Sentences with phrase «films opening between»

Here is a list of films opening between now and the end of the year.

Not exact matches

Anyone who has attended a Star Trek or Star Wars film on opening day and then gone a few weeks later knows the difference between a piece of art viewed by cult followers and one viewed with casual fans.

In every American city the film opened in during the summer, he set up informal debates between a real local candidate and audience members.

Casting light on the inherent contradictions between the public claims of Scientology as an applied philosophy and its actual practices, the film gives voice to these peoples» stories by inserting them as recurring reference points throughout the film, from its opening credits to its closing shot.

Except for the bookends (its opening and closing scenes) and two other brief shots (the little girl in a red coat and candles burning with orange flames), the entire film in - between is shot in crisp black and white.

Of course, «The Peacemaker's» real selling point is action, and Leder proves herself a crackerjack action director, with some seriously intense set - pieces — a train wreck that opens the film, a horrifying nuclear blast, a car chase in a crowded plaza, a foot chase through the streets of New York and, best of all, a nail - biting standoff on a bridge between a truck armed with nuclear weapons and military helicopters.

Wenders is clearly intrigued by the connection between Francis and his namesake saint, opening the film with a gorgeous time - lapse shot of the Umbrian village of Asissi, and even recounting the life of St. Francis in recurring black - and - white vignettes.

The film opens with a stellar fight between T'Challa and human traffickers, with Nakia more than holding her own and Okoye saving the day.

The film opens with Rav Krushka, the beloved leader of an Orthodox Jewish congregation in London, delivering a sermon about the tricky place human beings occupy in the world, torn between the forces of spiritual good and darkness, but provided by HaShem (God) with free will — i.e., «the power to disobey.»

(Because Let the Sunshine In is such a sensually pleasurable movie it is easy to overlook the fact that the actual on - screen lovemaking is always going awry — the film opens with a clumsy coupling between Isabelle and a rutting Vincent.)

When the film opens, Homs could pass for a thriving Syrian city, though tanks in the streets and soldiers on rooftops reflect the mounting tension between the locals and the country's leader, president Bashar al - Assad, «elected» (the 2000 ballot offered no alternatives) after the death of his father, who had controlled the country for three decades before him.

It's a film open for easy dismissal, but «Creation» is not an anti-religion screed, only an intimate drama of a man who found himself at a crossroads between the answers of science and the comfort of faith.

Current projections for the film have it set to open anywhere between $ 175 million to an astounding $ 200 million.

From an opening scene in a prison fist fight to a staunchly bland climax finding him lost in an «unknown» realm when he's forced to shrink himself to fit between molecules (something resembling the resting place of Big Hero 6 mixed with the twilight hour of James Wan's «further»), Scott Lang is never a fully fashioned personality, some accidental prototype linked with schlocky zeal to the film's other do - gooder via a conflicted father / daughter bond.

Even if you don't know anything about NWA or hip hop, this is a great film, and gives an eye opening account of the relationship between the police and African Americans at the time.

This film opens by taking the audience back and forth between locations in past and present.

The film opens with a suitably cinematic battle between a Roman legion and a barbarian horde in wintery Germania circa 181 A.D..

Award winners were chosen from among films that opened in the Washington DC area between January 1 and December 31, 2002.

The festival controversy dividing audiences this year was between Netflix (which produced both Okja and The Meyerowitz Stories this year) and the professional association for movie theater owners, arguing over Netflix's refusal to open the two films in theaters as part of their «exclusive content» strategy.

From 3D cane toads on opening night (Cane Toads: The Conquest) to John Woo kung fu to close the program (Reign Of Assassins), possibly the world's first «womantic» feature (the Brisbane - based comedy Jucy) to the utterly indescribable (Tommy Wiseau cult phenomenon The Room), the new look festival — in a new timeslot and new venues (Palace Centro and Barracks cinemas, and Tribal Theatre)-- has assembled an amazing line - up, with films for young (well, 18 and over for the most part, given the severing of links between BIFF and Cine Sparks) and old.

