Sentences with phrase «for bleak films»

Not exact matches

Blade Runner: 2049 may be a great experience for film buffs, noir fans and sci - fi aficionados, but it's a humorless jaunt into a bleak future.

Oddly dated and loudly present in nearly every scene, the music conveys bleak, urgent anxiety from the outset, leaving the film little room for tonal maneuvering.

But as the days get shorter, the films look to get bleaker, as a trailer for a new young - skewing end - times picture demonstrates.

Bleak and depressing which doesn't make for an overly enjoyable film.

And for a director whose films have often been bleak and almost clinically detached, Light Sleeper presents Schrader in a new and philosophically redemptive light.

A Single Man Tom Ford's adaptation of the Christopher Isherwood novel, about a gay man grieving over the death of his lover, is a bleak, intelligent film that serves as a showcase for what may be Colin Firth's finest film performance, the ultimate elucidation of the character he has been playing, in one form or another, for years: The man who feels too much to allow himself to show it.

Hall's bleak vision, his gift for working with darkness and rain, rivals classic film noir of the 1940s and»50s in its visual mastery.

Her bleak working conditions in this effects - heavy film demanded physical dexterity and the ability to withstand long periods of isolation, but through it all her gift for connecting with an audience, so essential for this kind of film, never fails her.

The film certainly pushes a fairly bleak outlook on life, like most westerns, and is definitely not the kind of story you'd go along to see for «fun».

But instead of toning down the bleak misery of his rookie film, Iñárritu cranked the torment levels up to ten for an experiment in onscreen mourning.

In this film adaptation, the bleak streets of 19th Century London are recreated in dramatic detail, providing the perfect environment for us to observe the moral decay of Benjamin Barker, a barber who is sent to jail for fifteen years on false charges by Judge Turpin (Alan Rickman), who fancied his wife.

At this year's Locarno Festival, (recently renewed) artistic director Carlos Chatrian similarly declared that he foresaw increasing numbers of women filmmakers in the competitions of major festivals and that he was especially proud to tout, in Locarno's main competition section (with 17 world premieres), eight women directors.1 And Locarno's outcome, amid an impressively deep competition pool, was unexpectedly different: although I, Daniel Blake did win the audience award of the Festival's mainstream Piazza Grande section, a female writer / director, Ralitza Petrova, took the festival's top prize for her brooding and bleak Bulgarian film Godless.

Also notable for its great ensemble cast is Love Crime (featuring Kristin Scott Thomas and Ludivine Sagnier), Alain Corneau's final film which perfectly captures the bleak and highly competitive corporate world.

David Cronenberg is best known for psychological horror films such as Videodrome and Dead Ringers, and although Maps to the Stars is ostensibly a bleak satire on movie folk, there's an underlying gothic mood that simmers nicely to the boil.

Directed with the usual dark and bleak look of Zack Snyder films like last year's fan disappointment Batman v Superman: Dawn of Justice, the new movie fails to find the fun in all of this and ranks as a setback for the genre after three previous winners this year: Wonder Woman, Spider - Man: Homecoming and the current Thor: Ragnarok.

This is one of the few purely comedic scenes in an otherwise bleak film, yet it sets the mood perfectly for a narrative of displacement, in which a woman tries to find herself in another country's ways.

For a film that has a premise as bleak and inhuman as a mother and her child being confined in an inescapable room, this trailer certainly leans in a hopeful direction.

The bleak and confusing narrative vaguely touches on issues of grief for emotional impact, but it's the silly playfulness of the film and Cusack's dedication to it that make 1408 work on its own limited terms.

There came a point in Rafelson's new film, Stay Hungry, when I found myself yearning for some kind of similarly sustained tonality — bleak or otherwise — but in fact the wide variety of emotional responses being elicited in rapid - fire succession by the director makes Stay Hungry a hard movie to trust.

We get a pretty bleak, yet coherent, film for the first 65 %.

Locate in Night Moves and its brothers the seeds of films like The Dark Knight and No Country for Old Men, and consider that it took the collapse of two towers to bring the United States (after Reagan and his screen analogue, Gump) back into this golden age of bleak self - reflection and, at times, incomparable artistic expressions of fear and trembling.

The first, by George A. Romero, his wife and assistant director Chris Romero (née Forrest) and Tom Savini, reveals that almost all the cast were friends, family or local Pittsburgh volunteers (even the mall was owned by personal friends of Romero), that the original script had a far bleaker ending (everybody dies) which was changed during the shoot because the film was «too much fun» for it, and that the fourth film, should it ever get made, is a larger - scale affair set in a down - town area, with lots of action sequences and an overarching theme of «ignoring the problem».

