This sort of cohesion between an emotionally involved couple is surprisingly
rare in modern cinema, and it provides the foundation for all that comes afterwards.
It is a testimony to his genius that this may not be his best film, yet it is one of the most striking
films in modern cinema.
They assail Spielberg for two of the greatest problems
in modern cinema history: the Blockbuster mentality that now permeates the commercial film industry, leaving little room for intellectually challenging works; and the dumbing down of contemporary movies that promotes bloated budgets and relies on wham - bam action flicks.
«The LEGO Movie» is guaranteed to provide that fun, and believe in this — it doesn't happen that
often in modern cinema.
BEST SUPPORTING ACTRESS Nowhere is the paucity of well written female
characters in modern cinema more evident than in this years» Supporting Actress category.
Check it out if you want to see a CGI sword - and - sandal disaster flick, but perhaps skip it if you bemoan any scientific inaccuracies
whatsoever in modern cinema.
This is a rare
case in modern cinema where the effects actually look real rather than something designed by committee on a computer during postproduction.
It looks fantastic and the air of subtlety and sophistication that permeates the entire film gives it a maturity so often
lacking in modern cinema.
In close - up Neeson's anguish holds the screen like few other
sights in modern cinema, and a comparatively late scene in «Silence» pits Neeson against Garfield in a stimulating, discreetly combative war of words, and beliefs.
He continues to perform at a high level, and he's forged a partnership with Villeneuve over the course of three films now («Prisoners» and «Sicario» being the others) that makes for one of the great visual
signatures in modern cinema.
Culling from the riches of behind - the - scenes footage from the films, Comic - Con panels, and an assortment of TV clips (from ABC News to «Saturday Night Live» and «The Colbert Report»), this is a thoughtful and well - produced reflection on the biggest
force in modern cinema, one that «Agents» belongs to and its fans are sure to care about.
In their respective performances in I, Tonya and Lady Bird, these performers embodied two of the most memorable
mothers in modern cinema, and took two totally different approaches: Janney was all delicious high camp and toxic bluster, while Metcalf created a subtle, close - to - the - vest performance of a mother whose love expresses itself in disapproval.
is proof not only of the Coen Brothers» effortless command of some of the most important
actors in modern cinema, but their commitment to creating and crafting a wholly believable — and endlessly gleeful — vision of the past.
Jessica Chastain Appearing in no less than five films this year, Chastain has burst out of nowhere to become a big upcoming
presence in modern cinema.
Luckily, the marriage of Martin Scorsese — the unofficial mafia
whisperer in modern cinema — alongside Leonardo DiCaprio, Jack Nicholson, Matt Damon, Vera Farmiga, Martin Sheen, Alec Baldwin, and Mark Wahlberg, builds upon the strength of the original film by injecting gritty realism, eliminating somber black - and - white flashbacks, and providing a grim bookend that doesn't occur in the Hong Kong film.
Tatum brings his usual puppy - dog charm and carries the film well, Pettyfer continues to have one of the most punchable
faces in modern cinema, but that serves him well for this particular role, and the rest of the supporting cast are fine, with a standout being McConaughey, who brings the same sleazy sexuality and inherent threat level he presented in Killer Joe, but dialled way down to a less homicidal, but more entertaining level here.
Tsai is one of Taiwan's finest, and one of the great
humanists in modern cinema, and hopefully his appearance on the Lido this year will see him back on top.
Dolan, whose previous melodramas recall the best works from Pedro Almodovar and Rainier Werner Fassbinder, has an immense visual palette and is one of the best complex character
writers in modern cinema, particularly for women.
In dramatizing Mathison's script, Spielberg and his usual army of key collaborators — led by Janusz Kaminski (director of photography), Rick Carter (production design), Michael Kahn (film editing), and John Williams (original musical score)-- have fashioned a movie for children that looks at
home in modern cinemas while retaining an «old - fashioned» pacing and temperament.
The ensemble includes some of the finest emerging
talent in modern cinema, including Margaret Qualley, Liana Liberato, Morgan Saylor and Maddie Hasson.
Mark Rylance, meanwhile, delivers a performance beyond superlatives as BFG, his endlessly expressive face so earnest and sincere that you quickly forget he's a motion - capture figure — a rare
feat in modern cinema, no matter how advanced the technology has become.
The Grand Budapest Hotel Another storybook adventure from writer / director Wes Anderson, The Grand Budapest Hotel is also another display of why he is among the most unique American
voices in modern cinema.
Nevertheless, the exciting pulp quality of the role gives it a special
place in modern cinema, and as conceived with Thurman, is one of Tarantino's more interesting creations.
The true story of the Boston Globe investigation into sexual abuse in the Catholic Church, and the cover - up that allowed it to go on for decades, is a lean, tight procedural, a film that captures smart people doing important work — a surprising
rarity in modern cinema.
In Una, the powerful screen adaptation of David Harrower's play «Blackbird» about the sexual abuse of a thirteen - year - old girl, Australian director Benedict Andrews does what has become increasingly
uncommon in modern cinema — he makes us think.
Peyton makes good use of the technology at
hand in modern cinema and shows us some gorgeous shots of an entire city vibrating from above as the major earthquake rocks it to its knees.
I think something very interesting could have been made out of The Disaster Artist, a true story retelling of the creation of quite possibly the most famous bad
movie in modern cinema history, The Room, but James Franco's biopic (of a sort) seems far too pleased with itself to get to the core of what it's trying to say.
Now, before the pitch - forks start getting sharpened, Nolan's trilogy is still obviously a
landmark in modern cinema and three of the greatest comic book movies ever made.
There are
gems in modern cinema as much as classical cinema that I think are overlooked by putting too much empathsis on cross-comparing real life to fictional ones.
Debutant director Steven Bernstein's two - tiered heartfelt drama defies its Movie - of - the - Week premise with an integrity all too
rare in modern cinema.
In modern cinema, edits move action forward.