Sentences with phrase «films as twist»

American director Alan Rudolph was the son of Oscar Rudolph, a one - time actor who later directed such low budget films as Twist Around the Clock and such economical TV fare as «The Lone Ranger.»

Not exact matches

By the time the film is resolved through a series of clever, unforeseen twists, it's clear that Walt has been transformed by the wisdom of this man whom he once saw as naïve.

But now, as the film is being released in Britain, a bitter twist has emerged: Lorenzo's oil has no effect on the course of ALD, according to clinical trials conducted in the US and Europe, the results of which are explained in the latest issue of the Journal of NIH Research.

The film, which hits theaters February 16, is a modern twist on a romantic comedy (boy and girl meet, fall in love, but then break up, and are suddenly reunited, ending up in that awkward stage where they have to debate whether to wave hello while taking out the trash), but it's also a particularly female spin on the coming of age story, the likes of which we're only beginning to see onscreen as more women carve out a place for themselves in writer's rooms and director's chairs.

Because we watch horror films, some people see us as these dark twisted people that go and worship satan, and murder cats.

It twists and turns multiple times throughout its short running time, borrowing heavily from a variety of films in the horror genre (and other genres as well), but under the sure direction and

One's interest does, as a result, begin to wane considerably as the film plods into its increasingly predictable midsection, with the inclusion of hackneyed plot twists - eg Nick and Billy must whip their ragtag group members into shape, Billy is forced to contend with an obnoxious rival (Max Minghella's Graham), etc - ensuring that the movie only grows more and more interminable in the buildup to its expectedly uplifting finale.

It was a little confusing at first but everything becomes clear as the film progresses, and there's a few twist and turns that make the story really interesting.

There's an amusing love triangle (certainly more involving than what was witnessed in the recent «Twilight» saga), commentary on waning humanism through tyrannical rule, and an unveiling of the supremely negative influences of politically slanted media, primarily as it defines celebrity — but it's all buried deep beneath basic adventures of wilderness survival that are curiously manipulated back into the script for a twist and return to the first film's plot.

I wish that the films were not as beholden to Rowling's twisting (albeit compelling) novels.

So it turns out that it doesn't matter that all the promo material on the film — TV ads, trailers, everything — reveals the story's twist — Lincoln and Jordan and all their fellow citizens aren't survivors of a global disaster but rich people's insurance policies — because all that happens after the secret is revealed is that Bay can finally get down to doing what he loves to do: Stomp and crash and burn and destroy as Lincoln and Jordan escape into the real world — just 20 minutes into our future — and must be recaptured.

With a typical horror film start, the original finds its way to the top as it is filled with surprises and plot twists.

A semi-sequel to the popular Zappa, Twist and Shout (1984) followed that film's lead character as he came of age during the time when the Beatles» popularity exploded worldwide.

There is, as such, little doubt that the film takes a serious dive in its increasingly underwhelming third act, with Ganz and Mandel's script emphasizing elements that couldn't possibly be less interesting - including Chuck's decision to break away from both Long and Keaton's respective characters (ie it's a twist on the dreaded fake break - up cliche).

And while this adaptation - written by Akiva Goldsman - contains many of the same beats and plot twists as Brown's book, the film never quite becomes anything more than a sporadically engaging but mostly dull murder mystery.

The film delivers exactly as promised: it begins as a traditional slasher film, but eventually becomes a mind - boggling twist of a film.

I won't reveal the plot twists just in case you're not familiar with what happened in reality, but suffice it to say that I had no clue why Finkel seems to become more and more frantic as Longo's trial date inches closer, and I had absolutely no clue as to what Longo's actual motives were — I had to Google the real events after seeing the film in order to understand what I'd watched onscreen.

A decent eleventh - hour twist isn't enough to redeem what's come before, which the film would have you see as a righteous indictment of Russia's corruption and misogyny.

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

There's a unique novelty in general to this film's featuring its protagonist as a biopic in the starring role, and as a war film, it has a few other twists, but when it falls to formula, it falls pretty hard, with very mid-20th century Hollywood tropes to its plotting, characterization and, for that matter, fluff which tends to get a little too fluffy for its own good.

It is as much a survival film as it is a war film, and there are some plot twists that keep it interesting.

Consequently, he developed an audacious fusion of pop culture and independent art house cinema; his films were thrillers that were distinguished as much by their clever, twisting dialogue as their outbursts of extreme violence.

And, aside from a conclusion I won't spoil except to say that it plays exactly like the meta - film twist at the end of Altman's THE PLAYER, Spielberg can't resist to inject a Gumpian «brush with history» as then Assistant Attorney General Rehnquist, a future Justice of the Supreme Court, calls to advise Bradlee the publication of the papers is prohibited by the Espionage Act of 1917 — just a beat too late to stop the story going to print.

Late in the film the head of the Democratic party proclaims that he doesn't understand God's plan - of course he doesn't have the perspective of the true insiders who shape and twist fact and fiction to achieve their desired goal... from the campaign manager's point of view, God's plan is all too obvious and the morality... win at all costs as long as you believe in the cause.

A good plot twist ending is wasted as the film takes no time to get an audience involved with Statham's heroic arc.

A delicious plot twist is ginned up to serve as the film's clever climax, but I was more interested in the relationship drama.

