Sentences with phrase «from cinema screens»

There seems to me to be a fruitful tryst between a dramatic art of absolutes and tabulae rasae, à la Rothko and Newman, with the cool new vistas opening out from blown up imagery fresh from cinema screens and giant advertising hoardings.

She was even thrown into a film that felt like it was ripped from cinema screens sixty years earlier — the musical dramedy Miss Pettigrew Lives for a Day, where she plays a scatterbrained American actress attempting to break into the business, as well as navigate relationships with three very different men.

From The Crying Game's twists to In the Name of the Father's legal wranglings, and including Patriot Games» Hollywood thrills, Blown Away's explosive antics and Michael Collins» historical biography, the origins and impact of the troubles in Northern Ireland were never far from cinema screens.

Isaac Julien is joined by Giuliana Bruno, Professor of Visual and Environmental Studies, Harvard University and author of the upcoming book Surface: Matters of Aesthetics, Materiality, and Media, for a discussion of Julien's prolific and diverse moving - image work, and its active migration from cinema screen to gallery installation in such recent works as Vagabondia (2000) and Baltimore (2003), both of which take as their subject the space of the museum; the immersive video installation Ten Thousand Waves, on view in the Museum's atrium through February 17; and his most recent installation, the seven - screen PLAYTIME.

Not exact matches

Aldous Huxley's Brave New World — published in 1932, just after the transition from silent film to «talkies» — depicts futuristic cinema experiences called «feelies,» in which metal knobs on moviegoers» armrests transmit realistic sensations of whatever the on - screen actors are feeling.

It is released in UK cinemas on Friday 12 February, with nationwide screenings from Meat Free Monday 15 February.

The new film on his life and career is set to hit cinema screens in 2017, featuring appearances from other F1 legends such as Emerson Fittipaldi, Sir Jackie Stewart and Mario Andretti.

The audience agrees: Last year's extravaganza garnered hundreds of submissions from scientists and non-scientists alike, and drew 5,000 spectators to screenings at area bars, universities, museums, and cinemas.

By the end of 2012, 35 mm film in movie theaters is expected to decline to 37 percent on a global scale, which is a dramatic decline from 68 percent of global cinema screens in 2010.

They're not all from the cinema; some of them were small - screen moments.

About Blog Covering the greatest in heroes of the big and small screen ranging from comic book legends to iconic characters in cinema.

Perhaps the character - screen time ratio will be addressed better when Infinity War: Part 2 hits cinemas in 2019, but this half really is Civil War on steroids, landing us in the thick of it from the opening credits and itching for a fight even in its quieter moments.

Ensemble comedies are a mainstay of classic cinema — from crime capers to family drama - comedies, the sub-genre is a tricky one to get right — but nothing lights up the screen quite like a cast that just click.

You still need to be in a cinema or watching a home cinema's large screen to register all the details of the horrifying scene in which Chiwetel Ejiofor's Solomon is choking in a noose, his feet barely touching the ground, as fellow slaves go about their business, children play games and captors watch from a distance.

Pictorially speaking, this is the most accurate small - screen rendering in recent memory — the film's colour and contrast look exactly as I remember from the cinema, while there's been no digital compensation for the soft - focus quality of DP Robert Elswit's images.

Jackman has done a wonderful job in the role, widening the character's popularity from a comicbook fans to the general cinema - going public: It is only well - earned audience affection that allowed him to survive the execrable X-Men Origins: Wolverine, as idiotic a film as has ever had the misfortune to be screened publicly.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Up until this point, John Cusack had spent almost his entire cinematic career in teen comedies, from Class to The Sure Thing via cult classic Better Off Dead to the misfired Hot Pursuit, Cusack's unique and very human screen persona stole every show he was in - but by 1988, he'd become determined to move on into more serious and adult cinema.

After a seven - year hiatus from the screen, is it so wrong that someone would be disappointed with the return of horror cinema's premier self - proclaimed ethicist?

Sisters Kate and Laura Mulleavy, who design together as the fashion label Rodarte, have long talked about cinema as one of their key influences, from hosting a screening of Dario Argento's stylish horror gem «Suspiria» to featuring iconography from «Star Wars» in one of their collections.

Outrage from exhibitors over the selection of films not set for theatrical release prompted the festival to issue a new directive: all future competition films must also be screened in French cinemas.

The most important piece of news to come from the panel is that the Victorian special will be shown in selected cinemas across the globe around the time of its TV release, which will finally do the BBC's high - end production proud as the show is played on the big screens it truly deserves.

Although the first one hit screens twenty - three years ago, we haven't had a year in cinema history with four big releases from this rather derided sub-genre.

The third collection of the brilliant «Treasures From American Film Archives,» which showcases 48 rarities made between the years 1900 to 1934, is loosely organized around themes of social issues and engagement and reveals a side of early cinema forgotten in the popularity of the comedy legends and silent screen heartthrobs.

Aside from the «Final Destination» series (no screen time), «Meet Joe Black» (ugh) and «Harry Potter» (cameo), Death has been passed over in favor of the flesh - eating zombies, stylish vampires and demented serial killers of contemporary cinema.

Disney's The Avengers and Guardians blend the nostalgic, fun sort of action that was prevalent in the mid -»90s with an unapologetic, wide - eyed sense of good and evil that we don't see on screen anymore, apart from high fantasy films and children's cinema.

