Sentences with phrase «forces film people»
Not all police forces film people using the washroom, he says, adding: «I don't know how widespread the practice is, but certainly there's a spate of cases that have identified real privacy concerns of people detained by police.»
http://www.canadianlawyermag.com/ Not exact matches
In the film, dozens of Japanese high - school students are placed on an island, given weapons, and forced to kill one another until one person remains.
In the trailer, Fisher is preparing to film Star Wars: The Force Awakens, is helping her mother pack and talks about the way aging effects people, in reference to her mother.
Creative and dynamic religious forces are finding their expression not in the context of the organized church, but in film, literature, and the arts, and also in some aspects of science and industry, where people are seeking ways to give institutional expression to their basic religious concerns while at the same time rejecting alliances with institutional religion.
Or consider Tim Robbins's comments in speaking to an interviewer at the Berlin Film Festival about a film he directed, Dead Man Walking: «I believe in... er... that there are... er... that there are people who are on earth who live highly enlightened lives and who achieve a certain level of spirituality, in connection with a force of goodness.
So when Nestlé states in its report, «we also do not market complementary foods for children under six months of age», it is important to remember that it took many people monitoring and exposing Nestlé's contempt for the Resolutions, working for binding regulations and taking to the streets to force this change (the demonstration at Nestlés UK HQ was filmed by Swiss Television).
The MP also revealed that he had been forced to have a police presence at his constituency surgeries last weekend after a group of people accessed his office building «under false pretences and filmed themselves protesting outside the door of my office».
In fact, anytime I see a film with people inside a building — whether it's a log carbin, a fortress, a castle, a school, etc. — being charged by terrifying outside forces, I hold on to the arms of my theater seat for dear life, just as I did as a child watching that old John Ford flick.
Unsurprisingly, allegory places significant constraints on the film actors, who are forced to put life into characters that are moral abstractions, not people, restricted in manner of behavior, expression and thought.
As a film, it's a bore, and probably only of interest for religious people who like so - called scary movies but aren't allowed to see one involving anything that derives its malevolent force from the occult, or anything with an R rating.
Narrated by Daisy Ridley (The Force Awakens), this documentary is one of the most gripping adventure stories put on film this year, as cameras follow a group of remarkable real people.
First, it isn't a particularly funny film, and the romance feels forced to the point where the couple seems comprised two unstable people.
The release, early last month, came at a time where the film and television industries had been taken by storm with people opening up on being sexually assaulted or harassed after years of feeling forced into silence.
The history of the world is rich with stories of diverse groups of people coming together in the face of adversity, but one such joining of forces that hasn't been well - covered in film is that of the Lesbians and Gays Support the Miners campaign, wherein a group of lesbian and gay activists sought to raise money in order to help those making a stand during the UK miners» strike of 1984.
On film, it feels stale, forced and claustrophobic: Who wants to watch a bunch of people yell in a room for two hours?
It is responsible for the television series Alias, Lost, Fringe, Person of Interest and Revolution alongside the feature - length films Cloverfield, Star Trek, Super 8, Star Trek Into Darkness, Mission: Impossible — Ghost Protocol, Mission: Impossible — Rogue Nation, Star Wars: The Force Awakens, 10 Cloverfield Lane and Star Trek Beyond.
Like so many films consumed with the minutiae of daily journalism, «Spotlight» is a magnificently nerdy process movie — a tour de force of filing - cabinet cinema, made with absolute assurance that we'll be held by scene after scene of people talking, taking notes, following tips, hounding sources, poring over records, filling out spreadsheets, and having one door after another slammed in their faces.
The film starred Chris Evans (Captain America) and Tilda Swinton (Trainwreck) as two people on the opposite sides of the socio - economic ladder, after a new ice age forced humanity onto a perpetually moving train in order to survive.
SyFy and The Asylum have flooded the marketplace with terrible «Sharknado» films and other jokey, awful CGI - infused tales of mutant sharks on the rampage, so it's high time to return to the simple horror that can be found when a person is forced to go up against a great white in the open water.
The film envisions a world where people are forced to find romantic companionship under penalty of being transformed into an animal.
The heyday for American film criticism was the»70s because I think the people that got into it at that point were really inspired by the likes of Andrew Sarris and Pauline Kael, both of whom became famous and established the importance of film critics as a cultural force.
Set on Halloween night in the 1970s, the film finds a group of psychotic clowns capturing unsuspecting people and forcing them to play deadly carnival games.
What's interesting about each of these films is that they all involve people who are trapped, cut off from the rest of the world and forced to adapt or die.
