Sentences with phrase «in a studio film like»

Who would have guessed that the rather resolute contrarian Herzog would end up with a major role in a studio film like this?

Not exact matches

One more thing Netflix has over traditional studios: It is so good at cloud computing that it has put its «studio in the cloud,» Hunt says, and uses cloud computing to do everything from managing logistics (like union drivers delivering cameras to a location) to film editing (uploading the footage to be edited immediately in another country).

Much like the success of last year's Warner Bros. film Wonder Woman helped change the conversation around a female superhero movie helmed by a woman director, a box - office smashing debut for Black Panther could pave the way for a similar paradigm shift in Hollywood with regard to how studios approach big - budget stories about characters of color.

Savvy marketing, followed by strong word of mouth: The studio was smart and pushed the film with recording - industry tie - ins and social media; a «Straight Outta» meme, featuring stars like Beyonce, took over the web.

So Paramount, in the wake of a disappointing 2017 that saw big budget films like Transformers: The Last Knight and Ghost in the Shell underperform while the studio's would - be Oscar hopefuls Suburbicon and Downsizing were DOA at awards season, is looking to make some changes in 2018 and selling God Particle off to Netflix may be a cushy deal.

In contrast, it is a significant development when a major Hollywood studio like Paramount makes a film about a story from the Bible.

Screen icon Meryl Streep, who like countless performers has appeared in films produced or distributed by The Weinstein Company, called revelations that studio co-founder Harvey Weinstein had sexually harassed women for decade «disgraceful.»

Taking your date on a visit to a film studio that's open to the public, like the Warner Bros Harry Potter Studio Tour, could be a really fun date idea in bad weather.

As schematic as a popular entertainment needs to be yet refreshingly devoid of significant lulls in the action — for exposition, weapon reloading, lovemaking and the like — the film is fast, smart and single - minded, providing not only a satisfying bang for the ever - beleaguered moviegoing buck but memorable debuts for first - time feature director Mimi Leder and fledgling film studio DreamWorks SKG (Steven Spielberg, Jeffrey Katzenberg and David Geffen)-- as well as ringing confirmation that George Clooney is indeed a movie star.

[Blu - ray Review] Looking and sounding like a million bucks (or more) and full of exhaustive bonus content new and vintage, the Blu - ray release of «The Jungle Book» is a must - own for anyone who loves animation, the Walt Disney studio, or film in general.

It fascinates me that the tendency of Hollywood is to use the locked - in audience of a franchise like cattle to a slaughter, spiting patrons with no more than they'll merely settle for because studio executives know they'll see the film anyway.

Knaggs» career reached a peak in the mid -»40s, when he worked in supporting roles in ambitious major studio films such as None but the Lonely Heart (a fascinating but failed attempt at a serious drama by Cary Grant) and unusual independently made features like Douglas Sirk's early Hollywood effort Thieves» Holiday, while also making the rounds of such popular medium - budget Universal Pictures productions as House of Dracula, The Invisible Man's Revenge, and Terror By Night.

Much like last year and the year before, this year's Movie Studio Report Card evaluates both the box office performance and overall film quality of the six major studios (and many indie distributors) in an attempt to determine the best and worst studios of 2011.

In the seven years since that threequel set box office records and earned a Best Picture nomination, the studio has had some generally liked if not quite loved triumphs (Finding Dory, Brave, Monsters University), one film that most would agree is at least in contention of «masterpiece» status (Inside Out), and some perplexing, unprecedented misses (Cars 2 & 3 plus the aforementioned Good DinosaurIn the seven years since that threequel set box office records and earned a Best Picture nomination, the studio has had some generally liked if not quite loved triumphs (Finding Dory, Brave, Monsters University), one film that most would agree is at least in contention of «masterpiece» status (Inside Out), and some perplexing, unprecedented misses (Cars 2 & 3 plus the aforementioned Good Dinosaurin contention of «masterpiece» status (Inside Out), and some perplexing, unprecedented misses (Cars 2 & 3 plus the aforementioned Good Dinosaur).