Professor Marston & the Wonder Women screens at the festival on 12th and 15th October and is in UK cinemas from 19th November.

Making The Grade will screen at this year's SXSW film festival and is in Irish cinemas from 13th April.

The film's tapestry of folklore and metaphor departed from the realism that dominated the Soviet cinema of its era, leading authorities to block its distribution, with rare underground screenings presenting it in a restructured form.

Audiences around the UK will have the chance to enjoy a live cinecast from the Opening Night red carpet via satellite to cinemas across the UK, followed by an exclusive preview screening of SUFFRAGETTE.

It's not often you hear an audience of movie critics gasp out loud at something on - screen, but Toni Erdmann, the new comedy of forced familial closeness from German director Maren Ade, has a comic moment so perfectly timed that it got the civilized cinema - set of New York City to jump out of their seats like this was an Evil Dead movie in 3D.

The last film Bruce Broughton worked on that was released in cinemas was the 1998 big - screen retelling of Irwin Allen's tv show Lost in Space, with Gary Oldman, William Hurt and Matt le Blanc; sadly for Broughton, who surely saw the movie as a way of gaining more exposure and therefore more work, it tanked and became as critically - lambasted as other event movies from the time like Batman and Robin and The Avengers.

Time - lapse cinema on an epic scale, as delicate in its execution as it is grand in concept, Boyhood follows Mason (Ellar Coltrane) for nearly three hours of screen time as he develops from a 7 - year - old boy into an 18 - year - old young man.

But with the exodus of talent off the island in the wake of the handover to China (all of the above went to Hollywood, at least for awhile), the deterioration of existing prints and the rise in the cost of running repertory, as well as the inevitable change in what counted as fashionable cult cinema, the films disappeared from Seattle screens.

The move, which is due to France's laws that prevent films screened in cinemas from being released online for three years, has prompted the festival to ban any online - only releases from the Croisette in future years.

Yes, just as people emerge from the cinemas from the first screenings of The Hobbit, which started in December, they have been greeted by the news that Peter Jackson's adaptation of J.R.R Tolkien's novel is set to last even longer when it's released on Extended Edition DVD and Blu - ray this year.

Screening everything from high - profile, celeb - heavy red - carpet - gala premieres of big Hollywood movies to the very best in independent cinema from around the world, the hub of the LFF is in and around Leicester Square in the West End, but the festival also branches out to include local movie houses all over London.

From his 1970 romance film «A Swedish Love Story» to his 2000 feature «Songs from the Second Floor,» Andersson is world cinema royalty, and he will finally be making his way back to the screen with «A Pigeon Sat on a Branch Reflecting on Existence.&raFrom his 1970 romance film «A Swedish Love Story» to his 2000 feature «Songs from the Second Floor,» Andersson is world cinema royalty, and he will finally be making his way back to the screen with «A Pigeon Sat on a Branch Reflecting on Existence.&rafrom the Second Floor,» Andersson is world cinema royalty, and he will finally be making his way back to the screen with «A Pigeon Sat on a Branch Reflecting on Existence.»

Old School Kung Fu Fest (OSKFF) is an annual celebration of classic kung - fu films, bringing back to the big screen the rarest, wildest, and most incredible martial arts, action, and other genre cinema from the «60s, «70s, and «80s.

At the Glasgow Film Festival, I talked to McArdle about making the leap from music video directing to narrative feature filmmaking, creating the aesthetic of dreams vs. reality, the influence of horror cinema on her film, and depicting female friendship on screen.

True Detective's Cary Fukunaga directs British star in the first competition film to screen at this year's Venice film festival — and the first awards contender from Netflix's new cinema division

Fast forward 11 years, and we are treated to an English language remake from Northern Irish director Mary McGuckian, which is now being screened exclusively in IFI Cinemas.

Ahead of its one night only theatrical release next month, a UK poster has arrived online for Shin Godzilla along with a batch of images from the 29th film in Toho's iconic kaiju; check them out below, and head on to the official site for an updated list of cinemas screening the movie on August 10th... SEE -LSB-...]

Rather than the usual elegant black and white photo of a screen icon from some golden age, Cannes 2016 celebrates cinema itself with a golden shot of a man ascending the staircase - wall of Casa Malaparte on the Isle of Capri, thus providing a film geek's field day of interpretation and reference.

Horror cinema has a long history of scenes of extreme bodily violence that dare us to look away from the screen.

A showcase of ravishing production design, Spielberg's reintroduction to blockbuster fare finds a director who has stepped away from his bread and butter for far too long, chomping at the bit to prove his magical eye for big screen cinema in a way that no one else can gracefully imitate.

It may have been 1991's The Silence of the Lambs that led to Hannibal Lecter's iconic status as well as his anointment as cinema's all - time greatest villain (at least according to the American Film Institute's 100 Heroes & Villains list back in 2003), but the cannibalistic doctor's first on - screen appearance can actually be found in this compelling thriller which writer - director Michael Mann adapted from Thomas Harris» novel Red Dragon.

SCREEN - SPACE honours the work of one of the film community's greatest unsung artists with eight posters from Bill Gold's eight decades of sublime cinema marketing...

Sound of My Voice, the dazzling genre flick from Zal Batmanglij, was woefully underseen after it followed Margaret into Odeon Panton Street — the sole cinema in London that fights to programme things that otherwise wouldn't be screened theatrically.

243 films will be screened from 67 countries, in 15 cinemas across London.