Sentences with phrase «films of the genre as»

If you are a die - hard, you may even pick up the subtle references to other films of the genre as well.

Not exact matches

The oddity is compounded by the fact that, in recent years, the trappings of the disaster film have overtaken other genres as well.

In this model, in other words, the arrangement of points would be fractal (a term also tossed out as an answer to the shape - of - the - world question), meaning that the distribution is the same whether you're talking about the macro level (the top online publishers) or the micro level (the handful of blogs and Twitter feeds about some obscure film genre).

As the pioneer of this new genre in the adult industry, Buck Angel Entertainment focuses on education through motivational speaking and award - winning documentary films, while striving to spread the message of empowerment through self - acceptance.

Maybe that's the reason why, as you say, «most of the comparable films made in this genre are satirical.»

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

A buddy - cop thriller recast as Dante's sojourn in Hell, this graphic, allusion - littered film stands the conventions of the genre on end — along with the viewer's hair.

A lurid enigma, erotic noir as tragedy, Bastards is a film that burrows into genre like a parasite, while probing the darkest alcoves of the human heart.

And, as a non-reader of the J.K. Rowling books (I'm saving them to read with my daughter when she's old enough) and a non-aficionado of the fantasy genre, I find at least some stretch of every Harry Potter film arcane and a bit dull (usually the parts involving magician - vs.

A decent, well - made, small - scale genre film with a great cast of on - the - cusp players, The Lazarus Effect begins as a modern - day spin on Frankensteinian mad science, but segues into more demonic matters.

As with Eli Roth's Hostel films, the context should be clear to anyone aware of the role America plays in the developing world and the festering anti-American hostilities out there... or to anyone interested in the politics of horror and / or familiar with the genre conventions in this regard.

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.

It's ultimately clear, though, that Hajdu is looking to riff on the Western genre, as the film boasts many of the beats and developments one expects from such an endeavor.

The film doesn't do much to satirize the spy genre, instead using its flimsy plot mostly as a scaffolding for a barrage of jokes.

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

Spoof movies come and go, and there will always be the ones that are great, but as time goes on, this genre of film is what really makes this industry hurt inside and out.

Indeed, the film's reliance on audience familiarity with sources of so - called high culture has been dismissed in some quarters as a pretentious gimmick, as if it were somehow an eighth deadly sin to expect intelligence either in police detectives or attendees of lowly genre films.

And, as in most of Tarantino's films, statements are made in the guise of genre.

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.

As the struggle with Voldemort suggests, the premise of the story is allegorical — good / light against evil / dark — with obvious revivals of the genre traditions of British heroic legend and medieval romance, even though the films have modern elements.

With shadowy, black - and - white production, a slow - burning jazz soundtrack, and a wide ensemble of characters that runs the gamut of crime movie archetypes, Dick Hopper serves as a love letter to film noir, even as it skewers the genre with no mercy.

While it's hard to deny the ineffectiveness of both Peter Berg's directorial choices and the film's final half hour, Hancock primarily comes off as an engaging and thoroughly innovative spin on the superhero genre - with Will Smith's admittedly impressive performance certainly ranking high on the movie's list of positive attributes.

With an astoundingly funny vein of dark comedy running through the entire film, this film sets itself apart as a treatise of the horror genre, something that Scream accomplished a decade previously but Cabin in the Woods elevates to another level.

, and the also - Oscar - snubbed Roger Ebert doc Life Itself) fall under its Magnolia Pictures brand, you can't blame all of the low scores on its Magnet Releasing genre label, as many of the company's very worst films were Magnolia - branded, too.

If the trend continues, too, Garland should be embraced with open arms, as his directed films avoid many of the studio genre traps and confront challenging topics head on — whether by droids or cancerous, world - eating prisms.

There is real wisdom and honesty in every moment of the film, and that's refreshing in a genre that is built largely on fantasy every bit as disconnected from our reality as any superhero film.

The future of blockbuster films such as these lie with directors like Coogler (and Patty Jenkins, and Taika Waititi), ones who are bringing much - needed new life and ideas to the superhero genre.

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.

As a fan of the genre, and as a guitar player, I really do appreciate this film for what is iAs a fan of the genre, and as a guitar player, I really do appreciate this film for what is ias a guitar player, I really do appreciate this film for what is is.

The old Flash Gordon and Buck Rogers serials were not science fiction, the «alien invaders» flicks of the 50s were likewise fantasy, and it continues today with such non science fiction films as Independence Day, Red Planet and Event Horizon trying to claim a genre title of which they are not worthy.