The first trailer for the film introduces Bridges as a warrior / wizard / knight who is opposed to the big, bad forces of evil — especially the version incarnated in the person of a witch played by Julianne Moore.
Granted, people had been waiting for a new live - action Star Wars film for over a decade before The Force Awakens hit theaters and may have been a bit easier to please, but a great team has been assembled both in front of and behind the camera, and the new footage looks great, so, as of now, there's no reason to believe that Disney and Lucasfilm won't be going two for two with their recent Star Wars releases.
Colin Farrell plays an entirely different role than he has before, to my knowledge, and I think it added to how disturbing this film is about single people forced to find a mate or be transformed into animals.
But at this latest Sundance, he made a return with Upstream Color, and it brings back everything that people loved about his first film in full force.
The title references the uncontrollable forces that buffet a person's life, as well as the literal gusts that are a constant presence in the film: blowing grass, pushing clouds, bending trees and feeding the monstrous fire that devours Tokyo following an earthquake in Jiro's student days.
Along with exec producer Kathleen Kennedy and Star Wars: The Force Awakens (and Empire Strikes Back and Return of the Jedi) writer Lawrence Kasdan, Hardwick generally gushed with the trio for a while about how momentous this project is, the significance of the Star Wars legacy and the wonder of the people who are involved in this new round of Star Wars films.
This, after all, is a fantasy film (a genre that rarely gets much love from the Academy) featuring a band of outsiders — a gay man, a black woman, a person with a disability — battling authoritarian forces.
Fan theories have always been an important aspect of the Star Wars universe, we saw a bunch of them before The Force Awakens started casting and some people actually expected the original cast to lead the film.
The film though uses this violence purposely as a critique of passivity and the way that people are forced to become submissive in the face of repression.
I know people are going to rave about the performances in this film, but honestly they all felt forced to me and the Boston accents were a bit over the top.
Stone was never great at domestic scenes to begin with, but lately his films have been hobbled by a weirdly grandfatherly indulgence of young people in love as some kind of redemptive force.
What these films share in common is the death of young people by mechanized forces.
Toback, who also wrote the film's screenplay, forces his characters to spout the most inane dialogue imaginable, which wavers between dull small talk and infuriating conversations in which people dance around the issue ceaselessly (does anybody talk like this?)
My best explanation for this is that the film ultimately found itself betwixt and between: too big to be the kind of arty film that critics love to champion, but not big enough (its domestic box office was almost exactly $ 100 million) to force its way into the conversation, à la Avatar, in a «the people have spoken» fashion.
In the other films there was at least some motivational force, but here Curt Connors wants to turn all of New York into lizard people because... because.
The film will center on Black Panther, or T'Challa as he's sometimes known outside of the latex, as he fights to protect the people of his nation from treacherous forces.
XX Year: 2017 Directors: Roxanne Benjamin, Annie Clark, Karyn Kusama, Jovanka Vuckovic, Sofia Carrillo It's important that the scariest segment in XX, Magnet Releasing's women - helmed horror anthology film, is also its most elementary: Young people trek out into the wilderness for fun and recreation, young people incur the wrath of hostile forces, young people get dead, easy as you please.
Writer - director Joshua Marston (who scripted the film along with Andamion Murataj) chronicles the psychic toll of a blood feud in the Albanian countryside; as in his debut feature Maria Full of Grace, we see young people with richly textured lives and full of aspirations, before they're corralled into a system much larger than they are, one they're forced to submit to in order to survive.
Star Wars: The Force Awakens «It's a phenomenon in the [film] industry that we call «stupid people».
«Paranormal Activity: The Ghost Dimension» (October 23): After five movies of filming mean - spirited supernatural forces bully people on candid camera, the sixth installment promises «Paranormal Activity» fans on its poster that we'll be able to peek behind the demonic curtain, so to speak.
The synopsis for the former, which we assume is a reference to screenwriter Max Landis, is: «A frustrated film exec at odds with the state of his industry is forced to work with the one person who is making him question everything.»
A lot of people say I am too harsh when it comes to the Michael Bay films but after the first one, it just kept getting farther and farther away from the franchise I grew up on into a poorly put together film with sophomoric level comedy forced into it.
A non-chronological presentation of the filmmaker's time in German forced labor camps and displaced person camps, the film details a story that begins in 1944 and goes on until 1949.
In a clever little pentagon - shaped film installation, sane - seeming, lovely, ordinary people, talk about being kidnapped by mysterious forces and escaping from abuse and mind control.