Sentences with phrase «for classic cinema»

Criterion isn't the first to do this — The Godfather and Casablanca embrace the grain also — but it really jumped out at me in The Third Man and started me reevaluating what constitutes a proper restoration and mastering standard for classic cinema.

Brooklyn is stunningly authentic, incredibly enjoyable and the fact it so effectively communicates its reverence for classic cinema qualifies it as one of the finest this year has to offer.

Though I wish the picture quality was stronger, this loaded platter is still easy to recommend to anyone with an appetite for classic cinema.

Criterion established itself as the gold standard for classic cinema on home video first on laserdisc, then on DVD and now for Blu - ray.

The very fact that Criterion, the stamp of quality for classic cinema, chose to spotlight the film should bring audiences back to this overlooked masterpiece.

Not exact matches

With the film adaptation of Lee Strobel's classic The Case for Christ now in UK cinemas, Adam Brennan explains what's on offer for both Christians... More

Regal Cinemas offers its Summer Movie Express with family films for $ 1 throughout the summer, and Classic Cinemas gets in on the act with its Wednesday Morning Movie Series, which includes games and activities and visits from popular characters (and costs just a buck).

Held in Rome, Chanel paid tribute to classic Italian cinema with a French flair for its pre-fall 2016 collection.

Take in a film: Going to the cinema is a classic date idea for a reason, just make sure you fit in an after - show drink!

For a twist on the classic, you could bring your date to the local film festival or repertory cinema (a theater that specializes in showing older classic and notable films).

Ted Kotcheff's adaptation of Mordecai Richler's CanLit classic brought a hint of Hollywood to the wilderness of Canadian cinema, blazing a trail for the next generation of storytellers looking to bring a slightly different eye to the Canadian experience.

Clearly one of cinema's classics, «The Empire Strikes Back» sets a standard for second - part folk films that numerous other franchises would attempt to recreate.

This is a very entertaining film that is a must see for fans of classic cinema.

I love American cinema from the 70's and I'm a fan of Peter Yates» classic cop thriller Bulllitt, so it was a no - brainer for me to accept an offer to review Yates» 1973 crime drama The Friends of Eddie Coyle.

But, while the original «Finding Nemo» was an epic tearjerker and uniformly recognized cinema classic, for many the second installment isn't getting the same reaction.

And elsewhere, smaller distributors like Kino Lorber, Olive Films, Flicker Alley, Twilight Time, Cohen Media Group, and Blue Underground, when not giving a necessary makeover to classics already in their impressive libraries, brought under - heralded films by our greatest auteurs and criminally unseen works by cinema's pioneers to home video for the first time.

And for fans of classic cinema, there is Lauren Bacall in the role of Nana.

For a movie that is supposed to be a visual spectacle, it spends an awful lot of time violating the classic rule of cinema by telling instead of showing.

Flawed though Meet John Doe may be by its ending, it is the key film in Capra's filmography, and a must - see for anyone interested in classic cinema.

One of the landmarks of silent cinema, this adaptation of Gaston Leroux's novel was also the film that firmly cemented Lon Chaney's standing as a superstar as well as set the stage for Universal Pictures to continue producing definitive horror classics throughout the 1930s and 1940s.

Whether you're looking at contemporary cinema or the classics, the Tomatometer can serve as shorthand for a film's critical reception, if not its box office success.

Whether or not this film will go down as the cult classic that Rogen and Goldberg are clearly hoping for remains to be seen, but come the end of 2013, it will certainly register in the memory banks of cinema - goers to a much larger degree than all the comedy films that have preceded it this year.

If you're looking for something different to watch or want to reflect on a classic piece of American cinema, you can't go wrong with The Last Picture Show.

I think the release is later than expected for two reasons, firstly Sony Pictures Classics now have a trilogy of films coming out over the summer with this, the new Almodovar film and Before Midnight hitting cinemas in May and June respectively.

For all of this director's classic contributions to NYC cinema, After Hours may yet be his truest depiction of the crazies that come out at night.

Still, that strong track record, plus the seven Oscar - nominated performances he's directed (including Day - Lewis» winning turn in «There Will Be Blood»), suggests the industry has always held this filmmaker in high regard — for the intelligence and muscularity of his filmmaking, for his love for the traditions and myths of classic Hollywood cinema, and perhaps above all for his unswerving allegiance to his own vision.

By turns nostalgic for a bygone period in cinema — that of the classic John Wayne shoot - em - up — and hungry to forge new frontiers with a riveting story that, while not categorically unpredictable, explores boundaries few films bother exploring anymore.

An African American director casting one of the greatest African American movie stars as a «classic» western hero, just as President Obama prepares to ride off into the sunset (while mainstream cinema struggles to catch up with the racial diversity of the US) is a recipe for bold imagery.

