Sentences with phrase «film follows the piece»

The film follows the piece from its original concept to its display at the Getty Center for Valentine's exhibition during Pacific Standard Time, the 2011 Getty initiative to celebrate the birth of the Los Angeles art scene.

Not exact matches

As a follow - up to his Oscar ® - winning The King's Speech, he could have played it safe and done another smart, funny period piece or a family drama — or any number of equally small independent films.

The film - which follows a trio of friends (Bradley Cooper's Phil, Ed Helms» Stu, and Zach Galifianakis» Alan) as they attempt to piece together just what transpired during a pal's drunken bachelor party (where it inevitably becomes clear that said pal has mysteriously vanished)- strikes all of the wrong notes virtually from the get - go, as screenwriters Jon Lucas and Scott Moore offer up a series of broadly - portrayed caricatures that could only exist within just such a low - rent comedy (with Galifianakis» aggressively off - the - wall turn as Alan undoubtedly the most apt example of this).

Joshua Oppenheimer's follow - up to his award - winning documentary The Act of Killing is a companion piece to that film, and once again critics are extremely impressed.

The following year, Garofalo appeared in no less than five films, with a supporting part in the ensemble piece 200 Cigarettes, a starring role as an unconventional action heroine called the Bowler in Mystery Men (which also featured Stiller), and prominent turns in Kevin Smith's eagerly awaited Dogma, Hampton Fancher's psychological thriller The Minus Man, and the satirical comedy Can't Stop Dancing, in which she acted alongside fellow comedienne Margaret Cho.In 2001, Garofolo took on the role of Catherine Connolly in The Laramie Project, HBO's docudrama chronicling the aftermath of the death of Matthew Shepard, and filmmaker David Wain's comedy Wet Hot American Summer.

Coogler ups the intrigue as the film plays, with each new piece of the puzzle put together to deliver impact, and to change what we know about these characters in ways that give the entire story a surprising amount of nuance, given the amount of characters to follow, as well as the wider scope of the international politics.

The director's last film, the Ian Curtis biopic CONTROL, was such a dazzling and brilliant piece of work, it would be almost impossible to craft a worthy follow up.

- «Recast, Reshot, Reclaimed» — This piece follows the unprecedented recasting of the character J. Paul Getty a little over a month before the film's theatrical release.

Just so you don't think we're ungrateful before the upcoming 2018 Oscars — airing this Sunday, March 4, on ABC — we are following our piece on 10 LGBTQ films that were snubbed by the Academy Awards with a look at some of our favorite Oscar - winning queer films.

In «Ratcatcher,» «Morvern Callar» and «We Need To Talk About Kevin» her characters are forced to try and to pick up the pieces following one tragic, life - altering event that happens early in he film.

She made her film debut in Brian DePalma's 1987 gangster flick The Untouchables and went on to become the darling of the indie film world with her stunning turn in 1998's High Art, followed by strong roles in such lauded films as Far from Heaven, The Station Agent, and Pieces of April.

Joan Rivers: A Piece of Work One of the best documentaries ever about the show business life, this film follows Joan Rivers over the course of one year as she tries successfully to resurrect her career.

Joshua Oppenheimer's The Look of Silence, a companion piece to Oppenheimer's own The Act of Killing, opened Doc / Fest and set a bar that the following 150 films couldn't touch.

A fine piece of genre film making, The Town is Ben Affleck's follow - up directorial effort to Gone, Baby, Gone.

Most of his working - class ensemble pieces are set very much in the present day, but following the success of his Gilbert and Sullivan biopic «Topsy Turvy» (1999)-- which was inevitably set in the past — Leigh has once again turned to period drama with his latest work, «Vera Drake» — without ever abandoning the ideological concerns of his more contemporary films.

In a New Yorker piece on the director, Baumbach briefly mentions his follow - up to «Frances Ha»: another New York - set film co-written with Gerwig, and one reportedly much «looser and wonkier» than their previous effort.

At its core, the film is a low - key thriller and detective story, stripped down and singularly unique, the film follows a brother and sister as they try to piece together the disappearance of the brother's ex-girlfriend.