As it happens, the Ireland - based studio was also responsible for producing world - class Oscar nominees «The Secret of Kells» and «Song of the Sea,» and though Nora Twomey worked on both films, «The Breadwinner» marks her solo directing debut, employing a similarly bold graphic style in its telling («hand - drawn» via a program called TVPaint), augmented by colorful story - within - the - story interludes designed to look like stop - motion.

The company's ambitious approach has since become the wildest success in the film business, something that every other studio has quickly tried to imitate with ideas like Warner Brothers» DC Extended Universe, Universal's «Dark Universe,» and Fox's stalling X-Men universe.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who would go on to become the best in the business, like Fincher's Seven, M. Night Shyamalan's The Sixth Sense, Tarantino and Rodriguez's From Dusk Til Dawn, and Adrian Lyne's Jacob's Ladder.

Although she had appeared in several films earlier, Cheng's first starring role in a martial arts film came, like Hsu Feng's, courtesy of director King Hu during his short - lived stint with the studio.

All of which felt a little like a getting lost in a giant film - studio storeroom, surrounded by stories waiting to be assembled.

OUR TAKE: Fresh young faces starring in a movie about a board game that hinges on delusion - as directed by Stiles White, a special effects guru from the Stan Winston studio, who has written films like Knowing and The Possession, but is admittedly making his directorial debut with this movie.

Following the success of last year's Million Dollar Arm, which was pretty decent, and previous efforts like Cool Runnings (brilliant), Invincible (okay) and even Remember The Titans with Denzel Washington (decent), the studio presents McFarland, a film named after one of the poorest towns in California, situated just north of Los Angeles.

Throughout the film's production, Reynolds and Deadpool 2 studio 20th Century Fox have been very crafty about not revealing any potential spoilers for the film, and in fact, made normal procedures such as casting announcements - like the addition of Cable (Josh Brolin) and Domino (Zazie Beetz) to the film - feel like pop culture events.

The film plays atmospherically on genre tropes, too: a close - up of a gun in darkness (which ends up playing no role whatsoever), the moody chiaroscuro interior of Jo's apartment, which a bulky early -»80s answering machine makes look like a whole recording studio.

Indexed by chapter headings separate from those found in the scene - selection sub-menus, Scott indelicately remembers, among other things, that David Bennent's vocals were re-dubbed by the New York - born Alice Playten because a studio stooge said he «sounds like a goddamn Nazi;» that a 10 - year - old doubled for peak - diving Cruise; and that the film's convincing fairy F / X were accomplished with fishing line and a light bulb.

But I kept telling the studio, and I kept telling Ryan, I'm like, «No, the director's cut going to come in at like 2:12,»» Leitch explained about his rough cut of the film before elaborating that the extended version contains a montage of Deadpool attempting suicide, some extra material with Domino and alternate takes of existing scenes with different dialogue.

This is definitely more interesting, I'd really like to see more major studios push to film sequences in IMAX and explore the possibilities of shooting at a higher framerate in the future.

It takes its core components (pigs, explosions, slingshots, rage) and combines them in a way that checks all the boxes you would expect a film like this, an ambitiously chirpy product of the tentacular Hollywood studio system of 2016, to check: It layers kid - friendly gags with subtler, for - adult jokes; it offers, along the way, several unobjectionable lessons about life and those who live it; it has really good animation.

Kobayashi shot the film entirely in a studio built in an airplane hanger with painted backdrops (in «The Woman in the Snow,» the clouds of the hand - painted sky become eyes watching the woodcutter) and sets pared to their essence, like an ancient scroll painting.

AVC: Was there a point at which it seemed like you would go in a different direction instead of doing studio film after studio film after studio film?

On the other hand, a # 1.60 m UK debut for a relatively low - budget genre film, essentially populated by three actors, none of them marquee names, and largely set in a basement — most studios would like the economics of that proposition.

It goes beyond the fact that the trailers and logline for the film that we were all sold on totally misrepresent how the film actually plays out, essentially spoiling the movie in a bizarrely indirect way that almost feels like the studio hated it and was passive aggressively sabotaging it.

