Sentences with phrase «genre film making»
A fine piece of genre film making, The Town is Ben Affleck's follow - up directorial effort to Gone, Baby, Gone.
http://www.thedigitalbits.com/ Not exact matches
But eventually a new crop of films made people reconsider the genre.
David Goldman tries to explain the growth in the American horror - film genre while making the assumption that horror is bad in and of itself, with which I disagree.
What really underlay the attack was a massive rage that such modest artistic statements were made in the year of the bypassing of the most expensive ($ 20,000,000) attempt yet made in a genre of film that had outlived the sophistication of our culture and the churches.
RIP director Jonathan Demme, who made films like «The Silence of the Lambs» and «Stop Making Sense,» which helped define their respective genres.
His modern approach to fashion films — a genre on the up in the digital world - has made him one of the most exciting talents in the industry, winning him accolades from the Clio Image Awards, the Berlin Fashion Film Festival and The Society of Publication Designers.
Trying to get away from the horror genre, he tried to make a few films with no success.
Maybe that's the reason why, as you say, «most of the comparable films made in this genre are satirical.»
Any horror movie fan can see that this film has been made with a gleeful love of the genre, flaws and all, and the final half - hour delivers one of the greatest visually spectacular finales I have seen all year (even compared to that of another Joss Whedon project, The Avengers).
A decent, well - made, small - scale genre film with a great cast of on - the - cusp players, The Lazarus Effect begins as a modern - day spin on Frankensteinian mad science, but segues into more demonic matters.
Still, at a time when animated feature films are in danger of losing their magic because of an oversaturation of ho - hum vehicles, Flushed Away contains enough charm, fun, and adventurous spirit to make us hope this genre is far from withering away.
This carping ignores the fact that this sort of thing now seems dated and even faintly embarrassing in the genre, a point brought home through the exciting but positively antediluvian coming attractions trailer for the next Bond film, Tomorrow Never Dies, prior to the Peacemaker screening (which, in retrospect, makes the other trailer, for the Bruce Willis film The Jackal, seem even more pointless).
Those promos made the film look like a taut thriller, while the end result landed in a place far, far away from that depicted genre.
While the film's reach exceeds its grasp when it comes to deconstructing the western genre and the real life history that it reflects, Hostiles nevertheless makes for a respectable mood piece, as well as an acting showcase for its main leads.
Spoof movies come and go, and there will always be the ones that are great, but as time goes on, this genre of film is what really makes this industry hurt inside and out.
And, as in most of Tarantino's films, statements are made in the guise of genre.
Its savvy comic flair and subversion of familiar genre tropes also make this one of the better superhero films, animated or otherwise, to be released in recent years.
With her role in the The Hulk as well as with this film, Jennifer has proven that she can take on any role from any genre and inject the passion it needs to make it credible.
There's something to be admired about a film that can gracefully defy simple genre categorization but Submergence feels like a clumsy melange, a confused adaptation made by people who don't seem quite sure what they have on their hands.
We've seen movies built around this kind of story a million times and while Jordan Canning's film Suck It Up never makes any attempts to transcend its genre trappings, it's at least sporadically amusing.
Cinematically, Van Winkle made his mark in glossy, big - budget Hollywood genre films, often laden with heavy special effects.
The genre is arguably one of the riskier for filmmakers to tackle because the film must not only make the audience believe in a world or setting that is seemingly ambitious, but the filmmaker must also convey a contemporary message of some kind.
These guys aren't trying to elevate the genre... they just want to make a psychic wars horror film and blow up some heads.
Alex Garland beautifully subverts cliches of both fantasy and horror genres, making a film that gets under the skin to properly freak us out
It's as rudimentary as slasher films go, and although it may not be fair to make the comparison, that will no longer cut it after Get Out proved that the horror genre is capable of a lot more than mechanically depicting people getting stabbed to death.
Cummings may have taken the easy way out here and there, but she largely delivers a film that kinda sorta makes you think, which isn't a characteristic the genre is known for.
When Beatty first proposed the idea for making this film some seven years ago, the concept of rap as an «artistic» forum for airing the grievances of the dispossessed had some currency, despite the genre's chronic misogyny and threats of violence.
