Sentences with phrase «from violence in his films»

Martin Scorcese touches on topics ranging from violence in films to the preservation of classic movies.

Not exact matches

However, Fox News host Tucker Carlson ran an interview on Friday night's broadcast of «Tucker Carlson Tonight» with documentarian and media personality Ami Horowitz, who presented a clip from a new film documenting alleged violence committed by refugees in Sweden.

After large movie theater chains, like AMC (AMC.N) and Regal Entertainment (RGC.N), refused to screen the comedy following threats of violence from hackers who opposed the film, Sony stitched together a limited release in theaters and a $ 5.99 video - on - demand (VOD) rental and $ 14.99 purchase option on YouTube Movies, Google Play (GOOGL.O), Microsoft Xbox Video (MSFT.O) and a dedicated site starting Dec. 24.

Ingmar Bergman's film Scenes from a Marriage tells, like the Lenten season, a serialized story culminating in violence, dawning in a quiet denouement of fragile new life.

The researchers state: «What increasingly differentiates the instances of gun violence in PG - 13 films from those rated R is not only the higher frequency in the PG - 13 category but also those films» erasure of the consequences (e.g., blood and suffering) and greater likelihood that the violence will be perpetrated by or on comic book - inspired heroes and antiheroes (e.g., Batman, Avengers, and X-Men).»

As with all his Potter films, Yates never shies away from showing blood or carnage when appropriate, and the emotional kick the film delivers in its more intense and upsetting moments is all the more potent because the violence goes unsanitised.

This is not a horror film, exactly, but a dark drama in which a self - imposed curse is the only reprieve from a neighborhood where violence is routine.

A pretty uneven film, lurching from comedy to violence to sentiment, but it's best when it sticks in the realm of flat - out farce.

VIOLENCE / GORE 6 - In a close - up, film footage shows a man using a knife to cut a large square of flesh from a grunting man's abdomen; the first man pulls back the bloody flesh and we see snake - like coils writhing through the victim's abdomen.

Typically, dogs and children are safe from overt violence in films concerned about alienating viewers.

Any relief at the revelation that that violence is not going down in the film's present - day reality, though, just as quickly gives way to the deeper horror about what Moll and her community might be hiding from us.

That moment is the most shocking in the film: the violence, and then the lifetime of care needed to contain and control its consequences, are well suggested; the movie soberly keeps Marjorie away from any suggestion of black comedy.

Palestinian villager Burnat documented the Israeli invasion of his homeland in the West Bank, filming everything from peaceful protests to escalating violence that led to the deaths of more than one main character.

«Schrader works in a stately, dark - toned style that's far more compelling than the frenetic genre hash of his last two films, «Dying of the Light» (2014) and «Dog Eat Dog (2016),» Variety opined in a review, coming into «First Reformed» as a summation of Schrader's work: «Paul Schrader pours all his obsessions, from Robert Bresson to pulp violence, into a grindhouse art film you can't stop watching.»

Far from the «poverty porn» glorification of which it's been accused, this is a film whose characters all feel painfully real and human, in their capacity for nastiness and violence as much as for joy and love.

However, as the film builds toward its climax that culminates in moments of violence, Rubin's film, working off of a script by first - time screenwriter Andrew Stern, increasingly overplays its hand, as the scenarios go from relatable to worst - case.

Brawl in Cell Block 99 is the latest film from director S. Craig Zahler, of Bone Tomahawk previously, and he once again proves his prowess at delivering totally gnarly moments of violence.

In The Hunger Games, the violence was mostly confined to the arena, and the film (for obvious commercial reasons) shied away from depicting it too graphically.

Female Prisoner Scorpion: The Complete Collection (Blu - ray + DVD) Details: 1971 - 73, Arrow Video Rated: R, violence The lowdown: An eight - disc set featuring four action films from Japan starring Meiko Kaji («Lady Snowblood») in a vengeance saga in which Kaji's Nami Matsushima assumes the identity of «Scorpion,» who becomes an symbol of revenge and female empowerment in a male - dominated society.

