Sentences with phrase «film history whose»

Not exact matches

The crowdfunding site Kickstarter might be best known for funding films, games and products — like Pebble, the Palo Alto - based smartwatch whose maker raised more than $ 20.3 million in March, making it the most - backed product in the site's history.

If it were a two - hour film, Wormwood might be a brilliant, uneasy dive into dark CIA history, and its long - term ramifications for family members whose loved ones were sacrificed for the nebulous cause of «national security.»

There are films throughout the history of cinema which occupy the most upper of echelons and whose names are greeted by exuberant, unashamed nods and noises of approval.

Then in late November, an anonymous organization calling themselves «Guardians of the Peace» subjected Sony Pictures Entertainment, whose Columbia Pictures produced the film and was soon intending to distribute it, to the biggest hacking of a corporation in history.

Lee has returned to his seaside hometown to bury his older brother, and that's just the tip of the traumatic iceberg for this broken man, whose devastating history hangs over the film's events like a storm cloud over Massachusetts water.

Zoolander and Hansel are veritable Rip Van Winkles, but — distinguishing the film from its Austin Powers template, as well as Zoolander 2's immediate predecessor — it's the cultural innovations they encounter that are held up to ridicule, such as phones that are bigger than Zoolander's (redeeming his microscopic cellphone from the original), hipster patois (although «hashtag» has for some reason penetrated Derek's vocabulary), and a gender - neutral model (Benedict Cumberbatch) whose name, All, and uncanniness mock the trans movement at a particularly precarious moment in our history.

Today he's a legendary director whose films - from «Mean Streets» to «The Wolf of Wall Street» - have shaped movie history.

Few modern filmmakers are as knowledgeable and impassioned about film history as Guillermo del Toro, whose newly crowned Best Picture winner, «The Shape of Water,» is — let's face it — a TCM's lover's wet dream.

They show us more of Rhodes at work, more backstage of the Horsemen's planning, add to the history of Daniel and Henley, feature Elias Koteas (only photographed in the film) as the legendary magician whose death motivates the plot,

Both films involve a male protagonist whose unusual circumstances give him a unique view of the world and 20th century history.

Meet a dynamic group of women from Pixar, whose experience and success at the studio have helped craft some of the most memorable animated films in recent history.

Starring Bradley Cooper as Chris Kyle, whose memoir the film is based upon and written by Jason Hall, American Sniper charts his four tours of duty in Iraq after September 11th where he became the most deadly sniper in military history.

While Tarantino's debut sits at a cosy stall right at a crossroads in»90s film history, Bottle Rocket might actually be deemed the better film, a bungled crime caper revolving around a lead character whose pluck and moxie shroud serious psychological damage.

This is the first film from The American Film Company, whose mission is to present historically accurate films on American history.

Ultimately though, such moralizing amounts to little more than narrative window dressing, which is perhaps appropriate for a film whose deeper message is that all rules — the Prime Directive, the injunction against altering history — are made to be broken.

installment in this reboot series is not only an emotionally dour thrill ride, but has once again highlighted the brilliance of Andy Serkis, whose performance as Ape leader Caesar proves to be the exclamation point on an argument that he has brought to life one of the greatest characters in recent film history.

The film loses some of its imaginative pop as the frenetic pacing of Christmas subsides and Arthur decides to go against the orders of Santa and Steve, who assumes he will be next in line to take on the mantle of Santa Claus (There's a rich history to the tile, although we have to wonder what happened to Santa Claus the 18th, whose portrait is missing from the wall), to transport Gwen's gift directly to her home.

In short, the movie starts with Thor chained up in the lair of a fire demon named Surtur and ends on Asgard with Thor, his adoptive brother Loki (Tom Hiddleston), who is more often his enemy than his friend, an Asgardian warrior known as a Valkyrie (Tessa Thompson), and the Hulk (Mark Ruffalo) battling Thor and Loki's recently freed sister Hela (Cate Blanchett, camping it up deliciously), the Goddess of Death, whose role in Asgard's conquering of the nine other realms has been largely obliterated from the official history (this is the film's one major socio - cultural theme, and it gets a beautifully realized visualization when Hela causes a seemingly innocuous painted dome to crack open, revealing a portrait of a much darker and more violent history underneath).

This unnerving compendium has made the transition from a successful international stage show (whose fanbase includes the director John Landis) to the big screen and draws inspiration from a rich history of horror, recalling the chilling and nightmarish quality of films including the Amicus anthologies and 1945 portmanteau, Dead of Night.

And this, too, is how we find Natalie Portman, whose starring turn in the film so frequently blurs the line between performance and total persona, between a shadow game and a fully realized resurrection of history.

My experience was different from the way Brown and other second - hand accounts on Twitter described the film and resultant Q&A; Petrucci, whose company has been invaluable in preserving vast swaths of B - movie history that otherwise would have been lost forever, did answer the question, even as Ziemba demurred.

Whether he's paying dazzling creative homage The Red Shoes or The Creature from the Black Lagoon, Del Toro taps into the history of fantastical cinema for his film, ably abetted by production designer Paul Austerberry and cinematographer Dan Laustsen whose evocative helps bring Del Toro's vision to life.

