Factor in concessions, transportation to and from the theater, and — for some moviegoers, anyway — inflated babysitting rates, and seeing
films on the big screen becomes a pretty costly pastime.
Not exact matches
After
becoming a fixture
on the
big screen with the critically and commercially acclaimed SLUMDOG MILLIONAIRE, Freida Pinto quickly
became an international
film star and household name.
Much of the revulsion to the
film is little more than backlash for the «American Idol» pop star oversaturation, not wanting what has
become a national obsession
on the small
screen to start spilling over onto the
big.
Another lite best actor race could again serve Cranston who has smoothly made the transition from television to
film,
becoming one of the most compelling talents
on the
big screen.
With Coco, Pixar Animation Studios» take
on the traditional Mexican celebration Día de Muertos, audiences are given a
film that will
become the standard - bearer of a positive example of what the Latino experience can look like
on the
big screen for years to come.
Martin Scorsese was very vocal when the hype of 3D was
on the rise about two years ago when James Cameron's Avatar came to
big screen and
became the highest grossing
film of all time.
The last
film Bruce Broughton worked
on that was released in cinemas was the 1998
big -
screen retelling of Irwin Allen's tv show Lost in Space, with Gary Oldman, William Hurt and Matt le Blanc; sadly for Broughton, who surely saw the movie as a way of gaining more exposure and therefore more work, it tanked and
became as critically - lambasted as other event movies from the time like Batman and Robin and The Avengers.
On the
big screen, a 1970 Challenger R / T starred in the
film Vanishing Point, a high - speed pursuit movie that has
become a cult favorite with muscle - car fans.
From the genesis of the various
films (inspiration for the Bruce Willis character in Armageddon was real - life firefighting legend, Red Adair), to their development (too many were written by committee), to the final product (following a test
screening, The Avengers went through a major reworking), and
on through their journey at the box office, The Gross looks at the way
big business has impacted the industry, which has itself
become a
big business.
Memphis styles
became firmly rooted in Bas» pre-teenage subconsciousness, attesting to the prevalence of the «Memphis look»
on the
big and small
screen in
films like Tim Burton's Beetlejuice or kids» TV show Pee - wee's Playhouse, and through it he explores the idea of the artificial versus the real, the notion of the false being more authentic than actuality (concepts which Bas links to another early influence, Huysmans» Against Nature).
Travers «spent the rest of her life maligning what she saw as the maudlin mess her Mary Poppins had
become on the
big screen», and when she agreed to a stage an adaptation in the 1990s, she insisted, right there in her last will and testament, that no Americans, and certainly no one who had been involved in that dreadful Disney
film, would be allowed to participate.»)