Filmed with handicams, starring a pair of art - house favorites, and scored by blog buzz band Grizzly Bear, «Blue Valentine» couldn't look like more of a stereotypical indie romance if it tried — but who wants to ring in the New Year with hopeful thoughts for 2011 and a round of «Auld Lang Syne,» when you can head to the theater and watch Ryan Gosling and Michelle Williams getting it on in this bleak romantic drama, already the center of a ratings controversy over the NC - 17 the MPAA slapped on it for an «emotionally intense» sex scene?

Also Worthy and Worthwhile «Keep The Lights On,» «Neighboring Sounds,» «A Royal Affair» (Mikkel Boe Følsgaard guy should have also been in our Breakout Performances of 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen list.

The only place where the movie really falters is in the final minutes, which is a little too nice for the events that precede it, because even though the subject matter may be bleak, «Starred Up» is a truly captivating film about the ineffectiveness of the penal system and hands - down one of the best prison dramas in recent memory.

In the end, that decision, along with cinematography that injects small moments of beauty into an otherwise bleak narrative, as well as strong performances, make for a compelling film.

Grave of the Fireflies, because it was such a bleak, dark film, and it dealt with the subject of war with such uncompromising detail, that you couldn't believe it was film for kids.

There are some clever signs and a few chuckles, but for the most part, the film is very depressing and bleak.

Is there a precedent for such a resolutely bleak film as Biutiful to be considered a frontrunner?

Some other memorable moments that emerged while compiling this: Jack Nicholson, Meryl Streep (both Oscar - nominated) and Tom Waits on the downward spiral in Hector Babenco and William Kennedy's bleak «Ironweed»; John Huston's lyrical direction of the posthumously released adaptation of James Joyce's «The Dead»; the joyous Cajun -, zydeco -, R&B and gospel - flavored soundtrack of «The Big Easy,» gumbo for the ears; the consummate character actor John Mahoney breaking out (at least for me) in «Tin Men,» «Suspect» and «Moonstruck» and and Hunter delighting in «Raising Arizona,» «Broadcast News» and just about anything that came after; plus two British indies: Emily Lloyd as a cheeky 16 - year - old in David Leland's delightful comedy - drama «Wish You Were Here»; and one of the great cult films of the decade, Bruce Robinson's savagely witty «Withnail and I» with Richard E. Grant and Paul McCann.

If The Player was withering in its contempt for Hollywood's skewed value system, Spike Jonze's 2002 film Adaptation was even bleaker.

Speaking of lip service, the film offers a glimmer of hope that it might address real - life issues by referencing the job crisis faced by technology - challenged middle - aged people, and then later acknowledging the often bleak prospects even for the brightest and most ambitious college graduates in today's job market.

The script by Gerald Ayres (Rich and Famous) suggests a bleaker film than what plays out here, and perhaps a bit more personal, but in the waning days of the disco era, superficial treatments were the norm for fare aimed at younger viewers.

This Christmas a venerable Seattle tradition continues as the Grand Illusion plays, on 35 millimeter film and for the next three weeks, Frank Capra's greatest film, the grim, bleak, heart - warming holiday classic from 1946.

McDonagh has always had a way with words, and in McDormand he finds perhaps his best vessel for the acerbic poison - tinged wit needed to strike the balance needed to make a film like this not feel tone deaf or overly bleak to its audience.

It is entertaining, which is a challenge for a film that wishes to paint a bleak portrait.

What this film has in depth, vibrancy and fun, is the reason it could be mistaken for being pro-drug use but having these qualities is more of a testament to the filmmakers involved, in making a bleak and depressing subject matter, very entertaining.

Whit this film has in depth, vibrancy and fun, is the reason it could be mistaken for bein» pro-drug use but huvin'these qualities is mair ae a testament tae the filmmakers involved, in making a bleak and depressin» subject matter, very entertainin».

While the screenplays for both are good (and certainly both films» reviews) it speaks to how bleak this category is in search of contenders.

The Directing Award: U.S. Dramatic was presented to: Eliza Hittman for her film Beach Rats — An aimless teenager on the outer edges of Brooklyn struggles to escape his bleak home life and navigate questions of self - identity, as he balances his time between his delinquent friends, a potential new girlfriend, and older men he meets online.

The film's bleak pallor is achieved in large part by editor Hank Corwin, who began his career as an editor for Oliver Stone, and cinematographer Eduardo Serra.

The Prague Post felt the film «paints a bleak portrait of an alternately beer - soaked, smut - infused and financially grim existence for Western transplants in Prague,» and «whether this is true of all ex-pats, it is certainly true of the four souls Longmire profiled.»

This summer (where over 70 % of revenue in the film industry is made) looks bleak for them.