Sentences with phrase «films in genres not»

TCM and Columbia's five - film box set «John Ford: The Columbia Films Collection» covers Ford films in genres not usually associated with him.

In one of the many subtle touches Coogler adds to a film in a genre not known for them, Black Panther ambiguously refers to either of them.

Not exact matches

For that reason, many adults go to the movies to enjoy the latest animated film without children, not because they want to delight in «kid's stuff,» but because the genre offers poignant messages in a beautiful format that only these types of movies can really deliver.

5 MUST - SEE FILMS FOR HORROR FANS IN 2018 By R. C. Americo - 2018 is shaping up to be a fantastic run for the Horror genre, but don't just take my word for it.

It is very rare for a third film (especially in the horror genre) to surpass it's predecessors, and while «Insidious: Chapter 3» doesn't quite capture the brilliant atmosphere created in James Wan's original, it definitely is a step above his first sequel.

Preaching to the Choir seeds adequately in the very fertile genre of black films about redemption, but don't expect performances on the level of last year's Diary of a Mad Black Woman or The Preacher's Wife.

it was certainly a more accessible film in terms of the sci - fi genre and has bolstered the credibility, much like Children of Men, however, I disagree with the seamless integration of the film styles and think the trailer misled, as the film is not really mockumentary at all.

Although not as great as others in the genre, this is a film worth seeing if you're a fan of Sci Fi.

Sloppy writing gives savvy movie - cum - music fans the impression that this demographically challenged film doesn't know the difference between Nashville and Austin, or in other words, the schism which divides contemporary country music into its inimical sides: mainstream and alternative, just like rock, or any number of musical genres.

The film doesn't always work as a genre exercise, but it's a winner as a character study, in large part because of how committed Hagan is to playing Janie's derangement.

Nothing on Lionsgate's 2014 schedule of YA novel adaptations, horror, and other genre films suggests that the studio is going to start churning out critically praised films, but with another Hunger Games installment due this year, the studio should remain in the green financially, if not score-wise.

Either because they were being compared to some of the classics in the horror / comedy genre or, as the consensus on here states, there's not a good enough of either comedy or horror in the film.

Rope is a classic picture, one that definitely needs to be seen by genre fans, and it's a film that steadily builds up the tension, in order for the viewer to really get into the story and not turn away.

The genre is arguably one of the riskier for filmmakers to tackle because the film must not only make the audience believe in a world or setting that is seemingly ambitious, but the filmmaker must also convey a contemporary message of some kind.

The fairly new genre film specialist (which mainly relies on digital distribution) had its largest annual film slate ever in 2015 — though, judging from the results, that's not necessarily a good thing.

Sure, this film possesses a better pedigree than most movies of its type — director Fatih Akin is rated higher in international film circles than «Death Wish» remake director Eli Roth, Diane Kruger won the Best Actress prize at Cannes for her performance and the movie is Germany's entry for this year's Oscar for Best Foreign Language Film — and its intentions may be nobler, but, at its heart, it is not markedly different from its genre brethren.

It's a long movie for its genre, but don't think for a second that it's going to drag; there's story and detail stuffed in every frame of this film, and it seems to run for half the time it actually does.

Which is fine because Antal does well with all the boring stuff that most other genre filmmakers don't, and it shows in the way that the film's mostly talky second act never slackens the film's brisk pace.

What makes «Very Bad Things» a more rewarding experience than other films in its genre is that writer - director Peter Berg seems to be onto the fact that he's making a piece of shock schlock and not a sociological pronouncement.

You don't have to be Asian - American to appreciate the Wongs with all their flaws and missteps; this could be your family, or the family of anyone you know, and in that way the film crosses that invisible genre line in the sand.

Whereas across earlier films Haneke's predilection for deceit served a high - minded, if still somewhat suspect, intellectual purpose (an interrogation of privilege and meaning in Caché, the deconstruction of genre in both versions of Funny Games, and so on), here his disingenuous approach is not only unwarranted, but is actually at odds with the tone and tenor of the drama.

Much like Gladiator and countless other stories in a variety of genres, this rags - to - riches tale can't hide its formula, even though it's easy to get lost in the film's formidable scope.

Depressing, cliche, and quite unwatchable at times, Dear John really doesn't have an interesting story to tell, and despite it being in the romantic genre, the film makes the viewer feel nothing more than annoyance.

The [not really] dramatic elements provided continuity, as a sequel, and gave the film just enough substance to distinguish itself in a genre dominated by pointless fluff.

Certainly the feelgood factor is in effect here; but the film doesn't really distinguish itself within the genre.

As David, the son of Korean immigrants, navigates his nascent desire, the film rests not on eroticism per se, but on the connective tissue it weaves among sexual and other identities: Spa Night recombines elements of the emigrant saga and the coming - of - age story into a searching, fresh - faced portrait, highlighting in the process the genres» keen correspondences.

Doesn't add much to the coming - out genre, as it has been established in countless Sundance competition films and made - for - television movies.

Taking Five This month alone sees two first time feature filmmakers tackle genre films that haven't been done before in Singapore's...