The 1977 classic of Italian horror cinema, Suspiria might have seemed a sacrilegious choice for a remake if it wasn't the team of Luca Guadagnino and Tilda Swinton, who have already teamed up for two utterly sumptuous films, Love and A Bigger Splash (above).

With its abundant action, spectacular desert locales, and emphasis on honor, valor, and redemption, the story's a natural for the big screen, and the 1939 version, starring John Clements and Ralph Richardson, is widely regarded as a classic of the British cinema.

THE DVD Anchor Bay's laudable dedication to resurrecting «classics» of horror and cult cinema has resulted in another must - have, THX - approved DVD for admirers of Hellbound: Hellraiser 2.

For a fan of classic cinema, there is nothing quite like seeing a black and white film presented beautifully in High Definition, and My Darling Clementine looks splendid on Blu - Ray from The Criterion Collection.

The lack of any nominations for his films which are absolute classics and an integral part of cinemas genre history is much more shocking when other filmmakers have simply missed out at the final ballot stage whereas Leone didn't even get to hear the starting pistol fire.

There's no better time of year for fans of classic cinema, no better place to watch classic films than movie palaces like the Chinese and Egyptian Theatres in the heart of Hollywood, and no better audiences to watch films with hundreds of people who love the classics as much as you do.

My well - known affinity for the classic «Hard Knock Life» makes Annie a natural vehicle to lead us into the world of the cinema.»

The classic Nintendo franchise, Metroid, envisioned through the lens of 60s - 70s science fiction cinema such as 2001, Alien, and Solaris: this was the concept for Rainfallâ $ ™ s most recent production.

However, while Lachman had referenced classics of European cinema for other films, including Haynes» singular Bob Dylan biopic I'm Not There, he didn't reference any specific cinematic world for Carol.

Pure cinema magic for all the family: Spielberg looks to be on classic, twinkly form, with trailers and posters highlighting the charming, chocolate - box fairytale aspects of the production.

A Special Citation will be given to TURNER CLASSIC MOVIES for preserving historic cinema and bringing it to a wider audience via FilmStruck.

This little gem features American treasure and all - around genre cinema maestro John Carpenter discussing his 1988 sci - fi / action / horror cult classic They Live, going into detail about such things as the conceptual ideas behind the movie's premise, his casting of professional wrestler «Rowdy» Roddy Piper as the protagonist, and the rebellious inspiration for the film's infamous fight scene between Piper and the great Keith David.

The hype Pure cinema magic for all the family: Spielberg looks to be on classic, twinkly form, with trailers and posters highlighting the charming, chocolate - box fairytale aspects of the production.

For a shot of adrenaline in your next cinema trip, look no further — a future cult classic for suFor a shot of adrenaline in your next cinema trip, look no further — a future cult classic for sufor sure.

Ben works in education, and is also a budding screenwriter and independent feature filmmaker, who has a real passion for cinema - in particular the classics of the Reagan - era.

A trio of cult classics for folks inclined to keep it real via cinema verite.

Fresh from the playfully exuberant A Hard Day's Night, which set the bar for rock and roll cinema and inspired the modern music video, Richard Lester continued the same acrobatic, tongue - in - cheek style in The Knack... and How to Get It (Kino Lorber Studio Classics, Blu - ray), his adaptation of Ann Jelico's lightweight play «The Knack,» creating a delightfully frivolous take on swinging London and the sexual revolution.

«Wadjda» Given that it was made by a female director in an environment as hostile to both women and film as Saudi Arabia (where women can't drive, and cinemas have been closed for decades), it's genuinely staggering that «Wadjda» — which made its U.S. debut at Tribeca on its way to a full release from Sony Pictures Classics — turned out as brilliantly as it did.

Years of experience freelancing for the Alternative Press and the international magazine market led to the development of ColeSmithey.com which features an extensive archive of video essays on current and classic cinema, as well as text reviews and editorial articles.

It's the classic hardboiled private - eye movie; the nervy maiden offering of its celebrated director, John Huston; the first glamorous star vehicle for Humphrey Bogart, an icon of American cinema and the 20th century's definition of existential cool; and still the most triumphantly well - cast movie from Hollywood's golden age (rivaled only by Casablanca).

Meyers is in her element when the movie plays like classic narrative cinema, unafraid to go for the corny sentiment that she does with more conviction than the attempts at zeitgeist comedy.

The film, which is touring in a new digital restoration for its 50th anniversary, is a classic of European art cinema, a minimalist manifesto, and the easiest entry point into the challenging anti-Masterpiece Theatre of Straub and Huillet, a husband - wife duo who co-directed more than 30 films (all of which can be loosely categorized as «adaptations») before Huillet's death in 2006.