Sentences with phrase «house film audiences»

When Paris Is Burning was released 27 years ago, it shed light on a world largely unknown even to art - house film audiences.

Not exact matches

Iranian directors made intellectual films under the decadent and «Westoxicated» shah, and the country's art - house scene flourished even as the vulgar Film Farsi melodramas also found an audience.

During an early screening of Roland Emmerich's latest disaster flick 2012, which opens today, laughter erupted in the audience near the end of the film thanks to corny dialogue and maudlin scenes (among the biggest guffaw getters: a father tries to reconnect with his estranged son on the telephone, only to have the son's house destroyed just before he could say anything).

The Weinstein Co. has rushed this unfinished film into holiday release without the extra cred and preparation that a festival like Cannes could provide; both smart house and black audiences will flock to it.

The film was confident enough in itself and the audience to us decide if the house was haunted.

Almost big enough now to qualify as a major studio, Lionsgate shouldn't be confused with some of the art house distributors on this list; its films clearly target a wide audience.

They forget that the original film version of «The Haunting» (based on Shirley Jackson's truly terrifying «The Haunting of Hill House») worked so well because of what the audience didn't see.

The film seemingly sets this up as an excuse for the supernatural happenings that occur in the real haunted house... but it doesn't fool the audience for one second, nor the characters.

Said Focus World touting the feature:» Focus World acquired writer / director Julia Ducournau's Raw out of Cannes where we fell in love with her bold and original voice and the genre - bending style; Raw is a film that both hard - core genre fans and art - house audiences will absolutely love.»

The distributor is targeting horror fans — primarily young adults, 17 — 25 — as well as art house and foreign film audiences 18 — 45 as it heads out with the feature this weekend.

In his introduction, Mankiewicz reminded the audience how «Animal House» and cinematic progeny like «Caddyshack» (1980) «forever changed the face of film comedy.»

Although the film didn't connect as strongly with mass audiences (although it's considered a «sleeper hit,» you have to wonder what it could have done if it had been released after Whedon's little art house film «The Avengers «-RRB- and more than a few critics found it befuddling and arch (it's neither), «The Cabin in the Woods» is the kind of movie that will ultimately live on as a deserved cult classic, perfect for drunken film studies students and bored kids at slumber parties alike.

After enjoying the screening of the film, the audience moved a short walk away to Santos Party House where guests were welcomed by staff members in Adam's «Dr. Faust» scrubs offering a spicy taste of blood at the door.

Art house riches abounded; films such as «The Artist and the Model,» «Big Star: Nothing Can Hurt Me,» and «Frances Ha» stole the hearts of audiences willing to look beyond the multiplex.

Audiences who go to see The American expecting a conventional Hollywood spy thriller will no doubt be disappointed to find out they've stumbled into an art - house film — and an unrelentingly grim one at that — but those seeking relief from the inanity and bombast of the summer movie season will be pleasantly surprised.

It was the first theatrical distribution company dedicated to bringing international art - house films to U.S. audiences, including the work of Michelangelo Antonioni, Sergei Eisenstein, Ingmar Bergman, Federico Fellini, Akira Kurosawa, François Truffaut, and Yasujiro Ozu.

The Glass House is a tired suspense thriller, one that loses steam quickly when the audience figures out all the character motivations before the characters in the film do.

White House Down is having as much fun as it wants the audience to have, and everything is kept charmingly light; one of the final scenes in the film might as well have come from the end of a Scooby - Doo episode, and it really works in an oddball way.

Wan displays ample restraint in the first half of the film easing audiences into the possessed house along with the lovable and unsuspecting family parented by the excellent Ron Livingston and Lili Taylor.

They do an excellent job at restoring the old classics and bringing art house films, independents, foreign films and contemporary films to a wider audience.

This film excels in all of these areas, making the audience care about what happens to each character, whether it be the investigating couple, Lorraine and Ed Warren (Vera Farmiga and Patrick Wilson respectively), the tortured owners of the house Roger and Carolyn Perron (Ron Livingston and Lili Taylor), or their kids (too many to count).

Bishop Jakes, who heads the Dallas - based nondenominational church the Potter's House and is the host of a weekly broadcast on the Trinity Broadcasting Network, appears in the film in two modes as a charismatic preacher performing before an enraptured audience, and as a quiet, compassionate confessor, whose deep, rumbling voice seems to provide a kind of aural absolution for the troubled Michelle.

Three independent movies from this year deserve a special mention... Bill Morrison's documentary Dawson City: Frozen Time, the socio - political history of a gold rush town, illustrated with film stock recovered from beneath an abandoned ice rink... Oxide Ghosts, director Michael Cumming's assemblage of VHS outtakes from the influential, more relevant than ever TV news satire Brass Eye... and Dispossession, a restrained documentary about the housing crisis that's provoked fiercely energetic audience discussions up and down the land, culminating in a panel discussion at Curzon Chelsea with director Paul Sng, author Anna Minton and Jeremy Corbyn MP.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

The Sundance winning documentary that wowed cinema audiences last November and December is also up for another IFTA as Crowded House musician Nick Seymour has been nominated in the Best Original Score category for his work on the film.

