Sentences with phrase «film out of history»

Writer / director Dee Rees spoke about crafting a multi-perspective film out of history and how she prepares with actors.

I personally think it would be absurd now to airbrush this film out of history and behave as if we never had time for it.

Not exact matches

Women and minorities have largely and wrongly been shut out of places of influence for the century or so of film history.

Inspired by the Oscar - winning film «Three Billboards Outside Ebbing, Missouri,» Kat Sullivan, a former Emma Willard student who was raped by her history teacher at the elite Troy private school, rented out three electronic billboards — one of which is in Albany — to highlight her experience and support the Child Victims Act.

One of the few last successful horror franchises in modern history would have to be the Paranormal Activity flicks where it goes to show, that a film that makes noises in another room can scare the living hell out of millions of people.

The film doesn't hold your hand, and while Cave may drop a first name here or there, or make mention of a band or hit single, there's nothing on screen spelling out for you a traditional Behind the Music - friendly history of Nick Cave.

The film could have easily played out as a conventional redemption story for Joe, but it avoids going that route and recognizes that its protagonist's history of violence - both against others and himself - is complicated and can not be simply reconciled.

Steven Spielberg's sturdy, gripping film is about the «Pentagon Papers,» a secret history of the Vietnam War which the government compiled, laying out the schemes, blunders and lies to cover all that up, and which that government never wanted to see the light of day — especially not while the national nightmare of Vietnam was still going on.

Given Nixon's lifelong inability to control the medium or come out looking at all decent on it, the film is as much a cheeky celebration of TV's candor as it is a reminder of this fascinating sidebar to American history.

Filmed in part to commemorate the tenth anniversary of the legendary switch - hitter's death, this film tells the remarkable tale of the athlete who overcame constant, nagging injuries to blast 536 home runs out of the ballpark over the course of 18 unforgettable seasons and swing his way into the history books.

NBR also stands out as the only film organization that bestows an annual film history award in honor of former member and film historian William K. Everson.

He and his wife, Dr. Kristin Thompson (who has a book coming out called «Frodo, Fantasy and Franchises: The Lord of the Rings and Modern Hollywood»), are also the authors of the two most popular film textbooks, «Film Art» and «Film History.»

Check out the work that's finally made the esteemed stage actor a part of film history.

But with Killmonger and Klaue both failing to make it out of the film alive and M'Baku seemingly on T'Challa's side, not many of the big names left from the comics have an adversarial history with Black Panther.

Some would argue this, since its troop of brutal, scalping Jewish soldiers mete out sadistic, Apache - cribbed violence one might more easily associate with their Nazi victims, and the film's climax finds the Germans caught in their own glorified oven (in this case, an immolating movie theater), a ludicrous and dramatic reversing of history.

Any two serious considerations of the film as anything other than cheeky revisionism or cinematic passion play would thus cancel each other out; not that Tarantino doesn't take history seriously — he just defines it differently.

History buffs will appreciate the story of the 47 ronin getting the Hollywood treatment, but instead of wasting time on this movie, do yourself a favor and check out Rinsch's commercial and short film work instead.

The fold - out booklet contains «The Conditional Mood,» a nice, thorough essay by critic Dennis Lim that considers the film in terms of Kieslowski's oeuvre as well as Polish political history, plus «Chance or Fate,» the surprisingly brief passage from Danusia Stok's 1993 book Kieslowski on Kieslowski in which the director describes the picture in his own words.

Turning a rarely dramatised chapter of British history into a riotously grisly romp, this film starts out strongly as an exploration of people power then soon degenerates into a series of increasingly gory clashes.After signing...

One of the film's earliest shots even feels like it's ripped straight out of Akira Kurosawa's Dreams, a film in which Scorsese himself performed, evoking authenticity from cinematic history and actual history in even measure.

After making his mark in the early thirties with two very different films, the anarchic send - up of the bourgeoisie Boudu Saved from Drowning and the popular - front Gorky adaptation The Lower Depths, Renoir closed out the decade with two critical humanistic studies of French society that routinely turn up on lists of the greatest films ever made: Grand Illusion and The Rules of the Game (the former was celebrated in its time, but the latter was trashed by critics and audiences — until history provided vindication).

With one of the deadliest wildfires in the state's history raging in California, it doesn't seem likely many people will want to see a movie about a tragic wildfire, but Only The Brave is a solid film that is a timely reminder of what is at risk when a wildfire breaks out.

The master of the specific subgenre called body horror and the man who put out such classics as Dead Ringers and Videodrome, the Canadian filmmaker David Cronenberg seemingly stepped out of his (dis) comfort zone and delivered one of the best movies of the first decade of this century when he made the film cleverly and multilayeredly called A History of Violence.

