Sentences with phrase «film feels modern»

Not exact matches

This film however, may have had the modern noir feeling, but actually had the old noir story line AKA slow, strange, and confusing.

There are a few overt references to more modern sounding ethical opinions on the treatment of the «natives» sprinkled throughout the film, but to be honest, they kind of feel forced, even if they may have been period accurate.

It is hard sometimes to shake the feeling that this live - action Disney adaptation is relying too much on the 1991 animation, to the point that it almost feels like an extended version of that film; but even so, it offers a fresh and modern look at the classic story that makes it worth it.

This film feels like the musical genre's missing link, bridging the gap between the classic MGM musicals of the Freed Unit, and the more modern, less sanitised genre it eventually became.

Although clearly set in modern day, there is a timelessness in the look and feel of the film that makes this fantasy work, despite being set in reality.

Another film I initially gave a B to before totally revising my feelings on it, Yorgos Lanthimos» dystopian parable on modern romantic relationships belongs in an oddity's museum.

And while there are eerie parallels with modern society (think of Naritsugu as a politically ambitious banker), the film ultimately feels a little bit slow, by Miike standards at least.

Designed with sublime attention to detail by regular David Lynch and Terrence Malick collaborator Jack Fisk; scored with nervy yet sweeping themes by Jonny Greenwood; and photographed with exquisite tenderness by Mihai Malaimare Jr., The Master is the rare modern film that feels like the product of old studio craftsmanship.

The passage of time has made the film feel like an avant garde work that almost acts as a commentary on the modern blockbuster.

Every element is stretched as far as it can possibly go, including a sequence at a casino that feels like it belongs in a «Harry Potter» or «Fantastic Beasts» film rather than a modern - day «Star Wars» chapter.

The film is a collection of small pleasures, from its portrayal of modern man as a boy to the distinctly British feel (don't ask me to explain; it's simply a feeling that emanates from the film) to the sense that the movie doesn't revolve around its setup but its characters.

Even if the story is derivative, much of that old detective feel has been excised for a more modern approach in the movie adaptation, leaving it virtually indistinguishable from many other films in current release.

Considered a disaster on its release, the film has since been reassessed as a modern classic, a dark fairytale that feels like something the Brothers Grimm would make if they were filmmakers.

Dobkin, who directed Wedding Crashers and The Change - Up, will direct the film that is an action - oriented take on the classic Arthurian story, with a modern feel.

A lot of modern, original film musicals are as much about the feeling of their forbearers as anything else.

This looks and feels a lot more modern than the original Captain America film.

Petzold's period piece, now over 30 years out from its rural setting, deals directly with the now fallen Berlin Wall and lacks all the techno - attention of iPhones and laptops, yet the film feels surprisingly modern.

With its thumping music and chic shots of the city after dark, the film looks and feels the way a modern L.A. noir should.

It had a solid old school feel mixed with modern violence sensibilities so I was excited to hear the early buzz of a sequel following the film's solid opening weekend and its $ 192 total gross.

The film becomes more of a thrill ride that feels like a modern day Western — a High Noon in space.

Ti West's period chiller is a modern horror film that feels at once nostalgically hackneyed and invigoratingly fresh.

The film feels at times like a greatest hits compilation, with jokes that call back to the earlier Wright / Pegg / Frost movies, as well as again exploring ideas of modern small - town Englishness and the sense of the everyday being invaded by something extraordinary.

But indeed, I'd argue that Rob Zombie's film is a more accurate representation of what it means to be a human being in our modern era, because we still feel dread, fear, pain and love.

Amazing as it is, Attah's performance is of the type that's in danger of being a one - off, so it's great to hear that he's already been cast in «The Modern Ocean,» the next film from Shane Carruth, and one we can't think about too much or we start feeling a bit ill with anticipation.

Though it is a thriller at heart, and does have a high - speed driving subtext, the film feels more like a throwback to the music video stylized, R - rated crime dramas of the 1980s than the new Fast & the Furious over-the-top, CGI - infused modern action - thrillers.

Matthew's print encapsulates both the old - school movie poster feel of classic horror film art, while bringing some modern printing magic into the mix.

The special is an all - new retelling of Buddy's delightfully absurd yet heartwarming story and blends the look and feel of the stop - motion animated Christmas specials of the past with the sharp sensibility of the modern - day classic holiday film.

Despite its very different tone, this film feels like the modern next step of silent and Universal era horror films.

Award - winning writer director Mamoru Hosoda's film feels like a classic tale rather than a modern take, the characters are quite two - dimensional, the moral simple, but it is sweet, engaging sometimes funny and you do care.

