Sentences with phrase «film elements by»

Kino's earlier DVD release features both versions but the Blu - ray includes only the longer, original German - language, newly restored from archival 35 mm film elements by the Friedrich Wilhelm Murnau Stiftung, with optional English subtitles.

Not exact matches

Locus Corporation wishes to apologize regarding the first elements of our marketing campaign (in the form of a Cannes billboard and a trailer) which we realize has had the opposite effect from that which was intended... Our film, a family comedy, carries a message designed to challenge social prejudices related to standards of physical beauty in society by emphasizing the importance of inner beauty.

Physicists make superheavy elements by taking a target film of a heavy metal and bombarding it with a beam of lighter nuclei.

«What we've done shows that huge modulations and enhancements can be made by adding other elements and performing other chemistries within the polymer film prior to exposure to the laser,» he said.

As the film progresses we learn that Batman is the crime - fighting disguise adapted by millionaire Bruce Wayne, who was traumatized as a child and seeks revenge on the criminal element as a result.

Although the film has elements of a puzzler by Michelangelo Antonioni and a psychodrama by Ingmar Bergman, it never becomes compellingly intellectual or unnervingly emotional.

But once you get past that element of Kidd's screenplay (based on the novel by Helen Schulman), there's certainly a lot here worth embracing - particularly Linney's performance, which is incredibly strong (though not entirely surprising, given how effective she's been in films like You Can Count On Me and Mystic River).

There is indeed a certain immersion value even within the film's style, subtle though it may be, and when it comes to substance, no matter how thinly or formulaically it goes handled, it carries a potential that is reflected in the film carrying wit and dramatic elements as a portrait on man's interactions with his environment and his peers, anchored by memorable characters who are themselves anchored by memorable performances.

The score, by Geoff Barrow and Ben Salisbury, shifts effectively between incongruous acoustic guitar and oppressive breathing - synth sounds that I associate with Denis Villeneuve's Arrival — a film with which Annihilation shares more than a few elements.

Director Stanley Kubrick, working from a script cowritten with Calder Willingham and Jim Thompson, kicks Paths of Glory off with an admittedly less - than - engrossing stretch, as the movie boasts (or suffers from) a somewhat talky first act that doesn't contain much in the way of compelling elements - although, by that same token, it's clear that the film benefits substantially from Kubrick's stellar directorial choices and a host of above - average performances.

Cheesy superficialities plague much of this film, whether it be the comic relief that is frequently flat, or at least dated, or the dramatics which succumb to glaringly unsubtle histrionics, which take ostensibly accurate story elements and corrupt their believability through scripted contrivances, the sting of which goes exacerbated by sentimental directorial atmospherics which range from simply unsubtle to pretty cornball.

The film was also strongly influenced by director George Pal's Conquest of Space (1955), and was similar in some plot elements that were referenced by Kubrick.

When the opportunity presents itself, our hero reveals that he's really a federal agent, assigned to clean up the local criminal element, led by stagecoach robber Warner Richmond (who delivers the film's best performance).

The director was also hurt by the sudden departure of composer Bernard Herrmann (who had scored every Hitchcock's movie since 1957) during the making of Torn Curtain, as Herrmann's music had become a key element of the success of Hitchcock's films.

I have to agree with the other reviewers and critics that the plot and script are still strange and arguably bad, particularly with the steampunk elements, but I still found myself entertained by the film.

The film's single downside is a certain nagging sense of deja vu: the fact that so many of the elements of the story — the dark force, the all - empowering object, etc. — have been usurped over the years (by «Star Wars» and others) that you feel as if you've been down this road many, many times before.

The [not really] dramatic elements provided continuity, as a sequel, and gave the film just enough substance to distinguish itself in a genre dominated by pointless fluff.

Unfortunately Antal's film working from a script by Michael Finch and Alex Litvak apes this buildup to a tee, but forgets two key elements: a great action set piece and a cast of memorable characters.

Without false heroism or rhetoric, the film demonstrates that violence is not an element of chance, but a choice made by men who don't have the will to do better, no matter the reason.

That's probably one of the film's strongest elements, that relationship and how Huck, seemingly, has always been drawn in by Tom's schemes, even if they're not exactly in his best interest.