This isn't my favorite of his films, I prefer The Thin Blue Line (# 16, 1988), A Brief History Of Time (# 19, 1991), and Fast, Cheap And Out Of Control (# 18, 1997), but it's that kind of yeaof his films, I prefer The Thin Blue Line (# 16, 1988), A Brief History Of Time (# 19, 1991), and Fast, Cheap And Out Of Control (# 18, 1997), but it's that kind of yeaOf Time (# 19, 1991), and Fast, Cheap And Out Of Control (# 18, 1997), but it's that kind of yeaOf Control (# 18, 1997), but it's that kind of yeaof year.

This year has all around been an INCREDIBLE year for the horror genre, with films such as Split, Get Out and IT making it one of the best (and most profitable) years in the genre's entire history.

Aaron Gerow lays out a history of film criticism in Japan to the present day, underscoring a narrative about cinema negotiated by professionals who gradually lose the ability to make a substantial impact on either audiences or the industry.

It complicates the film's relation to history, so thinly veiled at times (Thornton's James Carville, Emma Thompson's Hillary Clinton stand out in particular, but also Kathy Bates's conflation of Betsey Wright and Vincent Foster), but ultimately this is not a docudrama of historical recreation (like Oliver Stone's W. or the Jay Roach / Danny Strong HBO movies Recount and Game Change, let alone a fantasy of a Hawksian White House as in its most direct descendant, Aaron Sorkin's The West Wing).

Jordan Peele, the mastermind of «Get Out,» a social thriller about American racism, became the first African American to earn producer, director and writer nominations for a single film; the academy nominated a female cinematographer, «Mudbound's» Rachel Morrison, for the first time in its 90 - year history; and Greta Gerwig became just the fifth woman recognized as a director, feted for her wry, observational coming - of - age story «Lady Bird.»

READINGS Books about all aspects of filmmaking and film culture Sisters in the Life: A History of Out African American Lesbian Media - Making edited by Yvonne Welbon and Alexandra Juhasz, reviewed by Nick Davis; William Faulkner at Twentieth Century - Fox: The Annotated Screenplays edited by Sarah Gleeson - White, reviewed by Nick Pinkerton; Everybody Sing!

Screenwriter Carl Gottlieb (The Jerk, Jaws 2) takes his first stab at directing a feature film, based on the screenplay he co-wrote, and ends up making almost an extended version of the caveman sequence of History of the World Part I, which came out the same year.

I should point out that one of my main criticisms of that film comes from his choice to make his high school football games too action - oriented to believe, showing feats from amateur teenage players that would rival the most exciting plays in NFL history.

The film is very briskly paced out of necessity to adhere to its heist - style narrative, but the side effect is that much of the group's history is implied.

Unfortunately Ebert's talk is too often punctuated by silences but is still worthwhile as he points out some interesting points regarding the film's history and the composition of its shots amongst others.

The final showdown in this film may very well be the best shoot out in the history of the western; its length, pace, and the way in which it was framed all seem perfectly calculated by Costner.

The festival has a history of putting out classy, minimal one - sheets which highlight a major film star or director.

Out of the tumult of history and the psychic torture that is the legacy of slavery, Steven Spielberg forged his most accomplished film since Schindler's List: a ruminative epic that used America's 16th president as a totemic figure against which a nation's progress over the centuries since could be gauged.

The lack of any nominations for his films which are absolute classics and an integral part of cinemas genre history is much more shocking when other filmmakers have simply missed out at the final ballot stage whereas Leone didn't even get to hear the starting pistol fire.

In spite of the petition circulating amongst fans requesting that Deadpool host Saturday Night Live, it turns out the Merc with a Mouth has an acrimonious history with producer Lorne Michaels — as revealed in this «leaked» audio courtesy of the film's star, Ryan Reynolds.

Her presence at film festivals (such as Sundance, where she is a member of the selection committee), her film reviews in the Village Voice, Elle, Out, and the Advocate, and her commentaries on the public radio program «The World» have secured her a place as a central figure in the remarkable history of what she deems «cinefeminism.»