Pacific Rim Uprising Rated PG - 13 for sequences of sci - fi violence and action, and some language Rotten Tomatoes Score: 46 % In Theaters Years after the events of the first film, John Boyega (Finn from Star Wars) is a promising young Jaeger pilot who has abandoned his military career to explore a life of crime.

This seemingly innocuous film is socializing young children into violence as a way to solve problems from a very early age, much like other animated films, such as «Wreck - It - Ralph» in 2012.

The film evokes tension right from the start as the viewer waits for violence to rear its head; it eventually does, in ways expected and not.

Aside from being the last good film in which Eric Bana starred, it's a propulsive and intelligent exploration of the morals and ethics behind tit - for - tat violence (the rub: there are no ethics and morals).

INDEPENDENT & FOREIGN FILMS The Assault (R for violence) Fact - based thriller recounting the Christmas Eve hijacking in 1994 of Air France Flight 8969 from Algiers to Marseilles by four Islamic terrorists determined to crash the plane into the Eiffel Tower.

Even though Bigelow had to face some harsh criticism from women who saw Strange Days as an anti-women film because of the shocking violence on display, it could be argued Strange Days is a pure feminist picture, as Angela Bassett's Mace is a physically imposing, capable, intelligent yet distinctly feminine character who might be the supporting pillar of Ralph Fiennes» lost soul, but in some ways remains the emotional center of the whole film.

In its swirl of violence and emotion, the new movie feels like a summation of those two most recent pictures, even as it braids together settings and story elements from Jia's earlier films «Unknown Pleasures» (2002) and «Still Life» (2008), his surreally tinged docu - fiction about the incalculable impact of the Three Gorges Dam project.

Echoing the lawless nature of a western, the film from writer / director Jeremy Saulnier follows a broken man named by Dwight (Macon Blair) as he learns firsthand about the capacity for violence, by ways of self - defense and in offense aggression.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening November 23, 2007 BIG BUDGET FILMS August Rush (PG for slight violence, mild profanity and mature themes) Freddie Highmore stars as the title character in this escapist fantasy about a promising musical prodigy who runs away from an orphanage to New York City to find his parents (Keri Russell and Jonathan Rhys Myers) only to end up living with a Fagin - like wizard (Robin Williams) and lots of other kids in a makeshift shelter in an abandoned theater which was once the Fillmore East.

On the other hand, its bouts of lurid violence and voyeuristic sex feel as if they've been dragged in from somewhere trashier, like the Taken films or something with Sylvester Stallone in it.Jennifer plays Dominika Egorova, formerly a star dancer at Moscow's Bolshoi Ballet who is forced to quit after a bone - crunching onstage collision.

Adapted very faithfully from the novel by Thomas Keneally (later author of Schindler's Ark), the film concerns a young «half - caste» in turn - of - the - century Australia who feels torn between the values and aspirations of white society on the one hand, and his Aboriginal roots on the other, and who thus takes to violence against his perceived white oppressors.

Directed by Matthew Vaughn and adapted from Mark Millar and Dave Gibbons» graphic novel called The Secret Service, the film borrowed a great deal from the James Bond mythos — the tuxedos especially — while exercising a shocking amount of audacity in regards to sex and violence.

Unsparing in its depiction of violence and loss, Gibson's film boasts an especially gripping performance from comedic actor Vince Vaughn, and is buoyed by Garfield and his inspiring Doss.

One of the oddest films about mental illness to come along in awhile, this pitch black comedy from Marjane Satrapi (Persepolis) follows the downward spiral of Jerry (Ryan Reynolds), a fellow driven to violence by the voices in his head... which seem to be emanating from his pets.

As the film goes on, this hesitance to show violence in tandem with the hallucinatory sound and flashes of images from Joe's past begins to paint a picture; of a man whose abusive childhood has stayed with him.

But, like so many films that want to suggest violence only leads to more violence and unhappiness, this movie tries to make that point by appealing to those who find entertainment and happiness from violent depictions in movies.

Once Lovelace becomes a star, however, the film jumps ahead (six years, to a polygraph test regarding claims in Ordeal) and then back again, replaying the events up to and including Deep Throat from an altogether less jovial perspective, in which Linda is the victim of physical abuse and threats of violence.