The film is very proud of itself, exuding a stifling piety at times, but it works as well as this sort of thing can, thanks to accomplished performances by Fredric March, Myrna Loy, and Dana Andrews, who keep the human element afloat.

Like many films by Besson — «The Professional,» «The Fifth Element,» «The Messenger» and other high - octane shoot -»em - ups — «Lucy» starts out riveting but becomes less engaging as it goes along.

By far the most intriguing element of Holmer's vision, the music stands apart from literally everything else in the film.

Written by Coogler and Joe Robert Cole (a veteran of Marvel Studios» bygone in - house writers program), Black Panther combines many of the best elements of MCU films past, including: the Shakespearean royal family drama of the Thor movies, the political thriller elements of Civil War and Captain America: The Winter Soldier, and even the sci - fi tech aspects of the Iron Man films.

They sought inspiration in the era's art, specifically the work of the photo - realists, who painted photographs in a style that is both hyperreal and at one remove from reality — evoked by the variety of reflecting surfaces seen in the film — and the op artists, who deployed contrasting visual elements to create vibrating surface tensions on a single plane.

The film does often flirt with he racy elements of Spring Break in Florida, such as the whipped cream bikini contest and lots of searching for vacation flings, but the film stays true to its wholesome PG rating, and the stars are especially modest by being the characters with the more family - friendly notions of love and honor above hedonistic pursuits.

Watch a video featuring the Christopher Nolan judged t - shirt contest winner inspired by the upcoming film «The Dark Knight Rises» by director Christopher Nolan (The Dark Knight, Inception, Memento) stars Christian Bale (Batman Begins, Terminator Salvation, The 13 Women of Nanjing), Anne Hathaway (The Devil Wears Prada, Get Smart, Alice in Wonderland, The Silver Linings Playbook), Tom Hardy (Inception, RocknRolla, Bronson), Joseph Gordon - Levitt (Elektra Luxx, 3rd Rock from the Sun), Morgan Freeman (The Shawshank Redemption, The Dark Knight, Se7en), Gary Oldman (The Professional, The Fifth Element) and Michael Caine (Cars 2, Gnomeo & Juliet, Inception, Harry Brown).

From anachronistic design elements to the era of film depicted, the Coens are able to portray a world that has somehow always been and inevitably will be by showing a world somehow flung out of time.

While it would be easy to shoot an entire film like this on a sound stage and use visual effects to complete the scenery, director Baltasar Kormakur (2 Guns, Contraband) wanted the cast to experience the elements firsthand by shooting on location in Nepal on the foothills of Everest, as well as the Italian Alps.

The film strains credulity even for a vid - game fantasy by letting the leading lady recover awfully quickly from bad injuries, but other than that Vikander commands attention and is the element here that makes Tomb Raider sort of watchable.»

At the end of the day, the film aims at displaying the second chapter in the new Spider - Man canon by casting a web of multiple threats and thematic elements, but it ultimately fails to focus on any one thing.

The score performed by the always - brilliant James Newton Howard is arguably the most poignant and beautiful element of the entire film.

Diesel's Xander Cage is the least - interesting element here, but that's okay, because the film surrounds him with super-cool supporting characters played by super-cool actors, including Tony Jaa, who gets to bob his head to music at a funeral, and Ruby Rose, who doesn't have a whole lot to do but still looks incredibly badass anyway.

Although religious symbols and themes have often found their way into Schrader's film work, First Reformed marks the first time in which he has applied elements of transcendental style — defined by Bresson as extolled in his seminal book on the subject Transcendental Style in Film — to his own filmmaking.

• Which brings me to perhaps my favorite element of the film: the CIA higher - ups played by David Rasche (as Cox's former boss, Palmer Smith) and the great J.K. Simmons (who, if there is any justice, received this role as consolation for his appearance in The Ladykillers).