... «and the old» (in chronological order) Perepoloch (Turmoil, Aleksandr Levšin, 1928)-- archival revelations happen Chlib (Bread, Mykola Špikovskij, 1929) Perekop (Perekop, Ivan Kavaleridze, 1930) * Kvartira nemca (The Apartment of a German, Mojsej Berov & Aleksandr Medvedkin, 1945)-- ecstasy (thanks to the Belye Stolby Festival) Leave Her to Heaven (John M. Stahl, 1945) Giorni di gloria (Days of Glory, Luchino Visconti, Giuseppe De Santis, Mario Serandrei, Marcello Pagliero, 1945) Morituri (Eugen York, 1948) Strange Victory (Leo Hurwitz, 1948) * Guān liánzhǎng (Platoon Commander Guan, Shí Hūi, 1951) Tiān xiānpèi (The Heavenly Match, Shí Hūi, 1955)-- some match that is Die Welt horcht auf (The World Pricks up Its Ears, Max Jaap und Karl - Eduard von Schnitzler, 1957) Ósmy dzień tygodnia (The Eighth Day of the Week, Aleksander Ford, 1958) The Lineup (Don Siegel, 1958) * Čovek i zver (Man and Beast, Edwin Zbonek, 1963) Lo scandalo (The Scandal, Anna Gobbi, 1966)-- revelations happen (now give us a film print) Gorke trave (Witness Out Of Hell, Živorad Mitrović, 1967) Nemirni (The Naughty Ones, Vojislav «Kokan» Rakonjac, 1967) I cannibali (The Cannibals, Liliana Cavani, 1969) Sziget a szárazföldön (Island on the Continent, Elek Judit, 1969) * Two Mules for Sister Sara (Don Siegel, 1970) Making of «Nedostaje mi Sonja Henie» (Making of «I Miss Sonia Henie», 1972)-- KarpoGODina * Hans — ein Junge in Deutschland (Hans — A Boy in Germany, Sohrab Shahid Saless, 1985)-- a lesson in (TV) history * Barbara (Nils Malmros, 1997)-- how could I not like iof a German, Mojsej Berov & Aleksandr Medvedkin, 1945)-- ecstasy (thanks to the Belye Stolby Festival) Leave Her to Heaven (John M. Stahl, 1945) Giorni di gloria (Days of Glory, Luchino Visconti, Giuseppe De Santis, Mario Serandrei, Marcello Pagliero, 1945) Morituri (Eugen York, 1948) Strange Victory (Leo Hurwitz, 1948) * Guān liánzhǎng (Platoon Commander Guan, Shí Hūi, 1951) Tiān xiānpèi (The Heavenly Match, Shí Hūi, 1955)-- some match that is Die Welt horcht auf (The World Pricks up Its Ears, Max Jaap und Karl - Eduard von Schnitzler, 1957) Ósmy dzień tygodnia (The Eighth Day of the Week, Aleksander Ford, 1958) The Lineup (Don Siegel, 1958) * Čovek i zver (Man and Beast, Edwin Zbonek, 1963) Lo scandalo (The Scandal, Anna Gobbi, 1966)-- revelations happen (now give us a film print) Gorke trave (Witness Out Of Hell, Živorad Mitrović, 1967) Nemirni (The Naughty Ones, Vojislav «Kokan» Rakonjac, 1967) I cannibali (The Cannibals, Liliana Cavani, 1969) Sziget a szárazföldön (Island on the Continent, Elek Judit, 1969) * Two Mules for Sister Sara (Don Siegel, 1970) Making of «Nedostaje mi Sonja Henie» (Making of «I Miss Sonia Henie», 1972)-- KarpoGODina * Hans — ein Junge in Deutschland (Hans — A Boy in Germany, Sohrab Shahid Saless, 1985)-- a lesson in (TV) history * Barbara (Nils Malmros, 1997)-- how could I not like iof Glory, Luchino Visconti, Giuseppe De Santis, Mario Serandrei, Marcello Pagliero, 1945) Morituri (Eugen York, 1948) Strange Victory (Leo Hurwitz, 1948) * Guān liánzhǎng (Platoon Commander Guan, Shí Hūi, 1951) Tiān xiānpèi (The Heavenly Match, Shí Hūi, 1955)-- some match that is Die Welt horcht auf (The World Pricks up Its Ears, Max Jaap und Karl - Eduard von Schnitzler, 1957) Ósmy dzień tygodnia (The Eighth Day of the Week, Aleksander Ford, 1958) The Lineup (Don Siegel, 1958) * Čovek i zver (Man and Beast, Edwin Zbonek, 1963) Lo scandalo (The Scandal, Anna Gobbi, 1966)-- revelations happen (now give us a film print) Gorke trave (Witness Out Of Hell, Živorad Mitrović, 1967) Nemirni (The Naughty Ones, Vojislav «Kokan» Rakonjac, 1967) I cannibali (The Cannibals, Liliana Cavani, 1969) Sziget a szárazföldön (Island on the Continent, Elek Judit, 1969) * Two Mules for Sister Sara (Don Siegel, 1970) Making of «Nedostaje mi Sonja Henie» (Making of «I Miss Sonia Henie», 1972)-- KarpoGODina * Hans — ein Junge in Deutschland (Hans — A Boy in Germany, Sohrab Shahid Saless, 1985)-- a lesson in (TV) history * Barbara (Nils Malmros, 1997)-- how could I not like iof the Week, Aleksander Ford, 1958) The Lineup (Don Siegel, 1958) * Čovek i zver (Man and Beast, Edwin Zbonek, 1963) Lo scandalo (The Scandal, Anna Gobbi, 1966)-- revelations happen (now give us a film print) Gorke trave (Witness Out Of Hell, Živorad Mitrović, 1967) Nemirni (The Naughty Ones, Vojislav «Kokan» Rakonjac, 1967) I cannibali (The Cannibals, Liliana Cavani, 1969) Sziget a szárazföldön (Island on the Continent, Elek Judit, 1969) * Two Mules for Sister Sara (Don Siegel, 1970) Making of «Nedostaje mi Sonja Henie» (Making of «I Miss Sonia Henie», 1972)-- KarpoGODina * Hans — ein Junge in Deutschland (Hans — A Boy in Germany, Sohrab Shahid Saless, 1985)-- a lesson in (TV) history * Barbara (Nils Malmros, 1997)-- how could I not like iOf Hell, Živorad Mitrović, 1967) Nemirni (The Naughty Ones, Vojislav «Kokan» Rakonjac, 1967) I cannibali (The Cannibals, Liliana Cavani, 1969) Sziget a szárazföldön (Island on the Continent, Elek Judit, 1969) * Two Mules for Sister Sara (Don Siegel, 1970) Making of «Nedostaje mi Sonja Henie» (Making of «I Miss Sonia Henie», 1972)-- KarpoGODina * Hans — ein Junge in Deutschland (Hans — A Boy in Germany, Sohrab Shahid Saless, 1985)-- a lesson in (TV) history * Barbara (Nils Malmros, 1997)-- how could I not like iof «Nedostaje mi Sonja Henie» (Making of «I Miss Sonia Henie», 1972)-- KarpoGODina * Hans — ein Junge in Deutschland (Hans — A Boy in Germany, Sohrab Shahid Saless, 1985)-- a lesson in (TV) history * Barbara (Nils Malmros, 1997)-- how could I not like iof «I Miss Sonia Henie», 1972)-- KarpoGODina * Hans — ein Junge in Deutschland (Hans — A Boy in Germany, Sohrab Shahid Saless, 1985)-- a lesson in (TV) history * Barbara (Nils Malmros, 1997)-- how could I not like it?

