Sentences with phrase «house films only»

We've written elsewhere that art house films only cross the line to wide appreciation if the characters are writ deep and wide.

Not exact matches

Reagan was a well - known actor before he became president, but he wasn't always watching his own films in the White House theater — that was only on special occasions like his birthday.

The Marlborough moniker given to the soap above by D.R. Harris alludes to a dukedom and the very same noble house from which Winston Churchill was descended (google «Duke of Marlborough» and «Blenheim Palace» — the latter being only one of a couple non-royal estates in England to be called a palace and a mansion I'm sure most gents will say they've seen in film or on television more than once!).

To push the movie analogy further: It's harder for films to generate a ton of excitement when they're only being shown in art houses.

The Home Master system also uses a different filter design: you replace the combination filter and filter housing rather than only replacing the filter, which can allow a film to accumulate inside the filter housing.

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).

They shared a similar goal, and they blurred the boundary of what a typical architect's scope should be by not only designing houses, but also toys, and exhibits and films and books.

Anne Hathaway feigns a British accent in her new film, One Day, so it seemed only fitting that she chose to wear an offering from a British fashion house to the New York City premiere.

Somerset House was a lovely setting, even if the film was a bit of an odd one (and I only have myself to blame for that!)

Not only did the film fare stratospherically well in August's native Denmark, but its sensitive portrayal of youthful love and loss earned the earnest film a place in numerous art - house theaters in the U.S. as well.

But only one major - studio film of the modern era, Richard Fleischer's notorious 1975 Mandingo, dared to meet slavery on its own terms — a grind house bacchanal of sadism, incest, and miscegenation, capped by an unforgettable finale in which the eponymous bare - knuckle fighter is boiled alive by his master in a cauldron.

Stewart plays out the film as if it were a traditional «haunted house» film, but because we already know it is about alien life, we merely watch the characters go through predictable motions until the story catches up with what we already surmise, and the only things keeping viewers reeled in are basic questions such as, «why are they doing this?»

Apparently Universal is cleaning house of old Blumhouse films as they've dumped not only Mockingbird direct - to - VOD, but now Stephen King's Mercy...

It's hard to separate a sequel from its original counterpart, especially with a movie like The Conjuring, which is quite simply one of the very best haunted house movies ever — not only that, but it pretty much set the bar for all future films of its ilk; that's a hell of an accomplishment, to say the least.

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

That's not the only film that Disturbia lifts ideas from; it also borrows from other movies that have taken Rear Window's core element of mystery and murder in the house of the neighbor next door, most notably in The «burbs and Body Double, with its emphasis on sexiness and some darkly disturbing subject matter that keeps the sights titillating and the atmosphere creepy.

Not only does the uneven Tomorrowland ultimately disappoint as a Bird film, its failure carries potential disappointment for Disney fans hoping the company might find a reason to produce more in - house movies beyond live - action recreations of their classic cartoons.

As previously reported, the film casts the same people in a similar situation as Olympus, only this time, the U.S. president (Aaron Eckhart), his devoted Secret Service bodyguard (Gerard Butler), and the Speaker of the House (Morgan Freeman) are in London to attend the prime minister's funeral.

The only problem is that aside from his more commercially focused film Drive, a lot of Nicolas» work is even more divisive than Zack Snyder's, and some would say are borderline incoherent art - house pantings caught on film.

A heavy drama boasting an all - star ensemble (including Steve Carell, Ryan Gosling, Christian Bale, Brad Pitt, and more) playing men who watch the world burn to ashes around them from a credit and housing disaster only they saw coming, the film operates in a dark world of complex real estate jargon and impending Wall Street doom.

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.

The Last House On the Left remake director Dennis Iliadis not only has He's Out There arriving later this year, but he also quietly filmed Delirium...

Nochimson's article details the origins of this «eternal studio in the Eternal City» (it was movie - mad Mussolini's baby), its brief role as housing for people displaced by World War II, and its reemergence as a major site of spectacular movie projects, not only for Federico Fellini (whose La dolce vita, Amarcord, and And the Ship Sails On are just three of the many projects he filmed partly there) but also for Jean Renoir (The Golden Coach) and Bernardo Bertolucci (The Last Emperor).

It's hard to separate a sequel from its original counterpart, especially with a movie like The Conjuring, which is quite simply one of the very best haunted house movies ever — not only that, but it pretty much set the bar for all future films of its ilk; that's a hell of an accomplishment, to say the -LSB-...]

The last moments are troubled in a way otherwise alien to the movie; where a character leaving a house at the start of the film sets the ball rolling, the same action at the end does so only for the eyes.

Final note for Bay Area readers: «Fantastic Beasts» is being presented in 70 mm at the Grand Lake Theatre in Oakland - the only Northern California movie house showing the film in this wide high - resolution format.

But while I would only recommend it to art - house enthusiasts due to its slow pace, it is refreshing to see a film that deals with body image from an older woman's point of view.

The pic was developed by Imagination Design Works, which owns rights to the house and gave this film its only endorsement, which allows the film to shoot on the premises of the actual home.

«Marshall» is helmed by a television director, who only returns to features films after forgotten slapstick comedies «The Ladies Man» and «House Party» from the 90's.

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.

Director Roland Emmerich's Channing Tatum and Jamie Foxx - fronted White House Down was supposed to be a massive summer hit, but instead the film only managed to gross $ 73 million domestically.

The film gets a first hand revisit the former house resident Daniel Lutz, who was only 10 during the events back in the 70's.

Ruffalo and Laurent are the only ones given anything to work with, and while he struggles with the ridiculously hoaky demands of his part, the gorgeously expressive French actress most famous for burning down the house in Tarantino's Inglorious Basterds, manages to pull off the film's only layered performance.

