Sentences with phrase «in cinema style»

Not exact matches

J.K. Rowling is a talented storyteller, but she has also used the style and technique of modern television and cinema media, which seizes the imagination by pummelling it, bombarding it with powerful stimuli, in a rapid pace, with plenty of emotional rewards.

Soft pretzels seem indulgent, both because yeast doughs take time to rise and cinema - style pretzels are smothered in butter, but soft pretzels are actually pretty easy to make and make pretty healthy treats for kids.

It's a low - budget winner combining a sharp, protean visual style — one minute music video, the next cinema verite — with impudent humour, raw emotion, a thumping good rap soundtrack and some pertinent lessons in choice and responsibility.

This style is fairly new in cinema and has really defined the 2010s era, to see it combined with something that was so relate - able made for a very special film.

Oscar - nominated filmmaker Mike Figgis (Leaving Las Vegas) continues to explore experimental styles of cinema (see Timecode or Hotel) with this playful in - joke about the act of artistic creation.

All that goes a long way to securing the film its status in cinema history but, in addition to how the passage of time is beginning to erode its impact, there are others drawbacks, not least of which is the stilted acting style of both Lockwood and Dullea.

The convergence of spirituality and cinema would occur in style not content.

A first - rate cinema intellectual — as a 24 - year - old graduate student he wrote «Transcendental Style in Film,» a study of Bresson, Yasujiro Ozu and Carl Dreyer that is still worth reading (and has just been reissued)-- Mr. Schrader has been, to put it mildly, an uneven filmmaker.

Webb demonstrates an unexpected fluency for action cinema, effortlessly integrating the real and the computer - rendered, giving Spidey a definite style and muscularity in the film's fight sequences.

He was known for his unconventional style and techniques which found their roots in his own unique philosophies behind the art of cinema.

Get to know the season's brightest stars as they channel 70s cinema in @VanityFair's 2017 Style Portfolio.

After a stellar career in student drama at Oxford, he had joined the BBC, but he was soon also writing film criticism and, in 1956, was one of the founders, along with Karel Reisz and Lindsay Anderson, of the Free Cinema movement, espousing a cinema free of commercial and political constraints and using a personal style to capture working - class life and popular culture, which had been ignored by traditional British cinema.

Unlike Kaufman's Adaptation (Spike Jonze, 2002)-- which is directly concerned with the possibility of art in the cinema and ultimately lapses into a farcical parody of the Hollywood style — Eternal Sunshine presents its viewer with a classical boy - meets - girl, boy - loses - girl, boy - gets - girl romance structure.

Kdy sníh konečně taje, near - exhausting excessiveness and unevenness to plotting, an uneven and already questionable style, and near - monotonous cold spells to atmospherics render the final product pretty decidedly underwhelming, but not the misfire that it could have been, because through a haunting visual style, outstanding musical style, intriguing premise, and generally stylistically sharp direction, Frantiek Vláčil's «Marketa Lazarová» stands as an adequately intriguing and occasionally engrossing, if overwrought classic in Czech and art cinema.

Filmed in aquatic hues and bathed in nostalgic mid-century style, The Shape of Water is both a love story and a love letter to monster movies, musicals, and classic cinema.

His feature debut, A Dark Song is somewhere in - between an ultra-involving parental drama, a 60s - style occult horror and an out - and - out black comedy, balancing the trio surprisingly well and delivering a thoroughly entertaining and refreshing new slice of British cult cinema.

Robert Altman and Francis Ford Coppola, arguably the two pivotal figures of American cinema in the 1970s, both rose from the turmoil of the transition from studio - based to independent production, to emerge as leading forces in film production as well as film style.

Infused with elements from his Calvinist upbringing and 1950s art - house cinema (check out his newly reissued book Transcendental Style in Film on Bresson, Ozu, and Dreyer), First Reformed revolves around the Reverend Ernst Toller (portrayed with devastating restraint by Ethan Hawke).

Already widely cited and used in courses in film studies, film genre, and art and avant garde film, this updated edition situates «Transcendental Style», forty - five years later, as part of a larger movement in post-war cinema, the Slow Cinema movement.

-- Kent Jones, filmmaker, writer, festival director «For students interested in spirituality and cinema, Transcendental Style in Film is the one book I would label indispensable.

