Sentences with phrase «genre of movies set»

There is a genre of movies set in old - folks» homes that resemble sitcoms, including colorful characters, lots of one - liners and a pecking order.

Not exact matches

Even though the questions raised by the movie frustrated me as I left the theater, I have now accepted that there are no definite answers to them, and this makes War of the Worlds even better, setting it apart from other movies in the genre in which there are no lingering questions when the credits start to roll.

World War II movies are still a reliable genre — two of the nine best picture nominees of 2017 were set during that wartime — but the Great War, «Wonder Woman» aside, rarely gets much love.

It's a b - movie genre excursion made by people who know and love these kinds of movies, and if you're of this set, it's more treat than trick.

One of the many reasons why this movie works so well and sets it apart from others in this genre is the very realistic approach and feel it has to telling this story.

The movie is set up as the kind of tart, battle - of - the - sexes picture that reached its pinnacle in the 1930s and 1940s, but Zeta - Jones's character, Marylin, remains remote and inscrutable throughout the film, a femme fatale who's wandered into another genre altogether.

Like an honest - to - God mashup of the cold open to Scream and the polygraph episode from Community, it's a set piece as darkly funny as it is suspenseful — and the rare moment when this genuinely radical genre movie is impressing through content instead of technique.

2» (Blu - ray + DVD) Details: 1960 - 65, Arrow Films Rated: Not rated The lowdown: More genre features are included in this set that offers films from one of Japan's oldest movie studios.

It's the questions of right or wrong that raise the stakes and set Denis Villeneuve's English - language debut apart from other movies in this genre.

In the hours surrounding teaser trailer, Trank and screenwriter Simon Kinberg talked with Collider, Empire Online and Yahoo! Movies about their frame of mind for the film and setting it apart from what they see as the commodified superhero action genre.

But Shimizu also lends the film a unique structure that helps set it apart from the kind of prefabricated scary movies that dominate the genre.

In spite of such hindrances, the wit of Reynolds in the leading role and direct - to - audience address, biting self - references, and restructured narrative structure sets the superhero movie apart from others of the genre.

I believed this to be the way movies naturally were, unaware then that I was poised at the cusp of a decade of filmmaking that would redefine fantasy and science - fiction, setting precedents for the genre with films like Back to the Future and Predator, E.T., and Blade Runner, Near Dark, and Miracle Mile — the well was as deep for flights of fancy in the Eighties as it was for incomparable character - driven paranoia in the Seventies.

Like most movies of the genre, it's set in a 1950s rural town too dreamy to be true.

Just as Tim Burton's Batman set a new standard for superhero movies in 1989, Danny Elfman's musical score remains one of the genre's most iconic compositions.

One major problem with Loaded Weapon 1 is that writer / director Gene Quintano doesn't really have a set idea as to what sort of movie genre he is trying to spoof.

Wringing atmospheric tension out of the familiar set - up of a besieged young couple, the movie compares favorably to recent genre cousins, mixing pulse - pounding scenes of more explicit menacing with passages of stalking more rooted in sustained dread.

«Dance Flick» should, theoretically, set itself apart from «Epic Movie,» «Disaster Movie» and every other sub-subpar genre parody of recent years.

The engaging authenticity of the film's settings and production design — which nip piecemeal inspiration from some of the aforementioned genre efforts, but also movies like Dark City — go a long way toward holding an audience's interest.

An exemplary example of not only the courtroom drama but the murder mystery thriller sets of sub genres, Gregory Hoblit's 1996 classic Primal Fear is a movie that to this day stands the test of time thanks to an anchoring turn by the once A listing Richard Gere and the firecracker debut by the ever young Edward Norton in his freakishly good role of troubled, murder accused youth Aaron Stampler.

If forced to slot the drama into a genre, it's like a boot camp movie, but set in a convent with young women instead of green young soldiers.

Directed by handsome drama maestro John Madden («Shakespeare in Love,» «The Best Exotic Marigold Hotel») and positioned as a cross between «Michael Clayton» and «All the President's Men,» the movie features morally bankrupt D.C. power players and blackmail scenes set in shady parking garages, making inspired use of genre clichés even as it offers a relatively fresh look at one of the most manipulative forces on Capitol Hill today: the special - interest lobbyist.

However, as The Hunger Games film series ran its course, and Divergent tanked before it could receive a final installment, The Maze Runner was originally set to debut its trilogy capper amid a dying - and incredibly narrow - genre of movies.

It's a very quick and elegant way of upending a genre cliché and setting up a film that's as smart a portrait of US race relations as it is a deeply creepy horror movie.

The cornerstones of the genre — snappy dialogue, near - unintelligible accents, and dark humor — are all present, and though the film offers only a slight variation on the genre itself, the differences do provide enough of a fresh take on the typical crime movie to set it apart from the rest.

Many people are going to be quick to compare «Kingsman» to «Kick - Ass,» but while the former boasts the same punk - rock attitude, dark plot twists, and kinetic, no - holds - barred action sequences (including an extremely violent set piece inside of a church that rivals Hit - Girl's blood - soaked exploits), «Kingsman» feels less like a satire of an entire genre than the product of a filmmaker who grew up loving spy movies.

After nearly 11 years of studio hesitation and apparently enough sexual favors for Wolverine, Deadpool finally has his own superhero movie (something that star Ryan Reynolds has fought long and hard (see, I can make sexual innuendos too and use parentheses inside of parentheses) for to see come to fruition), and with opening credits featuring billings such as «some really hot guy» and «an overpaid tool» the tone is set for an irreverent and refreshing outing from a genre slowly entering a phase of stagnation and repetitiveness.

Working through the neophyte filmmaker's genre playbook, director Ana Lily Amirpour follows up her vampire movie A Girl Walks Home Alone at Night with this dystopian flick most reminiscent of the Australian strain in terms of vibe / aesthetics, what with its shantytown sets, symbolic names, and obligatory feral child.

Scott also noted the most troubling factor of Avengers, and indeed, the whole modern blockbuster genre: The sense that Avengers is not so much a movie as it is an annual product launch for a major corporation, featuring characters that are all «dutiful corporate citizens, serving a conveniently vague set of principles.»

by Jefferson Robbins If THE DISSOLVE had lasted, Keith Phipps's fine recurring genre feature «The Laser Age» might have gotten around to the SF subcategory of Nature Gone Wild — the movies that set animals against humanity, such as The Swarm, Night of the Lepus, Squirm, and Prophecy (The Monster Movie).

Setting the standard for cop buddy movies for years to come, Lethal Weapon may not have revolutionized the genre, but definitely proves to be an exceptionally efficient example of how the formula can work when the star chemistry is just right.

Usually when we refer to neo-Westerns, we mean movies that transplant the themes and iconography of the Western genre into modern day settings.

But underneath the technical expertise that Wan and protégé directors like David F. Sandberg have brought to many of these projects are premises as moldy and interchangeable as the rambling American Colonial and Craftsman - style homes where most of these movies are set — dusty collections of creepy dolls, jump scares, dark cellars, and other public - domain genre tropes.

In setting the movie in a confined place it adds a sense of claustrophobia that in turn lends to the relentless nature at the heart of the action genre itself.

Both TIME mag and NYT are poised to report news of new literary and movie genre dubbed «cli fi» — coined by yours truly from my earlier «polar cities» work, one things leads to another — and the NYT story will be about «climate science education» issues and «climate change education» issues in higher education in USA and overseas...... so it's a story that interview academics and professors of science education etc...... and TIME mag will be about new NOAH movie by Darren A set 5000 years ago and TIME is calling it a «cli fi movie» on its cover March 24 issue, get ready.