Sentences with phrase «films in any genre use»

I've said many times in my reviews that many of the best films in any genre use their premise to create subtext, almost to the point where the superficial plot is no longer the most relevant or appealing aspect.

Not exact matches

It's a ground - breaker like «Guess Who's Coming to Dinner» (1967), the first major film about an interracial romance; it uses the chemistry of popular stars in a reliable genre to sidestep what looks like controversy.

I so rarely have an opportunity to use it in a sentence... useful here because Tarantino films are the rarest of cinematic entities, juggling diverse genres, tones, and aesthetics with imperceptible ease, reviving the need to employ words like «sweep» and «scope» into the one's cinematic post-mortem.

Language: Japanese Genre: Anime / Biography MPAA rating: PG - 13 Director: Hayao Miyazaki Actors: Hideaki Anno, Jun Kunimura, Mirai Shida Plot: Hayao Miyazaki's latest film focuses on the life of Jiro Horikoshi - the man responsible for the design of the Japanese Zero fighter that saw much use in WWII.

Mann would not reach this film's level of stripped - down genre purity for another decade, but the almost pixelated look of his blurred streets looks even further into the director's future, to his radically innovative use of digital cameras in the 21st century.

Already widely cited and used in courses in film studies, film genre, and art and avant garde film, this updated edition situates «Transcendental Style», forty - five years later, as part of a larger movement in post-war cinema, the Slow Cinema movement.

Long ago Film Editing always used to be very closely tied to Best Picture but in the last decade or so genre films have done very well here.

While using every horror movie cliche in the book, this film cleverly tells a bracingly original story that will have genre fans squirming in their seats.

James DeMonaco also used the horror genre to prop up his career with his second film, «The Purge,» and should note the efforts from second - time filmmakers Hannah Fidell («A Teacher») and Jeremy Sauliner (festival fave «Blue Ruin,» coming in «14).

I rolled it over in my mind a few times before I came to the conclusion that the film takes on sexual repression as its subject, and uses it as a kind of horror film without actually embracing the horror genre.

Ito once again uses great angles and dramatic lighting effects, evoking horror elements with lighting that you wouldn't normally see in this type of genre film.

If you grew up in the 70's, 80's, or 90's you'll remember that Chinese and Hong Kong films used to be a staple of genre cinema, and for whatever reason died out in in the 00's.

However, that isn't the only film that made use of the date, as here is Gangster Squad, the Gatorade and sleeping - in of award season hype hyperdrive hoopla bonanza, a mindless genre movie made to be as thoroughly a piece of Hollywood as possible, while gleefully having no chance of winning any type of award.

In a film culture where genre storytelling all too often boils down to the stock gimmicks used over and over again with special effects or high concept twists to hide the familiarity, this is so refreshingly old school smart that it feels almost new.

Yet Justin Benson and Aaron Moorhead have still managed to carve out their own little niche in the market with this film, a daring fusion of grindhouse genre fiction with indie romance that somehow uses those seemingly opposed elements to transcend and forge a tale about the power and uniting force of love, no matter how star - crossed and unlikely its subjects may be.

Though Altman's films compare with Coppola's as chamber music does with grand opera, their work in the 1970s exemplifies what ultimately became the prevailing style of American film direction in that era: maverick resistance to studio - imposed time and budget constraints, insistence on directorial authorship, reliance on location shooting, use of improvisational acting, an emphasis on ensemble playing rather than star performances, Fordian gatherings — weddings, church services, parties, dinners — as exponents of group character (both Altman and Coppola had Catholic upbringings), and a revisionist approach to the mythic archetypes of the Hollywood genre film.

Its use of first - person POV, and the ways in which it manages to reinvent action sequences within that conceit, is exciting and fresh and should have a lasting influence on genre film for years to come.

What used to be the most popular genre in mainstream movies is now mainly the preserve of smaller budget films with more adult themes, and they don't come more «adult» than this latest bloody saga.

Any genre you want is used to tell the story — from film noir to romance, action thrillers to comedy — the only thing that remains absolutely consistent is that they are all set in the City by the Bay.