And while the film throws some shadows reminiscent of recent Greek «Weird Wave» cinema (Papoulia also starred in Yorgos Lanthimos's Dogtooth and Alps), such as its unhinged, barking mad, and eyeball - rolling style of acting, this is a bigger, bolder, and angrier work.

Ultimately, he said earlier today, the mix of fantasy, romance, thriller and old - style Hollywood is a movie that's «in love with love and in love with cinema.»

«Filmmaker Robert Drew, a pioneer of the modern documentary who in Primary and other movies mastered the intimate, spontaneous style known as cinema verite and schooled a generation of influential directors that included D.A. Pennebaker and Albert Maysles, has died at age 90.

Depicted in Eastwood's unadorned, almost cinema verité style, this is interminable stuff — with each line delivered flatly by our non-professional trio.

However, with an idiosyncratic, art - house cinema virtuoso at the helm, it is reasonable to expect that Vinterberg's aberration in directing Far From the Madding Crowd could transgress and alter the conventions of the traditional period drama by bringing a distinctive avant - garde style to a staid and stubborn genre.

In «i hate myself:)» Arnow fuses cinéma vérité with Lena Dunham - style confessional cinema, turning the lens on herself and her relationship with volatile poet James.

For most of its history, French cinema has undergone periodic upheavals characterized by massive changes in many areas — personnel, economics, typical film style and content, and so on.

In place of ascribing preferred definitional clarity, Martin immediately proceeds to offer a rich sketch of the generative importance of mise en scène for film criticism and scholarship in providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and characteIn place of ascribing preferred definitional clarity, Martin immediately proceeds to offer a rich sketch of the generative importance of mise en scène for film criticism and scholarship in providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and charactein providing a kind of justification for the taking - seriously of cinema that specifically addresses film style — and through this, often, authorship — before and beyond the more «literary» concerns of narrative and character.

For every indie meandering such as I Love You Phillip Morris, there's a family feature in the style of The Grinch and a comic mis - step of the type of Fun With Dick And Jane, with the humorous rather than human elements considered by the cinema - going public to be a highlight of his work to date.

In aesthetic terms, the film uses a naturalistic, gritty style that is very much in keeping with the New Hollywood cinema of the»70In aesthetic terms, the film uses a naturalistic, gritty style that is very much in keeping with the New Hollywood cinema of the»70in keeping with the New Hollywood cinema of the»70s.

Though Ozu was discovered relatively late in the Western world, his trademark rigorous style — static shots, often from the vantage point of someone sitting low on a tatami mat; patient pacing; moments of transcendence as represented by the isolated beauty of everyday objects — has been enormously influential among directors seeking a cinema of economy and poetry.

For his filmmaking debut, Krasinski appears to have called in favors from nearly every famous person he's ever met, but he hasn't yet developed the authority or command to work their varying styles and skills into seamless cinema.

It is also pleasing to see that in an age in which the romantic comedy is such an unfashionable genre in the cinema that filmmakers are, at least, attempting to go back to basics and call to mind a style of filmmaking in the screwball comedy that is all too rarely visible in the modern era.

Perhaps the most successful work this year in this art cinema mode, Maximilian Leo's My Brother's Keeper, betrays similar dissonance, if not outright discomfort, with Germany's well - resourced lives and affluent life - styles.

Without a word spoken, the first two shots in Thief, Michael Mann's groundbreaking 1981 feature debut, announce a simultaneously grim and dreamlike vision that seems, in retrospect, perfectly poised between the great urban crime films of the 1970s and the formal aesthetics of the 1980s — the «style decade» that Mann's subsequent cinema and television work did so much to help shape.

Andrew O'Hehir, Salon: «I'm something of an agnostic when it comes to De Palma, but he's unquestionably a director of consummate style and skill, one whose most popular films — from Carrie to Scarface to The Untouchables — have become tremendously influential in contemporary cinema.

At once an homage to and a spoof of two signature styles of late 1960s cinema, «CQ» is an enjoyably eccentric entry into feature filmmaking by a writer - director who has the art form in his...

