Sentences with phrase «house film into»

Not exact matches

Although today it is still possible to distinguish computer manufacturers, telephone service companies, publishing houses, broadcasters, and film producers as separate industrial actors, they are rapidly converging into one industrial activity.

James Dashner, the author of «The Maze Runner,» a top - selling dystopian science fiction series that was turned into a film trilogy, has been dropped by his publisher, Random House, due to his inclusion on a list of authors who allegedly engaged in harassment.

Plans to reform Britain's arcane libel laws have been thrown into doubt after the House of Lords last night approved amendments introduced to the Defamation Bill by the film producer Lord Puttnam - Independent

Im 26 and I dj all over the midlands I specialise in bashment dancehall bassline and house I do like abit of clubbing but as I work in them do nt go every week kond of thing im into music (thats obvs lol) watching films eating out and cooking chef styke meals; — RRB - I like to have a laff and want to...

House of Sand and Fog is a ponderous, slow moving film which, if you allow yourself to take the time and let yourself fall into the excellent characterizations by Connelly and Kingsley, becomes a ponderous film with a killer ending that, even if you see it coming a mile away, is still a killer ending worth sitting for.

The Escobar house appears to be lit by candlelight for most of the film, and the encoding doesn't let the blacks clump up or turn into rough pixillated squares.

Despite snatches of songs here and there, it is not until the end that the film bursts into a flood of music with a symphonic performance by Mr. Cave and the Bad Seeds at the Sydney Opera House: a grandiloquent finale in which his agonized introspection finds transcendent release.

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.

Though the film's offbeat tone veers a little too far into absurdity at times, particularly the scenes involving House's cartoonish social worker, it helps to freshen up an otherwise familiar story.

In Agnieszka Holland's wrenching new film, «In Darkness,» based on a true story, a Polish Catholic sewer worker named Leopold Socha (Robert Wieckiewicz) and his younger sidekick, Szczepek (Krzysztof Skonieczny), discover a way of supplementing their income: they loot abandoned houses and sort through possessions dumped into the street; they store the goods in the city's sewers.

Married three times, Bloom's first husband was actor Rod Steiger, with whom she co-starred in 3 Into 2 Won't Go (1969) and The Illustrated Man (1969); her second was producer Hillard Elkins, who packaged Bloom's 1973 film version of The Doll's House; and her third was novelist Philip Roth.

[the house's] structure reflects that of the film - a creaky accumulation of tropes from all manner of haunted house movies, stitched together into an impressive if ungainly edifice.

There's a scene in Bryan Bertino's film «The Strangers» that handily encapsulates the film's nervy brand of terror, one so good and simple that it served as the film's poster image when the 2008 feature first hit theaters: it's Liv Tyler, standing alone in her kitchen, looking out into what seems to be — what should be — an empty house.

Fargeat follows both sides — Jen and the men — of the film's encounters, including a standoff on a rocky, hillside road and grisly game of cat - and - mouse in the house, which subversively turns the man into the naked, vulnerable party.

When the skeleteon jumped out of the fireplace, this should have turned into a roller coaster ride of a haunted house film and instead turned into psychobabble bull shit that didn't hold people's attention let alone frighten them.

There is an undercurrent of the difficult housing and job market of its era, playing on fears of couples being driven from their homes, but this tidbit is never really developed sufficiently that one could easily read social commentary into the film beyond just this notion.

Her latest — exactly what an avant - midnight film ought to be — turns a spooky house into a site of atmospheric abuse.

Dark and Stormy Night is a conglomeration of decades of «old dark house» clichés into a single film, where the greedy relatives of an eccentric millionaire (joined by two hardboiled reporters, a couple of odd servants, a madwoman in the attic and a frustrated cabbie who just wants his 37 cents) gather for the reading of the will.

If the opening intertitle didn't reveal the fact that The House of the Devil was going to be dealing with the occult / Satanism the film could just as well stand on its own as a psychological thriller about a girl working herself up into a paranoid frenzy over creaks on the floorboards.

The film's Exorcist - themed pre-title sequence is probably the funniest stretch of the whole series, but the main plot — with the gang from the first film tricked into staying at a haunted house — lacks whatever inspiration there was in the first one.

The wife inadvertently invites a group of thieves into their house (don't want to spoil the film's only surprise.

In a Valley of Violence may not be West's best film (that honor would still go to The House of the Devil), but it is a noble effort into non-genre territory that is probably his most accessible film to date.

Titled «La Creatrice,» the film is based on the true account of the sculptor Camille Claudel who was injected into a mental asylum by her family, spending her last thirty years in the nut house without ever touching her art again.

When the film's villains broke into the house, they tripped its security system, which automatically dispatched a police car.

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.

Even critics of last year's Amores Perros have admitted that an insurgence of Mexican productions into the highly populated art house distribution crowd is increasingly inevitable (the best simile that could be imagined is that the rise of Mexican cinema is like the push for Germany and Japan's permanent inclusion on the UN Security Counsil — hey, as art film distributors are saying, we're still working with the inclusion of Iran and Taiwan).

The distinctly fractured narrative - coupled with an exceedingly deliberate pace - does ensure that one's initial impression of the film is that of an art - house mess, yet there reaches a point at which Egoyan's muddled modus operandi comes into focus and one is subsequently drawn into the proceedings.

and other mythological creatures and then confronting a very pissed off Ares — before the heroes finally have to find their way into the Underworld through a very odd, three - dimensionally moving labyrinth — a kind of Greek - Deco - Escher construct that houses the film's best practical effect — a completely physical, GC - unenhanced minotaur.

