Sentences with phrase «film era look»

And here's an indie - film era look at what their lives are like.

Not exact matches

Additional special features include audio commentary with Ben Affleck and writer Chris Terrio, interviews with the key players in the 1979 Iran hostage crisis including President Jimmy Carter, former CIA agent Tony Mendez, and the houseguests, a featurette on recreating the era for film, a peek inside the Canadian government, a bit about how Istanbul was chosen for shooting the film, and a look back at how the CIA made Hollywood believe in a fictional film.

They've taken one of the most glamorous actresses of the modern era — a woman whose looks have been abstracted into hubba - hubba caricature in most films, and on awards shows — and ironically restored her earthliness by having her play a creature not of this earth.

It's dirty and grimy the way Star Wars should look — part of the original trilogy's appeal was that it wasn't a polished, shiny science fiction vision, it was scummy and kind of gross and kicked off an era of lived - in production design for these types of films.

But what remains strong as ever by that point is the wistful emotion the film evokes, the bittersweet affection that comes with looking back at an era that was, for better and worse, much simpler.

A couple of other films set in this era are Prince of the City and Serpico, and though the tone and look may be familiar, Chandor's approach is unique.

Initially it looked like «Anchorman 2» was going to have life as a Broadway musical (though quite how anyone thought they were going to make a glitzy stage show about the cutthroat rough - and - tumble of television news and the sobering questions of journalistic ethics the original film raised is beyond us), but thankfully sanity prevailed and we get to revisit the Channel Four News team nearly one decade on, as they face the challenges of a new era with hope, integrity and, probably, scotch.

In addition, the movie also pays great attention to the period detail, giving an accurate look and feel of the 70s era that many films struggle to recreate convincingly.

First, I have to give credit to director Care, who spent much of his career as a director of music videos, for giving the film a nice look and many touches that show he is someone intimately familiar with the life and times of the era.

Their Blu - rays of titles from the silent - film era continue to challenge perceptions of what the era's films actually looked like and no release of theirs from 2016 was more jaw - dropping than L'Inhumaine, which features a scorching transfer of Marcel L'Herbier's 1924 avant - garde epic.

The new «Black Panther» film may pay some respect to Coogler's hometown; as we reported in January, the movie will include a»90s - era flashback that will feature buses fashioned to look like AC Transit vehicles.

In the next section, I look at academic film criticism that has addressed political filmmaking in the eighties, other farming movies of the period, and, as a useful comparison, films made in the wake of the Depression and Dust Bowl Era.

That film heralded a new era of PG - 13 action cinema, one that could be enjoyed equally by children, their parents, and young adult geeks looking to experience the innocent excitement many of us first felt while reading superhero comics.

Although it is a film made for television, the production value is quite good, with terrific use of New York locales, and a spot - on recreation of the look and feel of each era.

It's a great looking film, with cinematography by John Alonzo who even makes the California hills look like they cam from another era, and the disc preserves the period colors and tone of the film along with the crisp image.

Chinatown Year: 1974 Director: Roman Polanski When you look at Jack Nicholson's run of films in what I'll call the «New Hollywood» era, starting with Easy Rider in 1969 and ending with The Shining in 1980, it's truly astounding.

The studio was looking for a unique point of view and they are heading into a new era films where they want to grow and change in a certain way that fits that new environment.

«Getting Real: Recreating an Era» (11:13) doesn't just deal with the film's recent period setting, but with its look as established by cinematography, costume design, and that Oscar - nominated editing.

The breakdown: Based on Hillary Jordan's 2008 novel, Rees» new film takes a sprawling look at two families in the 1940s - era Jim Crow South: the white McAllan family that owns the farm (members of which are played by Carey Mulligan, Jason Clarke, Jonathan Banks and Garrett Hedlund) and the Jacksons who are sharecroppers on it (Rob Morgan, Mary J. Blige and Jason Mitchell).

King's coming out — if only to herself and her dreamboat husband (Austin Stowell, looking like Scooby - Doo's hunky blond friend Fred)-- occupies a significant portion of the film, shining a light on more than just the conservativeness of the era, but the near - impossibility gay athletes faced (and still face) in being true to their identities, lest they lose sponsorships and perhaps even their place on the team.

With Roger Deakins serving as a visual consultant, the film looks goddamn brilliant with Dreamworks ushering in a new gold standard for animated features in era of post-Pixar brilliance.

It's a story of Native American culture that's also a thriller and a story of empowerment, and in an era in which so many genre films look alike, it's so refreshing to see something like «Mohawk» that stands apart from the crowd.

On Time Travel Mater, director Gibbs, editor Torbin Xan Bullock, and production designer Anthony Christove discuss emulating the looks of past eras» films and the story implications for the Cars universe.

THE DVD Shot through with grain and a certain, specific colour blanch I associate with the best movies from what I believe to be the best era in film history, Night Moves looks on Warner's DVD as good as it ever has, or, I daresay, should.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening May 29, 2009 BIG BUDGET FILMS Drag Me to Hell (PG - 13 for terror, violence, disturbing images and profanity) Recession era horror flick about an ambitious loan officer (Alison Lohman) looking for a promotion who instead finds herself plagued by a supernatural curse after she forecloses on an old woman (Lorna Raver) begging for another extension on her mortgage payment.