In other words, Toni Erdmann (which opens in New York and Los Angeles on Christmas Day, with other cities to follow) exhibits a tonal range that rivals Mariah Carey's vocal range... though it's Whitney Houston who inspires the film's most memorable set piece.

Tony Jaa is a bona fide movie star who is the best martial arts film actor on the planet, and his follow - up to «Ong - Bak: The Thai Warrior» has one amazing action set piece after another.

Reverentially adapted from a ghoulish piece of Puritan folklore (much of the dialogue is lifted verbatim from 17th - century documents), this terrifying horror film follows a family of fundamentalist pilgrims who become neighbors with a nasty ghoul after being banished from their New England settlement.

«High - Rise» was his controversial take on a cult novel that felt more ambitious than successful, and he follows that up quickly with a film that almost feels like a response to the scope of last year's piece in its minimalist structure.

Over the past week or so, I had the following film pieces posted at Hammer to Nail: reviews of Criterion Blu - rays of Multiple Maniacs and Women on the Verge of a Nervous Breakdown; reviews of new theatrical releases Lucky and We're Still Together; and a two - part interview with director Peter Bratt and subject Dolores Huerta, of the new documentary Dolores (reviewed earlier).

There is a narrative to follow (and to piece together — it is still a Nolan film, after all) in Dunkirk, but the film is far less concerned with plot than it is with experience, with creating an enveloping mood of tension and awe that shows a terrifying moment in time for what it was, or may have been.

Some interesting twists and fairly well done action scenes (surprising since the film was directed by Louis Morneau, who made the hellish Bats) follow, but what kills this otherwise polished piece of pulp are the painfully unfunny wisecracks delivered by Belushi's character.

In particular there is a graceful sequence, wittily scored to piece of classical music where Carter discovers his gravity defying jumping abilities and any film with an adorably ugly monster / puppy sidekick who follows Carter everywhere or the simply adorable Collins as the Princess of Mars is not completely without merit.

That's followed by a 12 - minute making - of featurette, five deleted scenes (each presented with the optional accompaniment of the commentary crew), a fun and brief piece called «The B Team» that spends some time with three cast members (Juliette Lewis, David Koechner, and Kick Gurry) who felt left out after they joined the filming a few days late, a blooper reel, and a music video for «Put Your Head on My Shoulder» by Blue Mother Tupelo.

Gondry's second film to be cast with young unknowns — following his 2012 South Bronx ensemble piece The We and the I — Microbe and Gasoline is a gentle contemplation of male friendship and the dreams of adolescence, in the form of a road / buddy movie that, unusually for Gondry, is only sometimes overtly goofy.

For cinematography lovers, the Thompson on Hollywood blog on Indiewire and Variety magazine both did nice pieces on Dick Pope's work on this film that are worth follow - up reads.

Like Gummo, L.I.E. betrays itself as a subversive literary piece: Korine's work following the major tropes of John Keats's Ode to a Grecian Urn and Cuesta's film faithful to the philosophy and tone of Whitman's Leaves of Grass.

Director Fernando Meirelles follows up his highly acclaimed film, City of God, with another impressive piece in The Constant Gardener, a loose but very well respected adaptation of John Le Carre's lengthy and complex novel of the same name.

Very soon, we start to piece things together, and before we know it, this remarkable film has subtly introduced a series of characters and stories for us to follow.

Tonally it owes more to Rowan Woods's excellent drama The Boys rather than other Australian crime films like The Square, Gettin» Square or The Hard Word and yet it still follows the conventions of a crime drama to result in a complex and gripping piece of cinema.

Speaking of special films, and special filmmakers, Sean Baker follows up his hit film Tangerine with maybe his greatest piece to date.

From the very beginning, Doctor Strange felt like an outlier in the interconnected men - in - capes world of Marvel Comics, though the character's debut in the equally dense Marvel Cinematic Universe follows the company's film - studio formula closely: Doctor Strange is an origin story, a love story, a framework for vintage pop songs and huge action set - pieces.