While the malleable allegory of the film's events — a woman and her writer husband live in an Edenic country house that spirals into infernal chaos — has fueled both love - or - hate reactions and directorial marketing, I was riveted by the heedless spectacle and totally enveloping film technique, all anchored in Jennifer Lawrence's sometimes baffling commitment to a character driven to distraction by her husband (Javier Bardem), his mystery guests (deliciously entitled Michelle Pfeiffer, Ed Harris), and much, much more.

Following intrepid young rookie Mae Holland (Emma Watson) as she finds herself inducted into the hive headquarters of Apple - like tech conglomerate The Circle (with a Google-esque dual housing / work facility that its workers, known as Circlers, never seem to leave), Ponsoldt's film begins by charting an incredibly familiar and shallow trajectory that we've seen in plenty of tales of tech terror like 1984 and Eagle Eye.

David Mamet ---- «House of Games «If it feels like some of the writers on this list kind of lucked into direction having written a film (or several) that became a mainstream success thereafter, there are a few others whose writerly voice was already so established that the idea of having them direct a straightforward genre film is kind of inconceivable (see also: Charlie Kaufman).

• Tue 5 June: The Greatest Showman (PG) • Tue 12 June: Live Stream of Swan Lake by Royal Opera House • Tue 19 June: La La Land (12A) • Tue 26 June: Live Screening of La Bohème from Royal Opera House • Tue 3 July: Wimbledon (no film) • Tue 10 July: Wimbledon (no film) • Tue 17 July: Grease (40th Anniversary)(PG) • Tue 24 July: Moana (PG) • Tue 31 July: Guardians of the Galaxy 2014 (12) • Tue 7 Aug: Beauty and the Beast 2017 (PG) • Tue 14 Aug: Jumanji: Welcome to the Jungle (12A) • Tue 21 Aug: The BFG 2016 (PG) • Tue 28 Aug: Into the Woods (PG)

While the actor has yet to comment on his potential involvement with The Joker, the film is expected to go into production in May, the first project under a new banner that will house a range of properties outside of the DC Extended Universe, with different actors playing iconic roles.

After a number of archival film elements were scanned at 4K resolution at Warner Bros.» in - house Motion Picture Imaging lab in Burbank, the original camera negative of the film came to light, providing the basis for the majority of the restoration — that is, until the negative's inferior final reel necessitated dipping into another archive altogether.

The opposing force in this film is not a type of personal conflict, but an embodiment of a past way of life, dealing with the calamity in one's past before they started employment at a boring job, and put themselves into a situation where sneaking in sexual intercourse becomes an event because of a baby that is in the house.

The new Fright Night, which remakes and updates Tom Holland's enduring and entertaining 1985 film about a high school kid who finds that a vampire has moved into the house next door, is about vampires and feelings, but not vampires with feelings.

The set visit lasted only a few hours, but we saw how the filmmakers transformed an older building into a haunted house and how they filmed a dance scene under the hot sun.

Netflix has already completely rewritten the movie and TV - viewing rulebook by pouring a hundred million dollar budget into a film without a theatrical release, and creating their now ubiquitous «binge - watch» format that the service rolled out for the first season of House of Cards.

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.

That Song to Song moves past figurative framing in its immersion into a female character's life suggests an evolution that may not readily announce itself among the film's more expected retreads of the Malick house style.

Juxtaposing the exploits of Martha (Elizabeth Olsen, younger sister of the Full House tots turned international entrepreneurs) in her initiation and entrenchment in, and then escape from, an cult - like commune led by the calculating Patrick (John Hawkes, Winter's Bone), the film delves into her attempts to reconcile — and discern the difference between — her memories and dreams.

I'd recommend this film wholeheartedly to the art - house film crowd, fans of Anderson, and also fans of Adam Sandler who maintain that he could be a fine actor if he weren't pigeonholed into making dumb comedies.

The film gets interesting when Charlie ventures into the security room of the house and sees a man running down the street crying out for help.

The film moves back and forth between the survivors in the present and their younger selves (Annalise Basso and Garrett Ryan) 11 years ago, as they and their parents (Katee Sackhoff and Rory Cochrane) move into a new house and start to drift into madness (Never, ever attempt to cut a bandage with a staple remover; that device's purpose is in its name).

Consider the art house credentials behind this film: besides Vitti: director Joseph Losey, known for his collaborations with Harold Pinter («The Servant,» «Accident»); Terence Stamp, fresh off his disturbing turn in William Wyler's «The Collector,» which won him a best actor award at Cannes; and Dirk Bogarde, the onetime matinee idol who had grown into an adventurous, risk - taking actor.

She exists (like nearly everyone in the film exists) to make Jennifer Lawrence's life a living hell, so bold and forceful in the way she walks into a house that isn't hers and immediately takes it over and treats it like her own.

Five films into the «Ice Age» series, the franchise feels like the last 45 minutes of a house party that has gotten out of control.

This release offers commentary by film historian Lem Dobbs with in - house historians Julie Kirgo and Nick Redman (who also founded the label), a trio that has done more than a few commentary tracks together, and their ease gives the track an easy - going quality as they dig into the film and offer historical and critical perspective.

But the production behind the haunted house film worked diligently to recreate the real house for the film, and in the exclusive clip below, you can see just how much work went into recreating large portions of the real Winchester Mystery Hhouse film worked diligently to recreate the real house for the film, and in the exclusive clip below, you can see just how much work went into recreating large portions of the real Winchester Mystery Hhouse for the film, and in the exclusive clip below, you can see just how much work went into recreating large portions of the real Winchester Mystery HouseHouse.

by Walter Chaw Billed as being filmed in a single shot (though the skeptical — and those taken in by the «unedited» long takes of Alfonso Cuarón's Children of Men — should wonder why an editor is credited), Gustavo Hernández's zero - budget conceptual experiment The Silent House (La casa mudi) has found a way not only to suggest a gimmick successfully carried through, but also to weave that gimmick into a richer thematic tapestry.