For example, Doc's nemesis, LAPD Detective Lieutenant Christian «Bigfoot» Bjornsen (Josh Brolin), is first seen in a television ad costumed in «hippie» gear promoting the «Channel View Estates» housing development; Coy Harlington (Owen Wilson), a musician and former dope addict, now supposedly an undercover government agent, is first glimpsed in a family photo taken by his ex-junkie wife Hope (Jena Malone); Mickey Wolfmann stares out at us from a newspaper photograph before he makes his one and only appearance in corporeal form late in the film; hit man Adrian Prussia (Peter McRobbie) first appears to us in FBI photo files.

And the fact that «A Haunted House» (starring «Scary Movie» co-creator Marlon Wayans) spoofed many of the same films only a few short months ago makes this fifth installment even more pointless, although I'm not entirely sure that's possible.

Leaving it in London with its terraced rows of houses streaking past the train windows would have made it grittier and more thrilling; moving it to the glorious upstate New York setting ironically only added to the low budget appearance of a film that could have been one of a dozen others that look the same.

While watching Nightcrawler in a packed house only added to its spooky, magnetic power, there are times when seeing a film with a big group can actually be quite alienating, even lonely.

Durkin's first film since the critically - acclaimed drama Martha Marcy May Marlene will feature Law as a businessman who brings his American wife and kids home to Britain to pursue new business opportunities, only to be plunged into the despair as their unaffordable new life in an English manor house threatens to destroy the family.

The only «supernatural» elements to that original film are confined to the rantings of Dr. Loomis and of course that final scene when Myers disappears after being shot six times and falling off the Doyle house balcony.

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The film is about four siblings who seek refuge in an old home after the death of their mother, only to discover that the house has another, more sinister, inhabitant.

Other films that we admire, but didn't quite make the cut included Alison Mclean «s «Jesus» Son» featuring awesome performances by Billy Crudup and Samatha Morton as drug - addict adult - lescents in the 1970s, Stephen Daldry «s celebratory boyhood - meets - ballet drama, «Billy Elliot,» Lars Von Trier's comedic docu - like dogme film «Idioterne» («The Idiots,» made in 1998 but only released in the U.S. in 2000), Steven Soderbergh «s economic and no - nonsense «Erin Brockovich,» Stephen Frears «manchild, record store - centered love story, «High Fidelity,» Terence Davies ««The House of Mirth» featuring an excellent Gillian Anderson turn, and perhaps Neil LaBute «s best film, tellingly one he didn't write, the dreamy and odd, «Nurse Betty.»

Davies» films have always supplied strong female roles (think Gena Rowlands in «The Neon Bible,» Gillian Anderson in «The House of Mirth» and Rachel Weisz in «The Deep Blue Sea») and this story, which followed an ordinary farm girl in the 1910s with a dream of being a teacher, who begins to assert her independence in the face of cruelties dealt by people ranging from her abusive father (Peter Mullan) to the initially sweet young man (Kevin Guthrie) who falls in love with her marries her, only to come back from the horrors of World War I irrevocably changed.

Written by her husband Jonathan Penner, the film focuses on three friends who move into a house near their college campus only to discover that there is some unknown evil lurking inside.

While the film and the memoir have been given the unfair label of being ONLY ABOUT «slavery is bad» (as if that fact alone would not be worthy) many of the more subtle points have been ignored, but is best summed up this way, «It is notable not only for its lucid description of plantation life, with detailed passages on the methods by which cotton and sugarcane were harvested and processed, and how slaves were fed, housed and punished, but also for the author's evenhanded treatment of his subject: although he denounces slavery as an institution, Northup expresses his gratitude to the masters who treated him with gentleness and generosity, and shows a surprising ability to forgive even the most unimaginable cruelties.&raONLY ABOUT «slavery is bad» (as if that fact alone would not be worthy) many of the more subtle points have been ignored, but is best summed up this way, «It is notable not only for its lucid description of plantation life, with detailed passages on the methods by which cotton and sugarcane were harvested and processed, and how slaves were fed, housed and punished, but also for the author's evenhanded treatment of his subject: although he denounces slavery as an institution, Northup expresses his gratitude to the masters who treated him with gentleness and generosity, and shows a surprising ability to forgive even the most unimaginable cruelties.&raonly for its lucid description of plantation life, with detailed passages on the methods by which cotton and sugarcane were harvested and processed, and how slaves were fed, housed and punished, but also for the author's evenhanded treatment of his subject: although he denounces slavery as an institution, Northup expresses his gratitude to the masters who treated him with gentleness and generosity, and shows a surprising ability to forgive even the most unimaginable cruelties.»

House of Fools: Another pretentious Russian import, House of Fools was the only film this year to feature Bryan Adams in a pivotal role.

Tyger Williams» screenplay is strictly formulaic, with only the occasional bizarre moment — such as when Carter, after having broken into Leah's house, uses her toothbrush in fetish - like fashion — hinting at the stylishly baroque thriller the film might have been.

As the film begins, he sets out to Manitoba, Canada to interview the unwilling star of a viral video in the vein of «Star Wars Kid,» only to arrive at the recently deceased boy's house, mid-wake.

An uncommonly tedious effort, House at the End of the Street follows Jennifer Lawrence's Elissa as she and her mother (Elisabeth Shue's Sarah) move to a small town where a young girl murdered her parents years earlier - with the film eventually detailing the mystery surrounding said young girl's only surviving relative (Max Thieriot's Ryan).

; the featurette Witchfinder General: Michael Reeves» Horror Classic; theatrical trailers for not only all six films in this set but also for several other Price titles like The Raven, House of Wax and The Fly; and a 24 - page booklet packed with great photos.