Winging between deadly serious starts (this is a film that opens with an incinerated baby, for chrissakes), heartbreaking lost loves, kingdom - destroying action scenes and Blunt and Theron yelling at each other to the point of camp, the film never even comes close to striking a balance.

Filmed over two decades, the film opens with its oldest segment, a 1986 meeting between the rabbit - and - hare comic sensibilities of Steven Wright and Roberto Benigni.

Here, a meeting between Carol and Therese in a restaurant is rudely interrupted by a loud friend, prompting Carol's departure; the film then casts back to the start of their story, returning in due course to this opening scene and what appears to be the end.

As the film opens, residents of Old Stump line Main Street, eager to witness a pending gunfight between protagonist Albert (McFarlane) and an enraged cattle rancher.

Interestingly, DC's Extended Universe of films aren't connected to its slate of television shows (which is why TV's The Flash, Grant Gustin, was not cast), but don't rule out a crossover between the show and film versions just yet, as Kevin Smith revealed that «doors are being left open» should.

However, this just means that the film opens shakily, spending too long developing the relationship between Irving and Sydney, something that would have been better suited to sharper scenes.

Among the movies we discuss are Ondi Timoner's Russell Brand doc, which opened SXSW, «Creative Control,» «Uncle Kent 2,» Sally Field in «Hello My Name is Doris,» Austin's Zellner brothers film «Kumiko the Treasure Hunter,» starring Rinko Kikuchi, Sean Penn in «The Gunman,» Al Pacino and Bobby Cannavale in Bleecker Street's «Danny Collins,» and smart horror flick «It Follows» and its tug - of - war between theaters and VOD.

In a more ambitious (and decidedly less commercial) effort like The Hours and Times, the lack of sex can be defended as a central part of the film's seriousness and modesty, justified both by history (the real - life relationship between Brian Epstein and John Lennon) and by the film's status as an «open» narrative leaving a great deal to the viewer's imagination.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening December 7, 2007 BIG BUDGET FILMS Atonement (R for profanity, sexuality and disturbing war images) Decades - spanning romance drama, opening in England in 1935, about the budding relationship between a rich girl (Keira Knightley) and the son (James McAvoy) of her family's maid aborted when he is falsely accused of a crime by her jealous younger sister (Saoirse OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening December 7, 2007 BIG BUDGET FILMS Atonement (R for profanity, sexuality and disturbing war images) Decades - spanning romance drama, opening in England in 1935, about the budding relationship between a rich girl (Keira Knightley) and the son (James McAvoy) of her family's maid aborted when he is falsely accused of a crime by her jealous younger sister (Saoirse opening December 7, 2007 BIG BUDGET FILMS Atonement (R for profanity, sexuality and disturbing war images) Decades - spanning romance drama, opening in England in 1935, about the budding relationship between a rich girl (Keira Knightley) and the son (James McAvoy) of her family's maid aborted when he is falsely accused of a crime by her jealous younger sister (Saoirse opening in England in 1935, about the budding relationship between a rich girl (Keira Knightley) and the son (James McAvoy) of her family's maid aborted when he is falsely accused of a crime by her jealous younger sister (Saoirse Ronan).

«The Light Between Oceans» gets some prestige before its bizarre opening weekend No film has suffered more from the amicable breakup of DreamWorks Studios and Disney than Derek Cianfrance's latest.

With his controversial new film Nocturama opening in theaters, French director Bertrand Bonello spoke with us about what inspires him as an artist and how he blurs the line between realism and abstraction.

In fact, during its opening stage - setting prologue, a card makes clear that the film's depiction of the conversation between Democratic Unionist leader Reverend Ian Paisley (Timothy Spall) and Sinn Féin politician Martin McGuinness (Colm Meaney) that led to a peaceful end in 2006 to Northern Ireland's Troubles conflict is director Nick Hamm and screenwriter Colin Bateman's fanciful imagining of historical record.

