Sentences with phrase «film kind of style»

In Silent Hill 2, we are really proud of the analog film kind of style.

Not exact matches

There's a certain kind of film I see at many festivals: oblique, short on narrative and incident (or filled with repetitive incident), shot in a style that favors long (distance and time) shots of people doing nothing, or doing mundane things like crossing the street in real time.

McCarthy plays that kind of scene with enough style, confidence and wit to pitch the jokes past the straight men, and the film is an example of her doing what she does best.

Allied is unusually linear, after the initial setup: Max is told he married a German spy in Marianne; against orders and behind Marianne's back, he sets out to disprove it.2 The apologist urge is to call it a maturation of Zemeckis's style, to tell a story so simply and economically (even if we've kind of been here before with Cast Away), but the film feels conspicuously underdeveloped as opposed to streamlined, to the extent that the big reveal seems as if it was decided on a coin toss; it's easy to imagine the opposite outcome without any sort of retrofitting to accommodate it.

Not For Conservative Anti-Mexican White People In Arizona Or People Who Dislike Major Stabbings: The fleshed - out theme of illegal immigration and the corporate / political exploitation of that issue, dealt with in a gut - level exploitation film style, is kind of brilliant.

With echoes of Kubrick and Lynch, but in true Malick style, it's the kind of film we need...

Sure, there are elements of style and structure that harken back to classic films, but this character, Louis Bloom, he's one of a kind.

The Russo brothers are action - film virtuosi, using different styles of action to tell different kinds of stories throughout the film.

Allen is one of the craftsmen of it's kind and although this pales in comparison to his earlier stuff, his idiosyncratic style has been missing from films for far too long and its a pleasure to revisit his neurotic world.

In place of ascribing preferred definitional clarity, Martin immediately proceeds to offer a rich sketch of the generative importance of mise en scène for film criticism and scholarship in providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and character.

The opening shots imply that the floridly romantic «style» is not necessarily that of the film as a whole, but an idea of the kind of visual representation a group of isolated, intelligent, impressionable, hormonal young women might make.

He's a young composer on the rise, and should have no problem finding work if he continues to carve out this kind of unique, varied array of musical stylings for each film.

This kind of tone used to depict the interconnectedness between sex and crime set by Cool Hair evokes Harmony Korine's polarizing 2012 feature film Spring Breakers starring Vanessa Hudgens and James Franco, but Mr. Orozco - Cubbon delivers this content much more naturally and with the poise and confidence of an experienced filmmaker who already has a well - defined style, knowingly and purposefully playing with the two intertwining dynamics that keep the audience on its toes.

I've been sceptical about this film - maker's pictorial sense in the past, even in the widely admired Pan's Labyrinth from 2006, which called to my mind Tarantino's shrugging response to a certain kind of film infatuated with its own visuals: «Pretty pictures...» But Crimson Peak has more narrative sinew and black comic style than this.

EV: Now that we've made the genre film with the more flashy style, it's easy to say that the movies before were kind of naturalist and realist, and this is completely different.

The film also weaves in lots of scenes that are meant to make us think that Barnum was the first 21st century - style «woke» white straight man in America — a goodhearted fellow who gave circus jobs to outcasts of one kind or another (talk about a big tent: the repertory company includes African - Americans, little people, giants, conjoined twins and a bearded lady), not just because they happened to possess certain talents or physical characteristics that Barnum could exploit (often by appealing to the majority's prurient interests or bigotries) but because the onetime poor boy Barnum sees himself in their striving, and wants to build a theatrical - carnival arts utopia in America's largest city with help from his new partner, rich kid turned playwright Philip Carlyle (Zac Efron).

This is the kind of film that includes a romantic comedy style run - across - town - to - tell - the - leading - lady - something scene, and Jackman, bless him, runs so hard that you'd think Barnum was rushing to defuse a bomb.

It was fun to figure out how to approach that but still [keep the film] in my style, and to have this kind of beautiful, dreamy world that I like — but with a plot!

The documentary - style film isn't the kind of project that usually commands a nine - figure budget, but the 2010 oil rig disaster had elements straight out of a movie.

It was the same kind of style and really kind of a beautiful little film,» Welsh explained about how Baird came on board.

Wong has the kind of utterly unpredictable style that brings to mind two other distinctive filmmakers, Quentin Tarantino (who is presenting this film) and Jim Jarmusch.

Earlier in his career one might have looked to Soderbergh to aim higher than a»70s - style caper film that could have been a vehicle for Burt Reynolds and Jerry Reed, but if you're going to make that kind of movie, this is exactly the way you want to make it.

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.

But whether she's working closely with her editors or she's leaving them little choice in how to cut her films because of how lean her scripts and footage are, this kind of short, snappy, collage - like approach to storytelling has become Gerwig's «style» — which undercuts the argument that there's nothing distinctive about the way her movies look and feel.

Strong plays John, a «memory detective», which is apparently a kind of shrink who walks around in other people's memories (in a style familiar to viewers of TV» sHannibal), and whose visions are therefore easily translated to film.

The film is packed with amazing sequences of them casting themselves as the stars of their favorite movies, creating elaborate costumes, memorizing all the dialogue, and re-shooting those films, Be Kind Rewind - style, at home.

And if you're any kind of movie buff, the film is a great look back at the Coen brothers» burgeoning style.

Pialat's more naturalistic and exploratory camera style, largely derived from the 30s films of Renoir, describes a kind of wandering investigation of events and locations played over a subdued acting style, which seems indebted more to Robert Bresson than to Renoir.

Like Valentine's Day in 2010 and New Year's Eve in 2011, prescription his latest film features a star - studded cast, approved multiple story - lines and sitcom - style comedy and like the feedback of those earlier films, the Mother's Day reviews have not been kind.

It was written to go along with a series of essays on Lau Kar - leung, which I guess didn't materialize, but it's a kind of timeline of Shaolin - related stories, mapping all the films I could think of into a generational chronology, from San Te and the 36th Chamber through the destruction of the Shaolin Temple, the spread of its various disciples and their fighting styles throughout Southern China, folk heroes like Fong Sai - yuk, Wong Fei - hung, Wing Chun up to Lau himself.

Sometimes only minimally altering her appearance, she has taken familiar representations of female sexuality from film, art, pornography, fashion, and fairy tales and created an impressive gallery of women of all shapes, sizes, classes, periods, and styles that together form a kind of pathology of womanhood.