Although not as great or refined as The Big Lebowski, this film is still a classic of the stoner genre.

As these environmental issues continue to worsen, there's been a parallel rise in the eco-documentary — a genre of films dedicated to highlighting how human actions are negatively impacting the planet.

there were a few moments where just a little more dialogue would have improved certain scenes and the film was not without a few of the cliches of this genre, but overall it stands as a personal favorite of mine.

And yet, amid all that overdue and well - deserved scorn, the lone aspect of Deadpool 2 that is treated with gravid, wet - eyed sincerity — the thing the film wants us to care most deeply about, that acts as the plot's triggering action — is itself the biggest, oldest, dumbest and most useless superhero - genre cliche of them all.

By virtue of such economical tension exercises as 99 River Street (1949), Tight Spot (1955), and the superb The Phenix City Story (1955), Karlson was embraced by the cognoscenti as a master purveyor of the «film noir» genre.

It's as rudimentary as slasher films go, and although it may not be fair to make the comparison, that will no longer cut it after Get Out proved that the horror genre is capable of a lot more than mechanically depicting people getting stabbed to death.

But there's one Science Fiction film that towers above all others of the genre, as well as all other films, and that is Stanley Kubrick's 2001: A Space Odyssey, which Warner Brothers barely released in time to actually be seen on a big screen during the relevant year.

When Beatty first proposed the idea for making this film some seven years ago, the concept of rap as an «artistic» forum for airing the grievances of the dispossessed had some currency, despite the genre's chronic misogyny and threats of violence.

As an experiment in genre mixing, an art - house curiosity, a new way of handling the grand theme of adolescence, and an example of the inherent powers a film score can possess; yes, it's really great.

The film, as most Tarantino films do, pays homage to several particular genres of movies.

I don't say «comedy» as a description of the genre to which this film belongs (which is the sad case for a lot of garbage being passed of as comedy).

Then, as told partly in flashback as Arthur (Harrelson) is being interviewed by a court - appointed psychiatrist (the underrated Sandra Oh), the safe distance that gives the audience derails the pace and the film becomes more serious than it ought to, no matter the subject matter and this results in it becoming every «realistic» work that looks down on the idea of either a superhero or 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.

As such, «The Dark Horse» is as good a title as any for a film that takes an overplayed genre — the inspirational mentor story — and still manages to surprise, sneaking up to deliver a powerful emotional experience within a formula we all know by heart: After suffering a nervous breakdown, a Maori chess champ volunteers to coach a group of disadvantaged kidAs such, «The Dark Horse» is as good a title as any for a film that takes an overplayed genre — the inspirational mentor story — and still manages to surprise, sneaking up to deliver a powerful emotional experience within a formula we all know by heart: After suffering a nervous breakdown, a Maori chess champ volunteers to coach a group of disadvantaged kidas good a title as any for a film that takes an overplayed genre — the inspirational mentor story — and still manages to surprise, sneaking up to deliver a powerful emotional experience within a formula we all know by heart: After suffering a nervous breakdown, a Maori chess champ volunteers to coach a group of disadvantaged kidas any for a film that takes an overplayed genre — the inspirational mentor story — and still manages to surprise, sneaking up to deliver a powerful emotional experience within a formula we all know by heart: After suffering a nervous breakdown, a Maori chess champ volunteers to coach a group of disadvantaged kids.

When films tend to recycle ideas under different titles, the genre as a whole suffers, and we have several films in the last few years that show the decline of great horror.

Now, I do think that some critics are going overboard in their praise of the film (probably because they've been beaten down by a genre that has given them such horrendous fare as «Bride Wars» and «Something Borrowed»).

As for the film itself, though Waititi includes aspects that play like genre parody — a montage scored to Leonard Cohen's interpretation of the «Song of the French Partisan» unexpectedly recalling McCabe & Mrs. Miller; a Mad Max - like chase climax; Lukasz Buda, Samuel Scott and Conrad Wedde's 1980s - style synthesizer - laden score — Hunt for the Wilderpeople is ultimately disarming in its innocent sincerity.

Having never been much of a fan of genre labels, the idea that this film should be judged differently because it has female stars irks me a bit, but if that gets more people into theatre seats and away from the junk that typically qualifies as «entertainment for women,» I'll happily embrace it.

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.

«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.»