in the right direction for actors - turned - directors with his off - kilter debut film.

The Hangover series comes to a merciful close with an installment that's at least a slight improvement over its immediate predecessor, with the narrative, thankfully, going in a slightly different direction than the first two films (ie there's no actual hangover this time around).

Making a film with fine performances, adept direction, first - rate photography and a doltish screenplay is like starting a rock band with no drummer.

The script is ordinary and the direction not terribly exciting plus the film is soft and fuzzy with overbright color.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

Although Steven Spielberg certainly deserves accolades for his direction (especially having to put up with an uncooperative mechanical shark named Bruce), in addition, Verna Fields received an Oscar for her excellent film editing work on the film.

After making a cameo as herself in The Muppets in 2011, Silverman went a different direction by taking on a dramatic role in Take This Waltz, a film following a married couple whose relationship begins to crumble when one half of the pair forms an emotional bond with a neighbor.

The direction of the film, along with the script and acting, is beyond powerful.

The film's humor hits with absolute accuracy, and the twists and turns throughout keep the viewer guessing about which direction the next threat (or next comedic beat) is going to come from.

The writing and direction here are solid and the film has good pacing with an interesting story to tell.

Regardless this is a good film with a great cast and some sensitive direction help keep this film from being nauseatingly sentimental.

The film intelligently plays between the past and the present, in both cases with exceptional art direction.

But as with Hillcoat's subsequent film The Road, neither the script nor the direction allow a genuine sense of horror to build, and it becomes more about the journey itself than the meaning behind it.

But with the brilliant acting by James Cagney and the fast - paced and hard - edged direction of William Keighley, the film clatters past like an express train.

The choreography, cinematography, direction, and performances of this film really added some nice flare to this film, but at the same time, it had a huge flaw that dragged me too much that I actually have difficulties seeing this movie and it has to do with the story.

Spielberg starts off the discussion with commentary about he didn't want to create just another «War Is Hell» film, and the featurette continues with a look at the creation of the film, from location scouting to on - set direction to costuming.

And now even with all the new SFX available, Hollywood seems hard pressed to make even a mediocre film that combines the best acting and direction with the best SFX to make a really enjoyable movie.

«Goodbye Solo» is reminiscent of the cinema verite of films like «The Bicycle Thief» and «The White Balloon», but the template that Bahrani and his screenwriter use, from Kiorastami's «A Taste of Cherry», seems in conflict with the natural direction the performers want to take the

There's a satisfying craftsmanship to every sequence, the direction is stylish without being show - offy, the plot mechanics are convincing, the pace is breakneck and compelling, and the film does something unique and interesting with its Hitchcockian concept.

The biggest problem with this film is the direction.

It's really the direction, along with breathtaking cinematography from Erik Wilson, that takes what might be a fan video and makes it feel like a real feature film.

Writer Laurence Coriat fails to come up with any fresh ideas for developing characters or storylines, and the film never has enough sense of pace or direction.

Stuart Rosenberg's direction is a horror, but the cast teems with so many familiar faces that this film can't help but entertain.

- The fallout from the Sony email hack continues, with Sony Pictures» new film chief Tom Rothman being put to the test with the interstellar love story Passengers, set to star Jennifer Lawrence and Chris Pratt under the direction of «The Imitation Game's» Morten Tyldum.

A second and perhaps more significant bonus feature is found inside the side - snapped case (which per the studio is fitted with nice double - sided artwork): an insert with directions and a unique code for accessing the complimentary UltraViolet stream and download of the film, which promises at least two years for you to redeem this.

With Shield's skilful photography and Nash's competent direction, the film is blessed with a gloriously gritty look, conveying a sense of dread that ensures a viewer will never believe any of the characters will survive unscatWith Shield's skilful photography and Nash's competent direction, the film is blessed with a gloriously gritty look, conveying a sense of dread that ensures a viewer will never believe any of the characters will survive unscatwith a gloriously gritty look, conveying a sense of dread that ensures a viewer will never believe any of the characters will survive unscathed.

The colorful quasi-cel shaded art direction looks straight out of a Hayao Miyazaki film with possibly my favorite art direction of any Zelda since 2003's voyage with Toon Link.

The story flirts with young love (and love potions) at Hogwarts but also moves into a darker and more adult direction and Yates follows suit with a film that is more intimate and somber.