There are science fiction films that deal with the subject of time travel and then there is Looper, which comes across as refreshingly original as well as entertaining, with a story full of interesting twists.

«Naked» is certainly a performance driven film, with very little storyline and as such is an insight into the main character's (David Thewlis) ways, charms, crimes and philosophys as twisted and as controversial for it's time as it might be.

Oh, and best of all, Joel Grey (openly gay now but not at the time of winning his Best Supporting Actor award) as that scary Master of Ceremonies who acts as the audience's window into the twisted heart of the rise of Nazi - ism in Germany, and an observer / commenter to the bisexual threesome that gives the film its frisson.

There is an attempt at some sort of twist ending, a la M. Night Shyamalan, but even this adds so very little to the story as a whole, and comes off like a gimmick just to give the film a «big reveal» even if it doesn't really merit one.

Some will characterize this film as a mockumentary, but it twists that genre on its ear and offers something different from the standard set by Christopher Guest and company since «Waiting for Guffman.»

One of the most predictable Academy Awards in years took a film - worthy twist as Kathryn Bigelow and...

I'm not incredibly familiar with Warner Bros.» line of DC animated films, but they seem to do well and, at the very least, keep things interesting by introducing twists on the superheroes as in Gods and Monsters.

It's interesting to me that Criterion chose to release Jean Renoir's «The River» two months after releasing his «A Day in the Country,» in that both films place a strong emphasis on the waterway as symbolic of life in its twists, turns, and natural flow.

Korean director Park Chan - wook's English - language debut plays like one giant homage to Alfred Hitchcock (particularly his 1943 film «Shadow of a Doubt»), but with a decidedly unique and erotic twist that's every bit as perverse as his previous work — the kind of movie that gets under your skin and stays there for days.

What starts out teasingly moody, however, about the ramifications of a horrible incident — shades of «The Sweet Hereafter,» still Egoyan's best film — becomes baroque and ludicrous as the Hitchcockian scenario loses its psychological bearings in a web of trashy plot twists and self - conscious jumps in time.

As the deaths and plot twists pile up, the film resembles a Frankenstein of «Jason X» type jumping the shark with the stakes of a below average Star Trek episode.

And while there are a number of strong sequences sprinkled throughout (eg Cole talks to his mother (Toni Collette's Lynn) about her own deceased parent), The Sixth Sense's funereal atmosphere ultimately lessens the impact of the much - vaunted climactic twist and it is, in the end, clear that the film doesn't entirely work as either a drama or a spooky thriller - with the movie's mild success due mostly to Shyamalan's considerable talent and his ongoing ability to wring top - notch work from folks both in front of and behind the camera (ie this is an exceedingly handsome production, undeniably).

I know I'm selling (500) Days as a film about two twisted, selfish people, but this is still a delightful film.

In an interesting twist, the show was actually filmed by a half dozen fans selected via an online contest, so the footage, as edited together, courses with a free - wheeling immediacy lacking in the staid, singer - drummer - audience - singer cuts of many similarly minded concert docs.

Suggesting a period piece version of a film noir saga as envisioned by Stanley Kubrick, this twisted feminist drama is rooted in contentious racial - and gender - warfare issues, employing a meticulous formalism to recount its cutthroat story about Katherine's at - any - cost attempts to attain liberation.

A remake of the 2010 French film Crime d'amour, the movie stars Rachel McAdams and Noomi Rapace — their faces so porcelain and blemish - free it looks like they dipped them in buttermilk before every scene — as women in a Berlin ad agency, engaging in twisted office warfare.

Catching Fire presents mostly the same story as the first film, but speedier and with a slight twist as previous Hunger Games winners Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (the grim - jawed Josh Hutcherson) cause trouble for the capitol of Panem, the post-war-rebellion version of the United States, after their previous victory, which inspires small scale rebellions across the nation, mostly evident via graffiti.

Played by a perfectly - cast James McAvoy, Percival is such an enigma that as the film veers into double - crosses, triple - crosses, and several giant twists, all you can do is admire the charisma on display and smile.

And while there are admittedly a few nifty twists within the third act - all of which, naturally, were present within the original film - Shutter's place as an absolutely redundant piece of work is undeniable virtually from start to finish (which is a shame, really, given how infrequently Jackson is afforded the opportunity to take on leading man roles within theatrical releases).

Twist on original: Reports suggest there won't be any songs this time around, but the film will hold true to the traditional Chinese tale of a young woman who disguises herself as a man so she can go to war.

Deadpool 2 star Terry Crews discussed his role as Bedlam and how the film managed to pull off that big X-Force twist.

Real life couple Smith and Gabriel do not shy away from the surreal and the film is filled with funny twists such as an ex-boyfriend played by a puppet and a one hundred - foot mother.

What follows owes as much to the Twisted Metal videogame series as any movie, with some hints that the film might turn into a smart exploration of violence and media saturation in the vein of Starship Troopers.

If us Brits already knew how good O'Connell can be from Skins, Starred Up and» 71, then the film's breakout actor is Takamasa Ishihara (otherwise known by his rock star moniker Miyavi); he stars as the compellingly cruel prison guard Mutsushiro «The Bird» Watanabe who targets the dogged and defiant Louis for particular punishment, often spun as twisted favour.