Sentences with phrase «historical film like»

Thinking of another historical film like Marie Antoinette, and what went into re-creating that time period, what was different here in terms of re-creating a point in time in the past?

Video: There's some grain, but a historical film like this needs a little grit.

Not exact matches

Martin Scorsese's recent film Silence, like the historical novel by Shūsaku Endō on which it is based, turns on an act of emotional blackmail.

We also know that when Schneiderman finishes up another stressful day at the AG's office, he likes to kick his feet up and unwind with a nice historical drama film — preferably about WW II.

I am sport active (horse riding, historical fencing, jousting and stunts for film) Like spend time...

It's a film that often calls attention to its own self - importance and falters when compared to Spielberg's best historical dramas like «Munich» and «Lincoln,» movies that earn their messages instead of just stating them.

For all the value of his three most recent period pictures, they feel less vital as direct responses to the world around us than as filmed civics lessons, like popcorn Rossellini in his historical films era.

The film had great set design and art pieces, but it's not really like a blatantly fantastical fantasy — it is shot and depicted almost like a historical fiction with some bizarre creatures in it.

The well - acted and researched historical film feels like a detective thriller.

Javier Bardem starring in a historical epic about Hernán Cortés» bloody and brutal conquest of Mexico seems like an interesting enough idea for a film.

Going to a Tarantino film looking for historical accuracy is like... well, I don't know what it's like but it's not the smartest thing you could ever do.

Writer - director Roland Joffé has built a career on narratives of white men in foreign territories, with films like The Killing Fields, The Mission, and City of Joy being notable (and tiresome) examples of a distinctly middlebrow breed of the historical drama that locates subaltern longing through an imperialist lens.

With J. Edgar, the whole film feels like a historical document, not a film with a story to tell.

One of the things that I like about this second half of the film is its historical accuracy.

Like that earlier film — a thunderous historical epic about the American West and greed that deepens and darkens considerably with Day - Lewis's performance as Daniel Plainview, an oil - prospecting Mephistopheles — Phantom Thread continually torques its own British midcentury grandeur.

In short, the film is quite well written, well acted and offers a different experience for those who like historical films.

Approached more like a war film than a historical drama, Bigelow's latest movie is harrowing, upsetting, and demands to be seen.

Even the films I like from this year I do nt have clear memories of (I saw Women in Love when I was way too young for it in the 1980s), don't truly love (big Altman fan but MASH, is more of a «like»), or I love them more for their historical value or genre personality than for actual quality (Boys in the Band, Aristocrats, Bloody Mama, On a Clear Day You Can See Forever).

What You Need To Know: With director Paul Greengrass having made a name for himself in two relatively distinct areas — the tense conspiracy action thriller (the second and third «Bourne» films) and based - in - fact films about recent historical events («United 93,» «Bloody Sunday,») «Captain Phillips» seems like it could play to his strengths in both areas, as it's a gripping, tense, fight - for survival type tale that has added weight and heft for being lifted from a real - life incident.

Then we have Roger Michell's Hyde Park on Hudson, a similarly historical piece on arguably just as important a president that replaces captivating political wheeling and dealing with tedious jaunts to the countryside in a film so devoid of any spark that it feels like watching someone's boring vacation videos.

The resulting film feels pure and authentic, not like some artificial cultural hybrid, so I'm prone to regard it as a marker of a current historical change in the urban life of mainland China.

It complicates the film's relation to history, so thinly veiled at times (Thornton's James Carville, Emma Thompson's Hillary Clinton stand out in particular, but also Kathy Bates's conflation of Betsey Wright and Vincent Foster), but ultimately this is not a docudrama of historical recreation (like Oliver Stone's W. or the Jay Roach / Danny Strong HBO movies Recount and Game Change, let alone a fantasy of a Hawksian White House as in its most direct descendant, Aaron Sorkin's The West Wing).

I may not have made such a bold statement had I not had the ridiculous historical perspective that my 1 Year, 100 Movies project has given me, but this film feels like it fits in this particular canon pretty well.

If you can accept critically - acclaimed, but mostly historically inaccurate and somewhat anachronistic, films like Jesus Christ Superstar, Gladiator, and Braveheart, perhaps you might be able to cut Marie Antoinette the slack necessary, allowing the artistic license to properly engage you as a story about a young girl struggling to find herself, leaving everything she was behind her and uncertain of just what to be, only to finally emerge to the rest of the world as a historical figure larger than life.

Highlights include the new Keanu Reeves - fronted film from director Eli Roth, Knock, Knock and the feature directorial debut of new The Crow director Corin Hardy, The Hallow, as well as Spotlight consideration for films that have previously premiered elsewhere like the Andrew Garfield - fronted housing crisis drama 99 Homes and the historical drama» 71, starring Jack O'Connell.

There are a number of real historical figures portrayed in the film, including William Randolph Hearst, Nelson Rockerfeller, Orson Welles, Diego Rivera, Frieda Kahlo, and lesser knowns like Hazel Huffman, Hallie Flanagan and others that all interact with the fictional characters in the movie.