What makes «Very Bad Things» a more rewarding experience than other films in its genre is that writer - director Peter Berg seems to be onto the fact that he's making a piece of shock schlock and not a sociological pronouncement.
Depressing, cliche, and quite unwatchable at times, Dear John really doesn't have an interesting story to tell, and despite it being in the romantic genre, the film makes the viewer feel nothing more than annoyance.
The presence of Penn, who has purposefully avoided making big - budget Hollywood films, is a testament to Pollack's reputation and power; and rarely has this supremely gifted performer been more effective, despite the inherent limitations of the thriller genre.
Doesn't add much to the coming - out genre, as it has been established in countless Sundance competition films and made - for - television movies.
After breaking through with films made by an emerging avant garde — including Josh Trank's Chronicle, Derek Cianfrance's The Place Beyond the Pines and Josh Krokidas» Kill Your Darlings — this year the 28 - year - old actor has starred in two very of - the - moment genres, first playing Harry Osborn, Peter Parker's childhood pal turned homicidal supervillain Green Goblin, in The Amazing Spider - Man 2, and now appearing opposite Aubrey Plaza in the zombie comedy Life After Beth.
Even if I were making more overt genre films or popcorn fare I would still feel a responsibility to be commenting on our times and the local climate.
Yet if you forget, for just a moment, about genre pedigree, what is it, really, that makes «The Shape of Water» a «richer» film — or a better one — than «Get Out»?
Both films were made with very small budgets, both proved extremely profitable relative to those budgets, and both spawned new trends in the horror genre — gory «torture porn» / new - wave splatter films (Saw) and smaller - budgeted supernatural horror films (Paranormal Activity).
At the same time, DreamWorks still has yet to make a film to put them on a par with Pixar in terms of being able to make animated family films that will last the test of time as classics in their genre, rather than populist features that work primarily in the here and now.
While both kinds of movies would be films I'd want to watch I feel mixing those genres may make the film slightly unfocused.
Director Jonathan Demme has a gift for framing rock performance, having directed countless superb concert films, including Stop Making Sense, widely seen as the high - water mark of the genre.
This film had all the makings of very fine addition to the crime genre but it never really got a handle on things.
Phase 2 has seen Marvel experiment with all number of genres for their films, stepping back from Phase 1's almost cookie cutter format without getting too far from the formula that made them successful.
While Smith is certainly a seasoned horror director, he never makes the same genre film twice.
Lastly, the vampire genre has hit mainstream audiences with cheesy teenage romance films like Twilight, making vampire based films hard to take serious.
Sprinkled with little personality bits here and there (Tallahassee's mad quest for an ever - elusive Twinkie, Columbus's crippling fear of clowns, etc.), Zombieland doesn't break any new ground in the horror genre so much as make for a strong dose of escapist fun for knowing fans of the films.
I had to look back, feel safe, and make a film for a core genre audience.
What makes this film so outstanding is the way it juggles different genres (thriller, suspense, drama) and extremely controversial issues like rape and empowerment and sexuality.
Östlund has hit a home run with Force Majeure (I realize that reference doesn't make sense but who cares), not only bringing to Cannes one of my new favorite genre - bending dark comedies, but I'm now a fan of his work as well, and I get to explore his past films and learn just how talented of a filmmaker he really is, while keeping an eye on his career.
«The reason I made it a horror film is that it's my favorite genre,» Peele told Deadline's Mike Fleming Jr. this month at Deadline's annual The Contenders event at the DGA Theater.
Over the last decade producer turned director Matthew Vaughn has made a group of films that test the boundaries of the genres he's chosen to tackle.
The film plays atmospherically on genre tropes, too: a close - up of a gun in darkness (which ends up playing no role whatsoever), the moody chiaroscuro interior of Jo's apartment, which a bulky early -»80s answering machine makes look like a whole recording studio.
What is fascinating, however, is that Eternal Sunshine's happy ending sits rather uncomfortably at the conclusion of a film that demolishes the thematic core of the genre itself: the idea that these two lovers are made for each other and that they will, as a result, live happily ever after.