Brad Bird was right in saying that animation is an art form and should be able to accommodate all sorts of genres, but what «Kung Fu Panda 2» should have kept in mind is that the action movie genre elements shouldn't overwhelm the film's core emotionality, no matter how cool those action elements might be.

Fargeat's film is ultimately a straight genre exercise that's subversive in its intent: rendering us witnesses to the arrogance of men looking to own her sexuality (not to mention mortality) and toss it in the trash, leaving her to reclaim it (and their lives) as her own.

Elysium will mark the young directors second film and ever since its announcement not much has been said about the film other than it was going to be in the sci - fi genre with a lot of underlying sociopolitical messages.

Writer - director Thom Eberhardt (Captain Ron, The Night Before), who had just come off of a similar survivalist horror tale, Sole Survivor, imbues his film with a tongue planted firmly in his cheek, and a genuine love for the various B - movie genres that gives the film the necessary sense of fun needed in order to not get bogged down in deadly seriousness that would have done the film in for sure.

«Schrader works in a stately, dark - toned style that's far more compelling than the frenetic genre hash of his last two films, «Dying of the Light» (2014) and «Dog Eat Dog (2016),» Variety opined in a review, coming into «First Reformed» as a summation of Schrader's work: «Paul Schrader pours all his obsessions, from Robert Bresson to pulp violence, into a grindhouse art film you can't stop watching.»

Both films are post-apocalyptic sci - fi thrillers where the the population of Earth is threatened into nonexistence in a short amount of time, while the survivors do what they can in order to keep from suffering the same fate at the hands of those who have gone rabidly insane — the zombies here aren't the slow, lumbering ones we generally associate with the genre either.

While I can certainly agree with both films not falling squarely in line with the zombies, slashers, and extreme gore features that proudly wave their horror flags, Get Out and The Shape of Water do exist in the peripherals of genre, both featuring monsters of very different ilk.

We don't see many films filled with grand, cinematic vistas from foreign lands, and in that regard The Way Back fulfills a much ignored genre in this age of virtual - everything imagery.

Refreshing, in these times, to find a spoof on a genre of films that isn't just a rattling off of pop culture references and obvious sight gags, though Shaun of the Dead is still a favorite for many audiences.

Beyond the Black Rainbow (d. Panos Cosmatos) When the dust settles and the smoke clears, I do wonder if guys like Juan Carlos Fresnadillo and Pascal Laugier won't finally get their due as the spearhead of a horror revolution, the two of them landing with new films in the same year that Drew Goddard and Joss Whedon received a round of applause for their genre - hating The Cabin in the Woods.

Though the film follows a pretty standard cops - and - robbers formula, it does so with such razor - sharp proficiency and well - drawn characters that it succeeds not just as a terrific genre film but a modern American classic in the same vein as «No Country for Old Men.»

Sprinkled with little personality bits here and there (Tallahassee's mad quest for an ever - elusive Twinkie, Columbus's crippling fear of clowns, etc.), Zombieland doesn't break any new ground in the horror genre so much as make for a strong dose of escapist fun for knowing fans of the films.

Heavy on Spanish language films (including a Brazilian film not in its mother tongue) and the usual block of French film items, after seven years as Artistic Director, Edouard Waintrop leaves the Directors» Fortnight (the section that gave us The Florida Project and a Claire Denis comedy in 2017) with what appears to be a program of genre - friendly firecracker line - up items.

2» (Blu - ray + DVD) Details: 1960 - 65, Arrow Films Rated: Not rated The lowdown: More genre features are included in this set that offers films from one of Japan's oldest movie studios.

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.

What You Need To Know: We may have had issues with much of the film, but one can't deny that Zack Snyder «s «300» gave the swords - and - sandal genre something of a visual makeover, and became a huge hit in the process.

The Strangers In about as simple a horror film premise as a high school screenwriting student might come up with, this night out with Scott Speedman («Felicity,» «Anamorph») and Liv Tyler («The Lord of the Rings» series) hits the standard horror buttons to ensure a spectrum of shocks so that inveterate genre fans won't won't be demanding their money back.

I've been enjoying a lot of the Trailblazing Women programming myself but since we're in the middle of Schocktober, I thought I'd set aside some time to highlight some of my favorite horror films and thrillers directed by women who have left their macabre mark on a genre that many mistakenly assume is not very female friendly.

In other hands, a zombie movie is just a zombie movie, but Land of the Dead, a horror film laced with rife with social commentary, political satire, and black humor, is not just a return to the genre he practically single - handedly created (or at least definitively redefined), but a return to form.

Astonishingly this thriller is one of the creepier films, not to be placed in the horror genre, that I have ever seen.

It hit the comedic mark in many moments and was not a rehash of other films of this genre.

Suspenseful and hilarious, despondent and optimistic, I Don't Feel at Home in This World Anymore is a masterful genre film, one that immerses itself in the small, painful indignities of everyday life, and then casts the battle against those wrongs as a serio - comic odyssey of sleuthing, heavy metal, and nunchakus.