In his output from early in that decade, with its elements of fatalism and compositional sophistication, one can see the seeds of the poetic realist tendency in French cinema, a style whose popularization Duvivier would have a fundamental hand in a few years later (along with the likes of Marcel Carné, René Clair, and Jean Renoir, all of whose work has come to overshadow Duvivier'sIn his output from early in that decade, with its elements of fatalism and compositional sophistication, one can see the seeds of the poetic realist tendency in French cinema, a style whose popularization Duvivier would have a fundamental hand in a few years later (along with the likes of Marcel Carné, René Clair, and Jean Renoir, all of whose work has come to overshadow Duvivier'sin that decade, with its elements of fatalism and compositional sophistication, one can see the seeds of the poetic realist tendency in French cinema, a style whose popularization Duvivier would have a fundamental hand in a few years later (along with the likes of Marcel Carné, René Clair, and Jean Renoir, all of whose work has come to overshadow Duvivier'sin French cinema, a style whose popularization Duvivier would have a fundamental hand in a few years later (along with the likes of Marcel Carné, René Clair, and Jean Renoir, all of whose work has come to overshadow Duvivier'sin a few years later (along with the likes of Marcel Carné, René Clair, and Jean Renoir, all of whose work has come to overshadow Duvivier's).

Discover Dolby partners that provide you with immersive, cinema - style sound in your home.

What We Do in the Shadows Even if you're sick of vampire movies, you'll enjoy this one, a mock documentary from New Zealand that follows, in the style of low - budget cinema verite, four vampires sharing a house in Wellington.

In this moment, Campion finds one of her earliest platforms for experimenting with expressionistic conventions of cinema like the chiaroscuro - style lighting of Ingmar Bergman, the inky suburban subconscious of David Lynch and Peter Weir's haunting images of lost girls.3 With this scene, Campion also perfectly encapsulates the isolating, confusing and ultimately frightening mood around adolescent, female sexuality in pre-feminist Australian suburbia of the «60In this moment, Campion finds one of her earliest platforms for experimenting with expressionistic conventions of cinema like the chiaroscuro - style lighting of Ingmar Bergman, the inky suburban subconscious of David Lynch and Peter Weir's haunting images of lost girls.3 With this scene, Campion also perfectly encapsulates the isolating, confusing and ultimately frightening mood around adolescent, female sexuality in pre-feminist Australian suburbia of the «60in pre-feminist Australian suburbia of the «60s.

In this moment, Campion finds one of her earliest platforms for experimenting with expressionistic conventions of cinema like the chiaroscuro - style lighting of Ingmar Bergman, the inky suburban subconscious of David Lynch and Peter Weir's haunting images of lost girls.

Tony Black on screen legend Michael Caine... His recent political leanings aside, Sir Michael Caine remains one of the surviving legends of British and indeed American cinema of the last fifty years, and this weekend's Going in Style — a heist caper directed by none other than Scrubs «Zach Braff — sees him share top billing with fellow aged -LSB-...]

Fresh from the playfully exuberant A Hard Day's Night, which set the bar for rock and roll cinema and inspired the modern music video, Richard Lester continued the same acrobatic, tongue - in - cheek style in The Knack... and How to Get It (Kino Lorber Studio Classics, Blu - ray), his adaptation of Ann Jelico's lightweight play «The Knack,» creating a delightfully frivolous take on swinging London and the sexual revolution.

The Amityville Tapes — a cinema verite - styled sequel — had been in development for quite some time, I wonder if this will be revived?

The 2010's should not only be remembered for being the decade in which the greatest living actress earned her record - breaking 20th nomination, but also as the decade when she found a red carpet style that fit her iconoclastic image as both the Grand Dame of American cinema and someone who wants the world to think she «woke up like dis».

Hollywood, CA (November 1, 2017)-- The Hollywood Film Awards, continuing its tradition of recognizing excellence in the art of cinema in all disciplines of filmmaking, also announced today the honorees in the categories of Cinematography, Film Composer, Editor, Visual Effects, Costume Design, Make - Up & Hair Styling, Production Design and Sound:

Paul Thomas Anderson has always been considered something of a wunderkind, an idiosyncratic director with a clearly defined vision and a style deeply influenced by both cinema history and his upbringing in the San Fernando Valley.

But his idiosyncratic style is one of the most polarising in cinema.

Classical Hollywood cinema is the term used to describe the style of filmmaking pioneered by the major studios in the USA from the late - 1910s to the mid-1950s.