The similarities or influences of horror flicks past, only give it that classic feel and, I think, makes it sit on that shelf alongside its predecessors.That being said, it was all the better for it, this isn't just a horror flick, this is a film with something to say about modern society and the undercurrent of racism.

Any zombie flick clearly owes its existence to George Romero, but this movie with updated effects and a more modern feel is even more fun to watch than Romero's efforts, as those films show their age a bit too often.

In fact the western feel of the film is so authentic, it is almost jarring when modern elements such as cellphones are used in the plot.

But it indicates what much film comedy has become: a slightly sourish cocktail of bad behavior, wry observation, and commentary on how difficult modern life can be, especially for characters who feel entitled to a better one.

Never for a moment did we feel confused or lost amongst all the action, a rare treat in modern genre films.

As the pages turn faster, focusing on the hows and whys of a major crime central to the plot, this concision and velocity make the film feel like a modern thriller.

The whole movie has maintained a modern feel due to the core buddy relationship between the nutty lead characters (one an evil rube, the other a slick, selfish double - crosser), and Morricone's score really enhances the character relationships and the film's offbeat sensibilities.

While the storyline is relatively simple, and one that has been a staple of Hollywood classics since the beginning of commercial films (this is a movie about movies, after all), the complexity of the characterizations, coupled with the technically proficient presentation despite the multitudinous moving pieces involved, makes it all feel fresh and new in the modern era.

Skype, Facebook and Chatroulette all make appearances in the film, but this glossy, modern Inter-web sheen feels tacked on to what is essentially a lowest - common - denominator horror flick.

The notion of a woman who is famous for backing out of her weddings meeting a sexy journalist who saves her from her fears of commitment isn't just bizarre; it feels achingly regressive by today's modern standards of feminism, and Gere and Roberts haven't appeared in a film together since.

Most, if not all, of the film's attempts at humor derive from Red's antics and his wariness of modern life, yet the jokes (always in Duvall's favor) are devoid of feeling and waste thematic conflict on superficial gags.

It doesn't help that Chris Columbus directed «Harry Potter and the Sorcerer's Stone» (2001) and «Harry Potter and the Chamber of Secrets» (2002) because it affords him the liberty of repurposing ideas and techniques he learned on those films, rather than thinking anew about how a modern movie with mythological characters should look and feel.

After the release of the first trailer, several outlets criticized the film for not staying true to the source material, feeling it was too low - brow and modern.

I wanted to make a film about the world we are living in today - about feeling disconnected in our modern world and how we have lost our faith in community.

Not long ago I was watching Martin Scorsese's The Aviator, which I've watched multiple times — not because I feel it is necessarily a great film, but because few modern films have so accurately pinpointed the look -LSB-...]

The story feels like a modern update of films like Night of the Hunter and Hitchcock's Shadow of a Doubt and the direction is like a cross of John Carpenter and Nicolas Winding Refn.

There are a few hints that perhaps Bargva considers himself a modern - day Asian Faulkner, and there may be some truth to that, as this film feels like it was adapted from a sprawling novel of family struggle in India as opposed to a tight script.

Though written as a book before nearly all of the books this feels influenced by, as a film, The Giver feels very much crafted to fall into a modern - day sensibility of cinema.

The relationships and events amount to a credible portrait of modern city and family life, but it's the intimate, improvised shooting style (16 mm, natural light, all on location) and Michael Nyman's evocative, memorable score (this often feels like a film made to music) that define the film and give it the sense of immediacy and compassion that make it so enduring.

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.

Famous modern installation artists include: Joseph Beuys (1921 - 86) the war - scarred ex-Professor of Monumental Sculpture at the Dusseldorf Academy, whose lard and felt installations, extensive use of found objects, bold lectures on art and creativity and career long dedication earned him a retrospective at the Guggenheim Museum in New York; Italian Arte Povera artists Mario Merz (1925 - 2003), Michelangelo Pistoletto (b. 1933), Jannis Kounellis (b. 1936), and Gilberto Zorio (b. 1944); the German multi-media artist Rebecca Horn (b. 1944), noted for her performance films, her kinetic installations, and her Guggenheim retrospective which toured Europe in 1994; Judy Chicago (b. 1939), noted for her installation of feminist art - The Dinner Party (1979, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York); Bruce Nauman (b. 1941), noted for his neon light sculpture and video installations; and the Frenchman Christian Boltanski (b. 1944), famous for his installations of photographs, sometimes with lights.