Like many horror films, it's built on a simple premise, one made meatier due to its social and, in this case, historical implications.

This is in no way even a partial view of the scope of the film (which plays like a miniseries but is cinematic in nearly every other way), which encompasses historical fiction, religion, migration, infidelity, camp, drama, comedy, Prospect Park, and Antartica in its vastness.

Rather like an extremely damped - down There Will Be Blood, Reichardt's film — based on historical events — depicts one group's journey through the Oregon Trail in 1845 as a trek through a hauntingly empty and alien landscape, with cinematographer Christopher Blauvelt exquisitely taking in the natural beauties of the settings while framing the increasingly desperate wanderers in wide shots to emphasize, in part, their ultimate smallness within the wild west.

Starring Andrea Riseborough and James D'Arcy as the historical couple, and Abbie Cornish as the woman obsessed with their romance, it all all sounds suspiciously like «Julie & Julia» with crowns replacing the chef's hats — which, combined with the novelty factor of the film's celebrity writer - director, leads me to think the Weinsteins may view this more as a light commercial play rather than the hefty awards bait of their last monarchy biopic.

The film represents an Academy sweet spot; much like «The King's Speech,» or «Ghandi,» it's a literate historical drama with visual panache.

There's been lots written about Anne but not much is in the historical record about Mary, and so the film is, in a sense, a fantasy about what she might have been like.

While — like (I guess) many Rohmer fans — I tend to find myself most at home in his beach houses and Parisian apartment blocks, I was drawn to this presentation of his lesser - known historical films for two reasons: one was the pure joy of being able to enjoy his greatest work, Perceval, on the big screen; the other was the opportunity to finally be introduced to his feature - length television play Catherine de Heilbronn, a production that, in its grey set design and even starker minimalism, in many ways felt like the former film's shadowy companion piece.

Like a well - designed but unyielding uniform, problematic historical references get swept up in the illogical, pulpy melodrama of the jungle - raised brawny specimen to confirm the ever beloved theme of «white is right» in a film with an alarmingly subconscious reiteration of European approbation.

So Dunkirk, a historical film about war that feels like anything but a war film, was a bit of a surprise in the context of Nolan's filmography.

Lincoln mostly feels like one of Spielberg's straight - faced historical films with a couple of key moments reminding audiences just how good Spielberg is at coaxing an emotional response from the audience with cinematic spectacle.

Never wanting to rest on its breathless trip around the ancient historical landmarks, things begin to pick up again in time for an explosive Istanbul climax that effectively uses sites previously featured in From Russia with Love — an appropriate touchstone for a film whose hero acts more like a globe - trotting James Bond than a fusty book - scented academic.

With so much cultural, historical and sociological material to cover along with the arcs of two sets of female characters, the film often seems like a progression of talky scenes that must fulfill any number of obligations.

It's long in that, as the film doesn't sufficiently stick to the central theme of Mandela's fight for freedom, the scenes of his love life and his relationship with his children feel like they don't add much to the potency of the reason why Mandela is an important historical figure, and probably should have been excised.

On the one hand, the historical stuff is fascinating (and is good enough to wish that Egoyan had been able to secure funding to film an entire movie like that), but the sequences featuring Raffi explaining the conflict to Plummer's character feels more like a history lesson than anything else.

Like «Heroes for Sale,» a 1933 film made in the heart of the Depression that was all over the map ideologically, «Munich» captures the bewilderment of its historical moment.

All historical accuracies aside (or lack thereof) the film looks like a lot of fun and the latest red band trailer features lots of blood and vampires.

Something like Ed Lachmann's Carol could not be further on the other side of the spectrum, with his inspired choice of shooting it on Super 16 mm film stock creating that hazy historical feel while lavishing over the faces of his two stars as they traverse 1950's a 1950's New York City resplendent with hats (so many hats!).

Plenty of biography films like to fancy themselves as authoritative «never before seen» looks into the private lives of historical figures.

Less impressive is a film - length commentary from Cohen that, as I guess you could only expect from someone who consistently makes movies like this and worse, takes the tactic of discussing the picture's historical accuracy.

Haynes's references to films like Masculin - Féminin, Petulia, A Hard Day's Night, 8 1/2, and Darling are not film - historical erudition for its own sake but serve to underscore that Sixties cinema was always already influencing the cultural - political reality from which Dylan sprang.

Like many Silent Era films, the rampant historical value makes it easy to overlook the lack of general entertainment.

He is best known for his roles in the films Velvet Goldmine, Bend It Like Beckham, Woody Allen's Match Point and his television roles as Elvis Presley in the biographical miniseries Elvis, which earned him a Golden Globe for Best Actor, and as King Henry VIII in the historical drama The Tudors.

That film was a marvel of cinematic portraiture and historical journalism, giving us the incredible details of the caper - like plotting that allowed Petit and his cohorts to pull off their coup, and allowing us great insight into the mind of the man who would risk his life for such a stunt.

It feels like a fascinating and untrustworthy (but not malicious) fusing of fiction and reality in the way a film like, say, Forest Gump does with its mashing of Tom Hanks into historical television footage.