Sentences with phrase «film of its kind since»

Not exact matches

Since I work in the film industry I know what kind of a huge impact music can have on movies.

The friendship arc continues to have a touch - and - go handling and the movie itself egregiously abridges the film's natural, long ascent into cult status with its ending, the strangest of its kind since Danny Boyle's «Steve Jobs.»

That doesn't mean the movie escapes the intersectional nature of this universe of movies: There's a cameo from one superhero (kind of a favor, since Thor appeared after the end credits of that hero's solo film), and the Hulk, as well as his scientist counterpart Bruce Banner (Mark Ruffalo), has a supporting role.

Michel Gondry's coming - of - age road movie Microbe and Gasoline is, surprisingly, his best film since Be Kind Rewind, or even Eternal Sunshine of the Spotless Mind.

Somewhat critic - proof, Harold and Kumar Go to White Castle is the kind of movie that will probably be appreciated the more closely aligned with being a pothead you tend to be, and if you're baked yourself while watching it, it may be the funniest film you've seen since... the last time you were high watching a movie.

The entire gag takes a long while to play out (the money shot - close - up on a set of buttocks most definitely not those of the 62 year - old Willis), though it is infused with the kind of nutty energy that Willis last exhibited in his 1991 megaflop, Hudson Hawk (a film that has since acquired an army of «guilty pleasure» defenders, including yours truly).

The Good Time star plays a wealthy pioneer who sets out across the American frontier to marry the love of his life (Mia Wasikowska), but that logline hardly does the film justice, and since the film kind of defies description, just go in expecting a clever deconstruction of traditional gender roles.

It's his best and most transcendent film since his masterpiece The Royal Tenenbaums, and the first in which I've ever wanted to revisit the characters later in life to see what kind of people they've become.

The film's official website has also been launched with all kinds of cool teasers of how the influence of the Jigsaw killer has spread since last we saw, and you can sing up to «become Jigasaw,» at JigsawSaves.com.

The Gambler isn't either of those, since the prior film isn't the kind with a reputation that would bring audiences to the theaters on brand value alone.

Upon its release in 1974 this low - budget work, the only film in Peckinpah's long career over which he was allowed final cut, tanked at the box office — and merely invoking its title has since become a kind of joke, whether in Michael Ritchie's 1985 film Fletch or BBC Radio's «I'm Sorry I Haven't A Clue».

There were several films this year about serial killers, yet only Kim Ji - Woon's entry in the genre possessed the kind of soul churning quality that hasn't been seen since David Fincher's Se7en.

Setting the film at the end of the 20th century may seem kind of arbitrary, since the novel it's based on was published in 1992.

And since it takes that special kind of fearlessness to appear in a Yorgos Lanthimos film, it makes perfect sense that she has joined the cast of The Killing of a Sacred Deer.

Although there is no reason you'd see this in the theatre (unless you're some kind of sicko or film critic or something), should you find it on TNT late night next month, give it a few minutes — it's the funniest American comedy since Graffiti Bridge.

DVD Details: Miramax has released a new 2005 Collector's Series DVD, but I'm not sure how well the film will play 16 years later, since this kind of disease - of - the - week biopic — and variations thereof — has been copied to death (Shine, A Beautiful Mind, etc.).

It has been three decades since the first Alien film was released, which was directed by Ridley Scott, and with many people curious as to what kind of prequel we can be expecting it is just exciting to hear that Ridley is back on the franchise that he started.

Their best film since Barton Fink, The Man Who Wasn't There is deadpan slapstick of a kind that has become unique to the Brothers Coen.

Moonlight was a deeply personal film for Jenkins, and he's since said that the Oscar flub kind of ruined the whole ceremony for him.

In the book, I describe the film as kind of a dorm room standard during the late»90s, when I was a college student, and I've since praised it in other forums (http://goo.gl/kL3jl2) as really one of the more faithful literary adaptations in recent cinema.

He seems like a good choice since he has a bunch of different kinds of films.

Haven't enjoyed a Bond film since Goldeneye, I guess because what I want in a «spy» film is stupid fun - this film delivers what I've been looking for, kind of a half way house between the early bond films and the stupidity and cartoonishness of the Austin Power films.

Since his first feature, Wo kou de zong ji (Sword Identity, 2011), Xu Haofeng has strived to produce a different kind of wuxia pian (martial arts film), a genre that, from 1949 until the early 2000s, couldn't be made in the PRC.

I know it's called Scott Pilgrim vs. the World, but still, that kind of focus on the hero seems unnecessarily myopic, especially since his own exes, which dominant the periphery of the film, are basically dealt with by acknowledging that they exist.