In 2007, it was because they honored Charles Tabesh, Turner Classic Movies Senior Vice President of Programming and New Media, and Robert Osborne, the cable channel's on - air host whose wealth of knowledge about films, film history, and film folk, may be inexhaustible.

Not as commendable were the slick but forgettable Leatherface, the first disappointment by French filmmaking duo Alexandre Bustillo and Julien Maury; the Spierig Brothers» Jigsaw, part 8 of the exhausted Saw series; the dull Amityville: The Awakening by Franck Khalfoun, usually a respectable genre director, who does still add his share of clever touches (and meta moments, like when a group of teenagers watch the original Amityville Horror in the «real» Amityville haunted house, into which one's family has just moved); Open Water 3: Cage Dive, whose shark - franchise designation was tacked on as an afterthought, not that it helped to draw in audiences (in an anemic year for great whites, 47 Meters Down takes the prize for the best shark film); Jeepers Creepers 3, a super-limited release — surely in part because of director Victor Salva's history as a convicted child molester — which just a tiny bit later would probably have been shelved permanently in light of the slew of reprehensible - male - behavior outings in recent months.

Peele also made history in the spring when he became the first writer - director whose debut film earned more than $ 100 million at the box office.

«Populated by superheroes whose powers derive from those attributed to the seven gods of the Yoruba pantheon, and characters that debate intellectual history, philosophy, and politics in Black vernacular English, Rythm Mastr channels the diasporic and utopian drive of science fiction and Afrofuturism using the intertextual qualities of the graphic novel and the film storyboard.

Gestures of cultural understanding are performed by a number of artists whose images reveal complex narratives: Kent Monkman's alter ego Miss Chief Eagle Testickle reclaims a controversial headdress; Aida Muluneh speaks to the struggles and achievements of the African diaspora across history; and Caroline Monnet's scene of women in the film industry highlights an emerging sense of power and self - determination.

Yto Barrada was born in Paris in 1971 and grew up in Tangier, Morocco, a city whose complex colonial history and present generation's restricted mobility she reveals through sculpture, photography, and film.

Presenters are Mark Dean Johnson, professor of art at San Francisco State University and director of the Martin Wong Foundation, who also moderates; Julia Bryan - Wilson, professor of modern and contemporary art and director of the Arts Research Center at UC Berkeley, whose Fray: Art and Textile Politics includes a chapter about the Cockettes and Wong's design work for them; Sergio Bessa, director of curatorial and education programs at the Bronx Museum of the Arts and scholar of concrete poetry; Marci Kwon, assistant professor in the Department of Art and Art History, Stanford University; and artist and filmmaker Charlie Ahearn, who introduces his 1998 film portrait of Wong, whom he knew personally.

An internationally renowned visual artist who has been showing in major museums of modern and contemporary art, and a distinguished thinker, Bracha L. Ettinger is also one of the world's leading theorists in the realm of art and philosophy of aesthetics, ethics, sexual difference and French psychoanalysis and feminism, whose writings have influenced film and literary thinking, queer studies, contemporary aesthetics and ethics, and art history.

Capitalism and its promise of a better life is explored through paintings on luxury fabrics whose patterns acquire a neo-classical painterly quality; Orientialism and a subtle critique of European values are explored in the films of his roadtrip to Pakistan and Afghanistan with shocking neutrality; and conceptual art is mocked in Potato House (1967) and paintings of absurd mathematical equations, while the series of self - portraits — Polke as astronaut, Polke as drug — confront the contemporary individual in the mire of history.

In his film Shirley: Visions of Reality, Austrian filmmaker, architect and experimental artist Gustav Deutsch recreates 13 of Edward Hopper's paintings, bringing them to life by telling the story of a woman whose thoughts, emotions and contemplations give us a glimpse of a fascinating era in American history.

Ana Vaz (1986, Brasilia) is an artist and filmmaker whose films, installations and performances explore complex relationships between environments, territories and hybrid histories pushing the boundaries of our perception.

She beat competition from the other shortlisted artists: Dexter Dalwood, whose contemporary take on traditional history painting saw him an early bookies» favourite; Angela de la Cruz, whose mangled, dishevelled canvases place her somewhere between painter and sculptor; and the Otolith Group, whose work, often in film, encompasses curating as well as creating.

A film screening will be dedicated to women involved in liberation movements but whose names have been eradicated by history.

A further three new shows open shortly after this, beginning with the first exhibition in Ireland by the French artist Pierre Huyghe (23 February - 15 May), whose film works explore themes of reality and fiction, history and memory.

Working primarily in film, the group — whose name comes from the term for the part of the inner ear that senses tilt — has delved into forgotten archives to uncover hidden histories, or stories of what might have been.

The Infinite Mix brings together major audio - visual artworks from ten leading international artists including Stan Douglas, whose six - hour film Luanda - Kinshasa, 2013, expands upon his interest in the African origins of the early 1970s New York music scene, while exploring the synthesis of cultural histories.

This includes Corinna Belz, whose film «Gerhard Richter Painting» relies very little on interviews and stated history, and very heavily on long shots of the artist painting in his studio.

My guest on the podcast this week is producer, songwriter, multi-instrumentalist and composer Clarence Jey, whose credits include music on US Billboard Hot 100, a Grammy - winning record, one of the largest viral music successes in history, music for film and multiple Emmy - nominated TV shows.