In the film's action set piece highlight (followed closely by the badass single - take subway fight scene with Eric Bana), we really see what Saoirse Ronan's titular protagonist is capable of.

As indeed is Smaug's assault on Lake - Town, but Battle of the Five Armies only succeeds in bits and pieces, and overall feels less like a film than an enormously long episode in some vast follow - up adventure serial.

The film's prologue consists of a concise 2,000 - year history of Iran (The information provided in the sequence, which mixes storyboards and archival footage, is the first and last piece context to the events that follow), which leads directly into the events of November 4, 1979, when a massive group of angry students stormed the embassy and took everyone in the compound hostage.

Robert Altman's unloved mood piece, Images, his middle - child in a triptych of eerie, unsettling films focused intensely and enigmatically on the female psyche (following the exceptional The Cold Day in the Park in 1969 and preceding lauded masterpiece 3 Women in 1977), at last gets the loving restoration it deserves thanks to Arrow Academy.

The film's final act (in which Louis and Rick opt to follow the at - large suspects of a multiple shooting Louis captures earlier in the film) is a tremendously tense series of strained negotiations and last - second strategies, chess pieces shifting and moving into place in the finest De Palma tradition.

Adding cosmopolitan flair to the setting, the cast also includes Elisabeth Moss and Dominic West; she a journalist who awkwardly beds the classy Christian, only to unleash a neo-feminist inquisition the following day when he appears to have forgotten her name; and West, an esoteric artist whose sympathetic personality masks a deep conviction of self - importance that unravels in the film's over-the-top «performance art» set piece, involving a human anthropoid, programmed to conclude an important black tie donors» dinner, a set - up where Marx brothers jiggery - pokery meets the cruelty of Lars von Trier.

Steve McQueen's period piece 12 Years A Slave, adds another # 1 spot under its belt, followed closely the third installation in Richard Linklater's Before trilogy, Spike Jonze's futuristic love story, Her, the awe - inducing Gravity and the film that everyone can't stop talking about, The Wolf of Wall Street.

Ant - Man angles itself as a heist film, unfurling a series of set pieces following Lang as he infiltrates various well guarded assets.

angles itself as a heist film, unfurling a series of set pieces following Lang as he infiltrates various well guarded assets.

This short film follows the process of creating the beautiful military dress coat worn by Hal Fowler as King Ignacio, from initial sketches to the full detail of the finished piece.

, 1976 traces Acconci's early actions and performances, including FOLLOWING PIECE (1969), in which he followed passers - by on the street until they entered private spaces — SHADOW - PLAY (1970), in which he shadowboxed with a bright light shining behind him while moving in front of a wall — OPENINGS (1970), during which a camera focuses on Acconci's stomach as he pulls out his body hair, the film ends when Acconci is hairless — SEEDBED (1972), during which he audibly masturbated for eight hours a day under a temporary floor at the Sonnabend Gallery in New York while visitors walked overhead — THE RED TAPES (1976 - 77), a three - part epic that merges video space with filmic space, evolving into complex amalgam of narrative strategies, photographic images, music and spoken language.

2.15 - 2.45 pm Irene Revell reads a piece made in - conversation with Beatrice Gibson followed by a screening of Beatrice Gibson's film F for Fibonacci (2014)

Bismuth will also show framed pieces from his Following the Right Hand Of... series, here featuring a photograph of his actress subjects beneath a layer of Plexiglas upon which he's drawn the movement of their right hand throughout the duration of a feature film.

Leslie Kulesh «s piece, «T.A.H. Temporary Autonomous Home (Survival Pillow Set)» (2015) is made and therefore protected with PET film, a transparent polyester film which blocks the following waves: thermal, micro, and electro magnetic - as the materials list on Ashley Berlin's website describes.

Following the passing of renowned Austrian artist Maria Lassnig, a body of new films was unearthed from the artist's estate, pieces that marked a continuation and elaboration of her unique and exploratory approach to the human form and its movements.

In Steve Martin's comedy Bowfinger, a no - budget filmmaker follows a famous actor around Hollywood and secretly films him to piece together a movie.