The company, which has a long and contentious legal history with former Relativity CEO Ryan Kavanaugh, filed an updated claim on Thursday about the «repeated misrepresentations about an illusory investment opportunity» in the studio behind films like Henry Cavill's «Immortals» and the recent Zach Galifianakis comedy «Masterminds.»

Ayer clearly has no control as a writer or director, the cast feel like they are worlds apart from one another in every way, and the studio clearly cut the film to hell trying to salvage whatever they could out of the mess that he gave them.

But Marvel, like most major studios with hundreds of millions of dollars on the line, is not known for calling an audible just prior to production of arguably the most massive tentpole film in their roster, any more than it's going to green - light a Black Widow film until well after Jennifer Lawrence has made one of her own.

After the recent success of the movies like Alice In Wonderland, Cinderella, 2016 Jungle Book and Beauty and the Beast, Disney studios knows it is onto a really good thing by making its animated films into live - action movies.

Back when it sounded like Suspiria was dead in the water, Green noted that the reason was mostly because the budget was just too big for a film that a studio was essentially going to be taking a risk on.

Netflix swaggers like it's the future, a one - stop, in - home film and TV production studio for all tastes from orc cop to Oscars.

Matthew McConaughey may have become a star as a leading man in major - studio films like «A Time to Kill» and «The Wedding Planner,» but in the last few years the laid - back Texan has reinvented and revived his career with a string of sparkling performances in low - budget indies: Richard Linklater «s «Bernie,» Steven Soderbergh's «Magic Mike,» William Friedkin «s «Killer Joe,» Jeff Nichols» «Mud» and now Jean - Marc Vallee's «Dallas Buyers Club,» which has made McConaughey a strong favorite to land a Best Actor nomination.

If you release a movie in April it has more space, more screens and time than a release in October, November or December, when heavy hitters from the studios like «The Post» with Hanks and Streep and Spielberg are hurting the art films.

Based on the 12th novel in James Patterson's long - running series, the studio is clearly hoping that «Alex Cross» can reboot the film franchise that stalled out after 2001's «Along Came a Spider,» but surely there was a better option to play Cross than a man whose biggest claim to fame is dressing up like a fat black woman.

The studio has decided to give it the official title of The Divergent Series: Insurgent, not like the later titles in the Twilight franchise used the qualifier The Twilight Saga to precede the subtitle of the film.

With a sequel already in the works, it seems like studios now want to ride the film's surprising commercial success by nabbing Reynolds for...

Like the vast majority of new studio films in 2017, Fist Fight looks great on Blu - ray.

In the case of «Moneyball» it's a studio film, but it's the peculiar circumstances of that arrangement that we were able to negotiate with Brad [Pitt] as a producer really made it feel like an independent film than what one might think of as the committee of studio film.

A 3 - minute gag reel in which Cuthbert cracks up while faking an orgasm acquaints us with a moment or two found only in the section of deleted / extended scenes (16 in all, totalling 11 minutes), wherein Greenfield, providing optional voice - over, repeats «cut for time» like a mantra and generally demonstrates — as he does in his yakker for the film proper — that he rolls over easily when confronted with studio research.

Dark City (New Line): Like «Blade Runner,» this nightmarish bit of science fiction debuted in theaters with a studio - mandated voice - over intended to help viewers make sense of the film.

How would you describe the difference in movie magic between an indie Sundance - type film, and a huge studio film like this?

The casting choices are also a liability, with Kunis laboring to look even slightly domestic or even just lived - in as a character with a long history with a one - dimensionally self - centered husband and two precocious kids that look like they were freshly pulled from the Movie - Kid rack at the film studio prop store.

The arrival of a new Wes Anderson film is an event — one that often cuts through the noise of anonymous studio films geared for commerce — so we thought, much like we did last year for «Moonrise Kingdom» (a piece you guys seemed to enjoy), that we'd do a similar trailer deconstruction piece and look at some of the themes, motifs and similarities in «The Grand Budapest Hotel» and Anderson's previous movies.

Also, in a weird note, Variety adds that one of the reasons Reynolds wanted to work with Netflix on this is that he won't have to deal with «the world press commitments that a major studio movie like Deadpool requires,» so he can film Six Underground and then immediately forget about it as he moves on to other projects he's more interested in.