Haynes brilliantly uses the restrictions of the genre to critique cultural expectations: Cathy's purposefully stilted dialogue remains bound by the front - office conventions of post-WWII Hollywood (interestingly, Frank's isn't), and unlike the men in the film, her options are as limited as the choice between a happy or a sad ending.

As in his previous films «Dogtown and Z - Boys» and «Riding Giants,» Peralta, a former skateboarder, uses the nonfiction genre to encourage interest in sports, such as surfing and skating, that many dismiss as trivial.

But McPherson isn't really interested in making a horror film; he's merely using the genre's tropes as part of an adult romance about accepting tragedy and moving on.

The film premiered at this year's SXSW Film Festival and was partially filmed in Austin, TX, using the Alamo Drafthouse and its annual genre film festival, Fantastic Fest, as the backdrop.

So the emphasis became more on the storytelling medium — the techniques you need to use to tell a good story no matter what genre of film you're working in.

Documenting the evil growing inside two ten - year old twins, writer - director Christopher Denham's Home Movie creates a completely believable film in the much - maligned found footage genre, using mostly faux - Camcorder footage shot during holidays or special celebrations — those times when people do actually film things they want to keep as memories.

Personal Shopper (Olivier Assayas, 2016), which reached America in early 2017; one of Kristen Stewart's strongest performances, and an audacious mix of Dardenne Brothers style realism — as Stewart rushes from one assignment to another for her narcissistic, demanding boss — and an intelligent, restrained use of CGI for the supernatural part of the film, to create a really one - of - a-kind genre mashup.

Properly speaking, it belongs to no recognizable era or film genre; the female pirates could be 17th -, 18th -, or 19th - century characters, although they use a telegraph and radio in an early scene and at least one ship is motorized.

The film is generally used to mark the end of the classic periods of films noir, and in the same way Unforgiven (# 1, 1992) represents the carrying of the Western genre to it's most fundamental extreme, so Touch Of Evil is the ultimate noir both stylistically and thematically.

The fall - from - grace storyline is a familiar angle in boxing films: Sylvester Stallone used it in his «Rocky» franchise and it has been a staple of the genre as far back as the 1930s when Warner Bros. and other studios were churning out such films as «The Champ,» «The Life of Jimmy Dolan» and «They Made Me a Criminal.»

We can speculate on the roots of its popularity: that it satisfies the genre and arthouse crowds; that it uses framing, sound, editing and camera movement to unreel a transfixing tale and flesh out excruciatingly authentic characters; that it dares to coax out the ghosts lurking in every watery passageway in Venice, Europe's most ornate and singular city; that it contains arguably the greatest sex scene on film.

This one - page film guide on the film West Side Story the musical adaptation of the play Romeo and Juliet, set in 1950s New York, incorporates themes around street crime, immigration and the American dream, is designed to support pre - and post-screening discussions of character, genre and the key themes of the film for use with primary school pupils aged 7 and over.

Over the next six years, Reinl used the Plitvice Lakes as the location for several other films in the same genre, many of them also based on Karl May's well - known book series set in the Wild West.

His use of color film in the early 1980s, at a time when British photography was dominated by traditional black - and - white social documentary, had a revolutionizing effect on the genre.

The physicality of 16 mm film, in distinction to digital video, reflects the tactile, tangible worlds of the characters he portrays and Rivers uses his awareness of the history of the medium and its multiple genres to break away from traditional audio and visual narratives.

His use of color film in the late 1970s and early 1980s, at a time when British photography was dominated by traditional black - and - white social documentary, had a revolutionizing effect on the genre.

Born in 1960 in Vancouver, Canada, Douglas is known for his films, photographs and installations that use new and outdated technologies, the media of cinema, TV and photography, the conventions of various Hollywood genres (including film noir and the Western) and reference classic literary works (notably, Samuel Beckett, Herman Melville, Joseph Conrad, Marcel Proust, and Franz Kafka), to examine intersections of history and memory in evocative, mesmerising artworks.

Gethin Wyn Jones» film, FEAR, uses the vocabulary of cinema, in particular the genre of horror, to create a state of anticipation.

In 1964, inspired by both the long history of art and by imagery he found on contemporary printed postcards, Roy Lichtenstein began to explore the genre of land and seascapes, using paint, plastic, enamel, drawings, collage, print, and even film to realize his various works.