Sentences with phrase «film in duelling»

Robert Pattinson also has a substantial role in the film in a duel role, as a friend of Cunningham's and older version of Prescott.

Not exact matches

Pictures said the dueling monsters disaster film will hit theaters sometime in 2020, after the release of both Godzilla 2 and Kong: Skull Island.

As they await Gov. Andrew Cuomo's decision on whether fracking will go forward in New York, dueling pro- and anti-fracking filmmakers held screenings and promotions for their films in Albany.

Last year we saw duelling «Snow White» films, the lighter «Mirror Mirror» in March followed by the darker fantasy «Snow White and the Huntsman» in June.Same situation this year, but the story this time is terrorists taking over the...

Even if the film didn't quite meet the expectations that «Duel of the Fates» created, the song is just as exciting, energizing and powerful as ever, and I think we can all agree that the lightsaber duel in the film's climax is one of the best fights in the whole sDuel of the Fates» created, the song is just as exciting, energizing and powerful as ever, and I think we can all agree that the lightsaber duel in the film's climax is one of the best fights in the whole sduel in the film's climax is one of the best fights in the whole saga.

Matt was frustrated by the dueling storylines in the film, and you can read his review here.

Filmed in 35 mm and set in the year Spielberg shot his debut, Duel, it's a finely simulated addendum to his Seventies filmography.

To think that the financial backers of the film originally demanded that the Black Knight scene — in which he loses his limbs in a duel («it's only a flesh wound!»)

It's unexpected and raunchy and funny but also rooted in friendship and a practicality that unites the dueling agendas of the film like few other scenes.

In a duel between that abomination, and my least favorite film from 2007 — «AVP2» — I'm not sure which I'd wish upon my enemies first.

Among the highlights include the world premiere of Chris Evans» directorial debut «Before We Go» (formerly «1:30 Train»), dueling Anna Kendrick films in dark drama «Cake» and musical adaptation «The Last Five Years,» ensemble comedy «This is Where I Leave You» starring Corey Stoll, Adam Driver and more, Jason Reitman's «Men, Women and Children» with Ansel Elgort, Kaitin Dever and others, and «99 Homes,» Ramin Bahrani's financial world set drama which also serves as the first film outside of «The Amazing Spider - Man» franchise for Andrew Garfield since «The Social Network.»

It wasn't until a few years later I discovered that Duel was one of director Steven Spielbergs first efforts in feature film - making and the beginning of his stellar career.

After the usual rigamarole about shooting challenges and directorial perfectionism, someone asked Zhang Yimou what he thought the film was about, which he either answered honestly or deftly dodged by asserting that what he wanted people to take from the film, long after they've forgotten the plot, are the memories of certain images: two women in red fighting among swirling yellow leaves, two sorrowful men flying and dueling on a lake as still as a mirror, a sky of black arrows, a desert moonscape haunted by lonely figures in white.

The film drives home its cautionary message against childishness with an increasing immaturity — it's the equivalent of burying a toddler up to the neck for throwing a tantrum, and though it will predictably (and fairly) be compared against The Hitcher and Duel, the most telling stolen moment in Joy Ride is a cornfield intrigue that substitutes the evil crop duster from North by Northwest for a rumbling semi tractor - trailer that somehow locates its prey in the dead of night amongst concealing stalks.

Last year we saw duelling «Snow White» films, the lighter «Mirror Mirror» in March followed by the darker fantasy «Snow White and the Huntsman» in June.

Following in a long line of recent films that shoot for comedic but are filled with characters that are so obnoxious or absurd that no real person could ever relate to their antics, the duelling parents - to - be of New Year's Eve are perhaps the most appalling.

A workmanlike cross between a disaster movie and a caper - chase flick (complete with a climactic 18 - wheeler duel on an endless stretch of straight road that wouldn't be out of place in the more recent Fasts and Furiouses), the film never rises to the promise of its awesomely literal title.

After the film's North American premiere at the Toronto International Film Festival back in September, I had the opportunity to sit down with the soft spoken, but cinematically articulate Assayas to discuss how he came to center the film around aging and how a person's relationship with art changes as one ages, as well as the film's strong resemblance of Ingmar Bergman's own dueling female fever dream, Persona.

The film's complex flashback structure is skilfully handled by Ramsey, deviating from the diary form of Lionel Shriver's original novel to concentrate on Kevin's warped, psycho - sexual duelling with his mother, played out in some remarkable and, sometimes, uncomfortable scenes.

On the one hand, it's fantastic that a film exists with Academy Award nominee Viola Davis (The Help) and Jennifer Lopez (The Boy Next Door) in duel leading roles.

It all feels thought through, natural, and not unnecessarily showy — just as the action in the film, and the many climactic lightsaber duels, feels motivated by the characters» passions and their commitment to their ideals, rather than like gratuitous excuses to show action.

Christopher Nolan has made a ton of great films, and also Interstellar, so it's not like I want to champion The Prestige by dismissing his other work, although in the spirit of The Prestige's hypercompetitive dueling magicians, I will say that it's the most rewatchable Nolan film by far.

Ritualistic duels are neatly shot in the style of classic kung - fu films — mid-shots and long takes — so that viewers can follow the action.

On film, it occasionally manifests itself in period pieces that focus on the encroachment and proliferation of the railroad: its engines (as in King Vidor's Duel in the Sun and Beyond the Forest, or the Hughes Brothers» From Hell) the manifestation of the industrial revolution in terms of hellmouths and serpents — William Blake's «Tyger» burning bright in the forests of a primordial night, all - consuming and inexorable.

Instead, after a memorable street fight with Michelle over cookie - selling territory, Helen pretty much vanishes, and the film veers off into a hostile takeover of the brownie enterprise, followed by a ham - fisted office stunt in which Michelle duels it out with Renault.

That along with directing the film (rumor has it, he stayed in character on and off camera) is one of his more impressive duel contributions.

It's no secret that Jaws was a heavy influence on A Quiet Place, though in many ways the film hews closer to Steven Spielberg's directorial debut on the suspense thriller Duel, with its minimalist storytelling approach.

It's dueling stars when Tom Hanks and Emma Thompson go quite delightfully toe - to - toe as Walt Disney vs P L Travers, author of Mary Poppins, in Saving Mr Banks, the closing film of the London Film Festival 2013.

If there has been a flaw to date in the Marvel films — and superhero movies more broadly — it's been the need for a Big Finish: an alien invasion, dueling helicarriers, a city launched into the sky.

It played a central role in Steven Spielberg's early feature film Duel (1971).

The exhibition is complemeted by a side program such as a drive - in cinema that offers a program of feature film fitting the automotive theme including Bullit, Duel, Lost Highway, and Traffic.

Symbols of popular culture are reused and repositioned to engage with the audience, as in Scott Reeder's three - dimensional installation of the words «Real Fake» and Matias Faldbakken's adaptation of the original Peterbilt 281 big rig truck which appeared in Steven Spielberg's first feature film «Duel» (1971).

Even noted film and media scholar Patricia Aufderheide, professor of Film and Media Arts in the School of Communication at American University and director of the Center for Social Media, noticed, tweeting: Dueling documentaries; looks like the big - biz folks aren't as good filmmakers... http://wapo.st/qwM4N7 @hotcoffeemovie