Could «The House» be one of those films that tanked in theaters but somehow finds an audience who loves it on Blu - ray and DVD?

We've been quite interested in Legendary's The Great Wall, a monster movie set in China in the Directed by Zhang Yimou, best known to western audiences for the Chinese films Hero and House of Flying Daggers.

Jesteadt said that nevertheless, the title will play well to the dedicated art house crowd, noting that fans of Sony Classics» 2007 animated feature Persepolis ($ 4.44 M domestic gross) are a natural audience for the film.

«For us, the audience that we generally go after for art - house films is not as driven by the Super Bowl.

As we settled into a multiple flashback structured film where only the blood splattered pink suit gives the audience context, the visual include many extreme close ups and a clear difference between Portman's in camera TV intro to the White House and her everyday voice.

Audiences could once again have been faced with the small group of people confronted by a single - minded killing machine alien monster - the bog standard plot of countless horror films from Halloween to Friday the 13th to the first ever haunted house story ever filmed.

In spite of its theatricality however, the film cements itself as an art house gem through its stylish black - and - white aesthetic and an engagingly thorough series of twists that expertly grips its audience into the numerous primary and secondary dramas boiling underneath this ensemble of intellectuals.

Such meticulous, fashionable naturalism belongs to many European art films and not a few Sundance products (Carpignano, gifted cinematographer Wyatt Garfield and editor Affonso Gonçalves all worked on «Beasts of the Southern Wild,» whose director, Benh Zeitlin, co-wrote the score of «Mediterranea») and it's not always fortunate, resulting in films often destined to reach only elite audiences in festivals and art houses.

Release: Friday, June 9, 2017 [Theater] Written by: Trey Edward Shults Directed by: Trey Edward Shults Trey Edward Shults» sophomore feature It Comes at Night is a psychological horror film that traps the audience along with two families in an abandoned house in the woods that, over the course of a slow - burning 90 minutes, turns into a cauldron... Continue reading It Comes at Night

Trey Edward Shults» sophomore feature It Comes at Night is a psychological horror film that traps the audience along with two families in an abandoned house in the woods that, over the course of a slow - burning 90 minutes, turns into a cauldron of fear, mistrust and paranoia as they try to survive an unnatural threat that is terrorizing the world.

These sequences are straight out of any rote thriller, but they're meant to be profound — critical of the conventions of the genre — because Paul (Arno Frisch) breaks the fourth wall a number of times; this is Scream for art - house aficionados, with Haneke at one point curbing the audience's euphoria by rewinding the film immediately after Anna shoots Peter in the chest.

They do an excellent job at restoring the old classics and bringing art house films, independents, foreign films and contemporaries films to a wider audience.

This year's HHN features a house that takes an interesting angle — it puts the audience through a fairly linear retelling of the film's plot.

Having only seen Francois Ozon's three latest films (In The House, Young & Beautiful and The New Girlfriend), it appears he enjoys placing the audience in an uncomfortable place and daring the audience to join him for the ride.

There's an element of «seeing it to believe it» built into the presentation: Expectations based on the history of a mostly direct - to - video franchise, an aging action - hero cast, and a patently absurd premise so conspicuously contradict the art - house sensibility of the film itself that you can hardly blame the first wave of audiences for feeling wowed by the shock.

Not as commendable were the slick but forgettable Leatherface, the first disappointment by French filmmaking duo Alexandre Bustillo and Julien Maury; the Spierig Brothers» Jigsaw, part 8 of the exhausted Saw series; the dull Amityville: The Awakening by Franck Khalfoun, usually a respectable genre director, who does still add his share of clever touches (and meta moments, like when a group of teenagers watch the original Amityville Horror in the «real» Amityville haunted house, into which one's family has just moved); Open Water 3: Cage Dive, whose shark - franchise designation was tacked on as an afterthought, not that it helped to draw in audiences (in an anemic year for great whites, 47 Meters Down takes the prize for the best shark film); Jeepers Creepers 3, a super-limited release — surely in part because of director Victor Salva's history as a convicted child molester — which just a tiny bit later would probably have been shelved permanently in light of the slew of reprehensible - male - behavior outings in recent months.

The first section of the film is an expositional wonder, as not only are the main characters (including Secretary of State William Seward (David Strathairn), Republican poobah Preston Blair (Hal Holbrook), radical abolitionist Thaddeus Stevens (Tommy Lee Jones) and various members of the White House - hold, among others) introduced and motivated, but the political issues involved are explained with a detail, clarity and respect for the audience's intelligence that's extremely rare in a Hollywood film.

Whether it be a classic, a blockbuster, a musical, a slasher, or an art - house indie, the audience will experience each film through the watchful eyes of the eight dutiful «chaperones».

The pavilion houses TV screens showing various films, including Graham's Performer / Audience / Mirror (1977) and John Latham's psychedelic Speak (1962), a submersion into the colour splashes that were initially played at a Pink Floyd concert.

Walt Disney's Snow White and the Seven Dwarfs was first shown to a theatrical audience in December 1937 and brought overwhelming, joyous applause from a house full of hardened film - industry professionals.