From its starkly arresting beginning, in which an act of violence is perpetrated against a housewife while her young daughter looks on, only for the daughter to become an active participant in the revenge taken on the assailant once Dad comes home, the film plots a highly original, beautifully shot course through a genre that often feels overgrown with familiarity.

And in a film that mostly shies away from depicting bloody violence onscreen, that's quite a statement.

At this point in the game, and The Hateful Eight marks Tarantino's eighth feature film, audiences know what to expect from QT; fetishized wish - fulfillment violence, artfully staged, of course, pitch - dark comic relief, gratuitous and indiscriminate n - bombs dropped peremptorily, intricate plot developments that reveal themselves unexpectedly, linear time an option, not a maxim, and a jeering mise - en - scène certain to be dissected and redesigned.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening January 2, 2009 BIG BUDGET FILMS Defiance (R for violence and profanity) Oscar - winner Edward Zwick (for Shakespeare in Love) directs this harrowing tale of survival, set in occupied Poland during World War II, recounting the heroic efforts of three brothers (Daniel Craig, Liev Schreiber and Jamie Bell) who escape into the forest where they join forces with Russian resistance fighters to save over 1,000 fellow Jews from the Nazis.

Live By Night Rated R for strong violence, language throughout, and some sexuality / nudity Rotten Tomatoes Score: 35 % In the follow up to his Oscar win for best director for Argo, Ben Affleck takes on this prohibition - era gangster film, adapted from the novel by Dennis Lehane.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening January 4, 2008 BIG BUDGET FILMS One Missed Call (PG - 13 for mature themes, frightening images, terror, intense violence and some sexual material) Shannyn Sossamon stars in this remake of Chakushin Ari, a high attrition - rate horror flick from Japan about a traumatized young woman who's afraid to answer her cell phone after several of her ill - fated friends receive messages accurately predicting exactly when and how they are about to die.

A serious - minded and decidedly adult fairy tale about a virginal young woman who learns from her brother (Malcolm McDowell) that they are descended from a race of human - panther hybrids doomed to revert to their murderous feline state while making love to anyone outside of their own bloodline — a problem as she has just fallen in love with a sweet - natured zookeeper (John Heard) who specializes in big cats — this is a film swimming in sex, violence, poetry, philosophy and swanky visuals in such extremes that it always seems to be on the verge of becoming utterly ridiculous but it somehow never goes over the edge into camp because of Schrader's serious - minded handling of the material; it may be nonsense but he never treats it as such.

You know what, I don't know because I was going to say because people tend to shy away from the violence, but the truth is there are super violent movies that are nominated for Academy Awards, they're just rarely horror films or they haven't been horror films in a long time.

Their short film Violence in the Cinema, garnered two prizes from the Australian Film Institute, spurring them on to make a feature film, Mad Max (1979), which became a global blockbuster.

To be fair, McDonagh has plenty on his mind, from an anatomy of film violence (how much is too much is the implicit question) to an essay in machismo that deliberately places women at the margins.

The differences between that film and this reinvention are obvious from the very start; rather than the original's scene - setting opening where Yul Brinner and Steve McQueen stand up for the rights of a deceased and unknown native American, instead we have a pantomime villain doling out ugly violence and not only that, the only native American onscreen murders a fleeing innocent woman in cold blood.

Taking pride in the excessive violence that it puts forth, the film suffers from a tedious plot that doesn't really know what it wants to say.

Filmed with an icy and detached formalism (greatly owed to the expert lensing of frequent Cronenberg collaborator, cinematographer Peter Suschitzky) and bolstered by a fearless ensemble cast which also includes startling performances from Rosanna Arquette and Holly Hunter, it's no surprise that Crash's upsetting premise and constant artful display of sex and violence strongly juxtaposed in a guilefully fetishized manner, upset so many.

Exploitation movies hit their stride in the decade, boldly flouting moral conventions with graphic sex («I Spit on Your Grave,» «Vampyros Lesbos») and violence -LRB-» The Texas Chainsaw Massacre,» «The Hills Have Eyes»), the latter reflected particularly in a spate of zombie movies («Dawn of the Dead») and cannibal films («The Man From Deep River»).