For a film mainly guided, stylistically, by feeling more than by thought, Wong Kar - wai's In the Mood for Love opens rather pragmatically: A simple exchange in an apartment hallway between a landlord and her two prospective tenants, Mrs. Chan (Maggie Cheung) and Mr. Chow (Tony Leung Chiu Wai), introduces the principal elements of what is, in essence, a straightforward story of star - crossed lovers and their unconsummated relationship — a romance thwarted as much by tragic circumstance as by the story's central cinematic contrivance.

In a real sense, it's a film about perceptual reality, and as the plague inevitably breaks out again in an American - run, Ellis Island-esque NATO outpost, Fresnadillo's escalation of the events from an observation room to a subway tunnel to an open air carnival (with a brief stop in - between for an American helicopter to one - up Robert Rodriguez amidst a horde of zombies) demonstrates a firm handle on how to intersperse God's - eye perspective with impossible - to - assimilate ground - level chaos.

When it is at its best, the film finds the perfect symbiotic balance between Kerouac's prose and the solemn beauty of the open road, where the adventures of a young dreamer plant the seeds of not only one man's future, but an entire generation of literary hopefuls.

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Hill and Tatum are very funny together (e.g., the opening scene, in which Schmidt disguises himself as a Hispanic gang member and Jenko tries and fails to play along) and funny enough on their own (e.g., Schmidt's take on slam poetry and Jenko's delayed, childlike reaction to discovering the identity of his partner's romantic interest), which is vital because the film's questioning of itself extends to the relationship between these characters.

The second chapter in Jackson's expanded The Hobbit trilogy gets off to a strong start, as the film opens with a flashback to The Prancing Pony that shows us the first meeting between Gandalf (Ian McKellen) and Thorin (Richard Armitage).

With its steady stream of butt gags and CGI viscera spliced in between self - commentary and several hundred in - jokes, no film has been as unforgiving to latecomers since Alfred Hitchcock locked tardy Psycho ticket holders out of theaters when the opening credits rolled.

Sitting somewhere between a western and a home invasion thriller, the film opens with a rogue Union soldier who commits a rape and covers his tracks by killing the innocent bystanders.

This 1998 film opens with a contrast between Sam Elliott's timeless, lyrical narration and the subject of it, one slovenly Jeffrey Lebowski (Jeff Bridges) of Los Angeles.

The film depicts the interactions between the English colonists and the Powhatan natives, and in particular the relationship between John Smith and Pocahontas, who speaks the film's opening words.

Bernard and Huey is directed by American filmmaker Dan Mirvish, co-founder of the Slamdance Film Festival, and director of the films Omaha (The Movie), Stamp and Deliver, Open House, and Between Us previously.

Either a short theatrical trailer or a long TV spot, this look at the film opens with Brown (Chadwick Boseman, 42) talking about his parents, and we flash through some moments of success before coming back around to a heated conversation between mama and her son.

The film opens with a car ride between the two and the eye rolls and stares out the window give evidence to an on and off tension between them.

Like onetime indie darling David Gordon Green (who has since graduated to less reputable mainstream fare) Nichols cut his teeth at the famed North Carolina School of the Arts, and the connection between the two men has never been clearer than in the seductive opening stretches of this film.

It's a surprising admission from someone whose new film, «I, Tonya,» opening later this month, is all about the world of ice skating — in particular, the 1994 Winter Olympics, the toxic rivalry between Nancy Kerrigan and Tonya Harding, and the famous kneecapping incident that sent Ms. Kerrigan to the floor, screaming, «Why me?»

On the Friday evening that the new «Nancy Drew» movie opened, Turner Classic Movies ran the four Drew films made between 1938 - 39 featuring Bonita Granville as the teenage sleuth living in River Heights, somewhere in Middle America.

Deraspe opens her film in a very unique manner for a documentary, recreating the imaginary affair between Amina and Sandra in hypersexualized images of women undressing under explicit texts between the pair.

Going back and forth between Bloom's rise, as she arranged secretive multi-million dollar poker games for the rich and famous at luxurious hotels, and her eventual fall that we witness in the opening sequence when FBI agents storm Bloom's apartment arresting her for fraud, the film is an ambitious attempt by Sorkin to fully flesh out a fascinatingly complex woman.