We also wanted to capture some sense of the town, even when it was just background to these intimate scenes, since Ebbing itself is a kind of character in the film.

Baumbach's directorial hand hasn't been this light since Kicking and Screaming and Mr. Jealousy, and it works for this kind of film.

Winstead proves she has the chops and the skill to carry a film of this kind, and its a wonder we haven't seen more of her since she first grabbed out attention in Quentin Tarantino's Death Proof a few years back.

And that's kind of the way it's been ever since for Joe Dante's creature classic — generally regarded as one of the greatest werewolf films of all time, hallowed for Bottin's startlingly mature effects work (he was only 22 at the time), praised for a sly satirical script by John Sayles... and yet still plagued by the perennial refrain: ``... but «American Werewolf» is better.»

This only happens with films that are extraordinarily good, but it's the kind of movie at Sundance that has been sticking with me ever since seeing it and growing on me the more I think back to it.

And that's kind of fine since the supporting ensemble here is so strong, but when things come back around to Jude at the end of the film, it's tough to feel any strong emotions about his personal journey.

But in the way that matters most, the franchise hasn't changed a jot since the first film: Our three heroes — Manny the mammoth, Sid the sloth and Diego the saber (Ray Ramano, John Leguizamo and Denis Leary)-- have remained static as characters, and life in their motley «herd» goes on with no development of any kind in their relationships, such as they are.

Any movie like this made for the most part since the 1980s would talk the talk about showing the changes, but not show it, show it badly and / or be more sexually oppressed than not, but Russell has zero trouble from this first film he had control over himself dealing with all kinds of human sexuality, yet that freedom is incidental to character study, capturing the story and bringing it to life as he does so well here.

Berman and Pulcini also attempt to find some kind of cultural relevance to the story by weaving in real - life events from NYC's upheaval at the time, but they mostly come off as distractions since the film doesn't really dive deep into any of these issues.

Since the humor of The Office is the kind of sly, nuanced wit that doesn t exactly work well in the context of a two - minute movie trailer, I was holding out hope that the studio simply decided to cram the more obvious Robin Williams schtick into the previews to lure in the people who made cash cows out of such dross as RV and Night at the Museum and that the actual film would be more in the vein of The Office.

With two decades passing since the first film, will fans be eager to see what kind of alien battle we'll have on Earth this time?

Riding the kind of streak that Ben Affleck has been on since he started directing films brings about high expectations.

Paul Thomas Anderson has made perhaps the best film of 1997, and at age 27 is getting the kind of attention no young director has had since Quentin Tarantino erupted.

Since Bridesmaids, he's been keen on making comedies starring women that perform incredibly well at the box office, and yet Hollywood continues to see female - driven films of any kind as a «risk.»

Regular readers will know that Kris and I frequently disagree as to the merits of certain films — and cheerfully so, since a range of opinion is kind of the point of having multiple contributors to a site like this.

(Even though it's been long enough now since release that if you've remained unspoiled, you're kind of amazing and you should definitely go into this film knowing as little as possible — not because it depends on not knowing what's going on, but because it just gives it that much more oomph and poignancy if you learn gradually along with the film.)

The 26 - year - old helmer was the man behind «Chronicle,» which made back its $ 12 million budget ten times over on release in February, and since then he's been lining up all kinds of projects; while he won't direct any «Chronicle» sequel, he is attached to a film version of Soviet - themed comic book «The Red Star, «and is developing not one, but two major superhero franchises, in Sony's «Venom «and Fox «s «Fantastic Four.»

Whilst at times difficult to watch, Grave of the Fireflies is more than a film, it's a masterpiece of human endeavour, and the hand drawn tragedy echoes every cry of anguish that has sounded throughout the centuries, ever since we first learnt to kill our own kind.

I wish such a move were unnecessary, but the staggeringly stupid «thought processes» which have conspired to keep this film from any kind of domestic release since it was ready to go in 2006 -LRB-!)

I am all for this kind of filmmaking, since art that asks these kinds of questions can force us to confront the deep issues in life (one of my favorite films is Hiroshima, mon amour).

Egyptian - born NYU graduate Abu Bakr Shawky's Yomeddine (or Judgment Day), the first debut feature to play in competition at the Cannes Film Festival since Son of Saul in 2015, is a different kind of exploitation film than László Nemes's Oscar winner.

It makes a kind of sense, since her redheads in photographs and video draw on film noir as well as fashion.

There are so many artists of all kinds — visual, film, performance — living and working in Brooklyn that we feel almost an obligation to service them since they are our audience, they are friends of our performers, they design our sets, and they generally hang out here and BAM wants to ensure that all artists have a voice within the institution.

It explores his fascination with magic and sex twenty five years after his death, in the first and most complete film of its kind ever since.