Although he still looks like MacGyver, the film version spoofs action films like Rambo II and Lethal Weapon, and other action TV shows of that era («A-Team») most of all.

The image looks like a great 35 mm print from the era should, boasting the right amount of film grain and picture detail.

Stewart's Vonnie doesn't really seem of the period in which the film is set: this easygoing but undemonstrative sensualist doesn't quite look or act like someone who exists in 1930s Hollywood, but seems more like a Beat era character two decades early, a precursor to her Marylou in On the Road.

SIGHTS: For a film set in the mid 1950's, the set design certainly captures the look of the era.

Today the film is dated though not so much by the fashion worn by its actors, but by the pre-CGI era special effects that, let's be honest, looked a tad ridiculous even at the film's original release.

Her lines are reminiscent of World War II — era newsreels, another way the film's future looks a lot like the past.

Overlord, with its continual refrain of a soldier's vision of his own probable annihilation, its ominous flash - forwards, and its striking mix of fiction and documentary, certainly has its place among the great death - driven modernist narratives of its era (Nicolas Roeg's 1973 Don't Look Now and Sam Peckinpah's films come immediately to mind), and it has a clear kinship with Kevin Brownlow's similarly handmade «period epics» It Happened Here (1964) and Winstanley (1975).

On the documentary front, there is as ever simply too much for us to be able to cover, but a few potential standouts are «Uncle Howard,» about a New York filmmaker who died of AIDS which features footage of William S. Burroughs, Jim Jarmusch, Tom DiCillo and more; «Zero Days,» Alex Gibney «s investigation of malware used for international espionage; two docs on famous photographers in «Don't Blink — Robert Frank» and «Mapplethorpe: Look at the Pictures ``; and finally «Strike a Pose,» a film catching up with the original dancers from Madonna «s «Vogue» video, which sparked a craze and defined an era in pop.

While the film centered around Korean resistance fighters looking to overthrow Japanese forces successfully plays out as a period piece — the stylization of the entire era from costumes to scenery hits the mark a million times over — the film is quite safe among the other releases of 2016.

I love and appreciate many of the later Disney films, but one can't help but look back wistfully to an era when animators were giddy with excitement over the opportunity to EXPERIMENT — an opportunity which is still there, and yet all too often goes unnoticed and ignored.

While this isn't exactly the Golden Era of Hollywood, the film looks quite terrific for its ample age and seeing the poorly - aged cropped fullscreen clips in the Disc 2 documentary underscores the high quality of the feature presentation.

Her saintly figure and graceful film presence have been making fans drool for years, but the over-40 actress has continued to look great with the best era of her career just sparking over the past few years.

«Before starting the film, I looked through a bunch of catalogues, like Delia's, and watched movies from the era, like Bring It On, Empire Records, 10 Things I Hate About You.

The film takes place in 1957, and Bird not only captures the look and atmosphere of that bygone era, but also its state of mind — most notably the post-WWII fear of an atomic holocaust, which is mined for some good satiric laughs (a sugarcoated classroom film on what to do in the event of a bombing is especially funny).

The fact is that this film would have played differently in the era before «House of Cards» and Trump's America redefined how we look at Capitol Hill.

It also meant the Frankenstein-esque collection of footage all had to be augmented to look like it was from that era — duplicating Kubrick's exact lighting, creating all the props to ensure they looked like they were made in the era — even the grain of the 1980s film stock had to be recreated.

The familiar tone and attitude should please die - hards, but those looking for something new will probably be bored by this overall feeling of sameness to the first two films, as well as to many other cop thrillers of the same era.

His Dalton Trumbo is a tough role, dependent on a look and character in an era that could resemble a bad play instead of a feature film.

Looking at the Boston Globe's investigations into the city's archdiocese cover up of systemic sex abuse of children in their parishes, Tom McCarthy's film is an All the President's Men for the modern era.

In our first - look review from this year's Venice Film Festival, we called the film «an escapist fantasy far from the grim absurdities of Trump - era America.»

Come to think of it, there's no reason why this film is set in the 1980s — everyone looks like they could be from the»90s or 2001, for that matter — except to give Carey a chance to cover and / or sample the R&B hits of the era (most prominently, Cherrelle's «I Didn't Mean to Turn You On»), which, in the film's storyline, are original hits by Billie — hence giving Miss Mariah a history - rewriting ego boost.

It's an era we're so used to seeing in B&W whether in a film made in those decades or on documentary footage of those times, that colour representation of it can look unreal particularly if proper attention is not paid to era - appropriate make - up techniques, hair - styles, costuming and physical props, and the way in which people held their bodies.

This film takes us back to the great depression era on the west coast where hordes of homeless roamed the lands looking for jobs and were taken advantage of by wealthy plantation owners.

Whilst the future looks bright for the sector, game developers and console manufacturers need to work more closely with mo - cap studios to take full advantage of the tech that will already be in place, and present film quality animation that the developers and players crave, taking gaming into a new era of realism.

Though the overall look and feel is decidedly modern, there's a nod to the golden era of Hollywood and early black and white film's countdowns in the typographic treatment.