• Limited Edition collection of the complete Blood Bath • High Definition Blu - ray (1080p) presentation of four versions of the film: Operation Titian, Portrait in Terror, Blood Bath and Track of the Vampire • Brand new 2K restorations of Portrait in Terror, Blood Bath and Track of the Vampire from original film materials • Brand new reconstruction of Operation Titian using original film materials and standard definition inserts • Optional English subtitles for the deaf and hard of hearing on all four versions • The Trouble with Titian Revisited — a brand new visual essay in which Tim Lucas returns to (and updates) his three - part Video Watchdog feature to examine the convoluted production history of Blood Bath and its multiple versions • Bathing in Blood with Sid Haig — a new interview with the actor, recorded exclusively for this release • Archive interview with producer - director Jack Hill • Stills gallery • Double - sided fold - out poster featuring original and newly commissioned artworks • Reversible sleeve featuring original and newly commissioned artwork by Dan Mumford • Limited edition booklet containing new writing on the film and its cast by Anthony Nield, Vic Pratt, Cullen Gallagher and Peter Beckman

The costumes had to reflect the history and aesthetic of the comic books, be believably African in terms of color palette, and vibrant enough to stand out in a film with gorgeous scenery and dazzling special effects.

In the film's most affecting sequence, Oliver professes his admiration for Elio («You know more than anyone here»), and the two men, positioned on either side of a WWI memorial, come out to each other, literally crossing the divide of history.

Kids running away In «The Royal Tenanbaums,» young Margot and Richie Tenenbaum run away at the beginning of the film, hiding out in the Museum of Natural History.

If you've never seen any of Haynes's films before, you're missing out, especially if you like twentieth century American history and Critically Acclaimed Dramas With Strong Female Leads, as Netflix might phrase it.

Although Bill Condon's film doesn't play out like a mystery as you might expect given the title character's legacy as one of history's most notable crime solvers.

Oscar, in preparing for a night out on New Year's Eve, manages to run into every important figure in his life and history over the course of a few hours, a sort of This is Your Life in film form, as an unmistakable cloud of dread follows him from place to place, event to event.

The film works well for the most part, focusing on Victoria's romance with Albert and her learning how to wield what power she has, and there's relatively little melodramatization of history (though a late sequence with Albert getting shot in an assassination stands out as particularly ridiculous).

I wouldn't be surprised if Mark doesn't rush out to see this film, considering his history with Will Ferrell movies (see Talladega Nights: The Ballad of Ricky Bobby or Anchorman: The Legend of Ron Burgundy), but this film certainly wouldn't be what he expected.

And as film criticism written by passionately engaged people with actual knowledge of film history has gradually faded from the scene, it seems like there are more and more voices out there engaged in pure judgmentalism, people who seem to take pleasure in seeing films and filmmakers rejected, dismissed and in some cases ripped to shreds.