Here's a totally awesome fan - made movie poster for the upcoming film «The Dark Knight Rises» by director Christopher Nolan (The Dark Knight, Inception, Memento) stars Christian Bale (Batman Begins, Terminator Salvation, The 13 Women of Nanjing), Anne Hathaway (The Devil Wears Prada, Get Smart, Alice in Wonderland, The Silver Linings Playbook), Tom Hardy (Inception, RocknRolla, Bronson), Joseph Gordon - Levitt (Elektra Luxx, 3rd Rock from the Sun), Morgan Freeman (The Shawshank Redemption, The Dark Knight, Se7en), Gary Oldman (The Professional, The Fifth Element) and Michael Caine (Cars 2, Gnomeo & Juliet, Inception, Harry Brown).

The other elements of the film come together splendidly as well, from the loving - but - not - trite shots of Manhattan, courtesy of cinematographer Ben Kutchins (the «Veronica Mars» movie), to a first - rate comic ensemble that also includes Jason Mantzoukas, Andrea Savage, Natasha Lyonne, Amanda Peet, and Marc Blucas (plus brief but memorable appearances by Adam Brody, Anna Margaret Hollyman, Billy Eichner and Michael Cyril Creighton).

Allegedly inspired by the true story of a Mexican man named Gojo Cardinas who killed dozens of women under the apparent influence of his mother before being incarcerated and rehabilitated, Santa Sangre is in many ways a novel retelling of Hitchcock's Psycho (1960), with that film's psychosexual subtext here put on full display with overt symbolism (e.g. Concha, the castrating mother's name, is slang for «vagina») and mixed with elements of The Hands of Orlac (Robert Wiene, 1924), The Invisible Man and George Romero's zombie films.

Sexism extends into the stylistic elements of the film, most notably in the binary between Laura and Malkina, played by Cameron Diaz.

The film works on multiple levels — as a supernatural thriller (though explicit paranormal elements are limited to a hallucinatory dream sequence and the final shot of the baby's eyes), as a psychological thriller about a paranoid pregnant woman who imagines herself at the centre of a conspiracy, and as the last word in marital betrayal, since the most despicable villain here is surely Guy, who allows his wife to be raped by the devil in exchange for an acting role.

For instant, I was entertained a lot by his video essay on the common cases of mise - en - scène observed from Kubrick's films, and I was also impressed much by another video essay of his which brilliantly presents the recurring elements in Ozu's films.

Granted, some of this has been generated by Malick, and the promotional efforts for the film, but, frankly, many big name, and lesser name critics, have simply imbued and misconstrued their own critical lack and imaginative dead rot into their reviews, and missed the boat on this film, from some of its most basic elements through its more nuanced themes and evocations.

The film makes its home video debut on a beautifully - mastered Blu - ray and DVD combo edition mastered from the restored elements at a corrected 20 frames per second and accompanied by an original score composed and performed by Neil Brand, Gunther Buchwald, and Frank Bockius.

Blade: Trinity is still hampered by the same elements that made the first two films substandard fare, namely, the heavy emphasis on doing everything the cool way, in a heavily over-the-top display of style over substance.

Produced by Peter Jackson through WingNut Films, director Neill Blomkamp manages to convey a film that adds elements of films like Children of Men, Cloverfield, and even E.T., to bring an original and thought inducing story to an audience who is ready to welcome the substance.

But such is the nature of a train wreck, and the best things about Ross's film are those which register the immersive feeling - like - you're - there elements of reality TV alongside the more critical distancing provided by the calculated rebellion being enacted beneath the surface by Katniss and her comrades.

One of the most striking elements about this film was the way it was shot, which gave it a voyeuristic sensibility reminiscent of North by Northwest (1959) in particular — especially in terms of the way the character of Héctor 1 was set - up and the power dynamic between the multiple Héctor sequels and the young girl.

The real events of Amin's spectacular rise and fall in Uganda are distorted by the narrative of this movie in much the same way the events of one's life are distorted in one's dreams — or, more comically (and the best elements of this film are comic), the way a body is distorted by funhouse mirrors.

There are more conventional elements scattered throughout the film, which is written, like the first, by Reid Carolin, and is directed by the longtime Soderbergh collaborator Gregory Jacobs.

But in «Hillary's America» D'Souza risks diluting his message by playing up the conspiratorial elements instead of focusing on an indictment of the presidential candidate in the film's title.