Sentences with phrase «interesting film work»

There's a lot of interesting film work about but I think doing this show has made me look at the collection in a different and slightly more thoughtful way.

Not exact matches

Mosireen, mostly composed of leftists and liberals who despise the Islamists they blame for derailing the revolution, did not film the Brotherhood protests, and seem to have shown little interest in working with the people who did.

(Indeed, ESPNW is doing some of the most interesting and important work in sports journalism right now: look no further than its recent profile of Christy Mack, an adult film star who was brutally assaulted by her boyfriend, a mixed martial arts fighter.)

«This job is working with interesting people and interesting actors — I didn't feel like I needed to be in another period drama, but this was just a really interesting director who had done a really interesting film,» says actor @douglasbooth of the @tribeca Film Festival film «Mary Shelley.»

It's a mystery that Hereafter isn't interested in exploring, and overall, the film casts a slight pall on an otherwise meaningful body of work.

The moment underscores an interesting aspect of the quarterback hunt: Despite the grave importance of the decision and the incredible resources poured into psychological profiles, private investigatory work and hours of film study, the ultimate decision can often boil down to conviction, something that arises from face - to - face sit - downs and private workouts.

For example, if you're a printmaker and you've just finished a range of posters based on 80s cult films for a local exhibition, the most effective way to spend your money could be promoting your work to men interested in cinema aged 35 - 45 within 10 km of the gallery, instead of all genders, all ages, all across the UK.

I live in London, work in film, love music, write in my free time and are looking for interesting people to hang out with..

The top 10 lies told by men are as follows: 1) having a better job than they do, 2) taller than they really are 3) weight is less than it really is 4) more athletic than they really are 5) have more money than they really do 6) have more work seniority than they do 7) are in a more interesting profession than they really are 8) know celebrities 9) have employees or an assistant and 10) work in the film industry.

Despite an interesting premise and excellent cast, the film flopped, but Arquette continued to work steadily the following year, with lead roles in the black comedy Goodbye Lover; Stigmata, in which she starred opposite Gabriel Byrne as the unwitting target of a supernatural phenomenon; and Martin Scorsese's Bringing out the Dead, a film starring Arquette's then - husband Cage as a burnt - out paramedic.Following the weightiness of the creepy Stigmata and the disturbing Bringing Out the Dead, Arquette took things in a decidedly lighter direction with her next two projects.

Not only was Pelle the Conqueror August's most popular international film to date, but it also marked the beginning of the director's growing interest in adapting popular works of fiction for the screen.

Despite those issues, however, the piece mostly worked well, and it offered interesting coverage of the film from the actors» point of view.

The individual instalments of The Lord of the Rings trilogy, for instance, are perfectly successful films in whichever order you choose to view them - and it is interesting that the same critics who defended Kill Bill did not necessarily take the same line with Peter Jackson's work.

As hard as it may be to trash a movie that looks so glorious, an unavoidable conflict has been created, because «The American» is clearly intended as an art film and it works perfectly fine as that, but it fails on so many levels in terms of telling an interesting story.

Too muted and pensive to work as a thriller, too withdrawn to be a character study, and too cold to evoke any sympathy, the film is instead a dull and alienating exercise in how to take a strong actor and interesting premise and mostly waste them.

Fans of Cooper's previous work will want to give this one a look at some point, as will those cinephiles interested in seeing what this film has to add to the larger trend of revisionist westerns released over the past decade.

It's only as the film inevitably segues into its mystery - oriented midsection that it slowly - but - surely becomes a seriously dull piece of work, as there's simply nothing interesting or intriguing about the gang's ongoing investigation into what happened - with the tediousness of this stretch exacerbated by the unpleasant and downright seedy nature of the movie's locale.

Not everything here works... But it's an interesting, great - looking film, and Simmons is just dynamite in it.

Gillespie, working from a script by Steven Rogers, does an effective job of painting a somewhat less - than - flattering portrayal of the protagonist's hard - scrabble existence, with the strength of the film's opening stretch standing in sharp contrast to a middling midsection that grows less and less interesting as time progresses.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

In it Kubrick discusses his youth and his education, how he became interested in films and how he moved into that field, and his work up through the early stages of 2001.

«John Carter» is certainly an interesting idea for a film, with a power struggle on an alien world and an outsider affecting the balance, but sadly it never ends up fully working.

James Woods and Kathleen Turner are sublime as Mr. and Mrs. Lisbon, Kirsten Dunst, Hanna R. Hall, Chelse Swain, A.J. Cook, and Leslie Hayman are all really good as the Lisbon sisters, Josh Hartnett showed some real star potential as Trip the love interest of Dunst's Lux, and Giovanni Ribisi hits all the right notes and puts in fantastic work as the film's narrator, conveying a great sense of both maturity and youthful wonder.

Dzundza has worked in some interesting and / or popular films over the course of his career including Michael Cimino's «The Deer Hunter» (1978), Robert Altman's «Streamers» (1983), «No Way Out» (1987), Clint Eastwood's «White Hunter, Black Heart» (1990), and «Basic Instinct» (1992).

It was a bold move that didn't work out so well for the Indiana Jones franchise, but here it was one of the most interesting things about this film.

The film takes an interesting turn as it goes, initially presenting experimental works as something arcane and impressive (too much for the common man — hmpf!)

Recruited by an old chum (Peter Boyle) to help find an exotic prostitute missing in Chinatown, Hammett enlists his implausibly gorgeous neighbor (Marilu Henner) to play Girl Friday as he matches wits with colorful actors including Jack Nance («Eraserhead» and other David Lynch works), David Patrick Kelly (whose strangled voice is an interesting counterpart to his iconic «Come out to play - yi - yay» taunt from «The Warriors»), Roy Kinnear and a few old - timers from film noir's heyday (the scene with Sylvia Sidney is especially good).

Not thinking it could work as a feature film, they finally launched a revival series in the late 1980s with Peter Graves back as the head of the Impossible Mission force, but bad scripts, lack of energy and a writer's strike killed the show after two seasons despite an interesting cast.

Patient viewers have to work hard to engage with the film and sustain their interest as the steady pace continues, and the running time closes in on two hours

I will work on it hoping that when the time comes, I would be able to present an interesting film on important things in life, a film that you can all be interested in.

This Disney animated film delivers on both, bringing together all sorts of video game characters that we know and love, as well as just being a great film with superb voice work, an interesting story, great characters, gorgeous animation, clever humor, and a great big heart.

This is only her second full - length film, and there is enough talent in evidence to warrant an interest in seeing more of her work.

There's also a nearly 20 - minute piece with Alan Howarth, who worked on the film's score with Carpenter — That one goes on a bit longer than it needs to, although it's interesting to learn that there's a demand for Howarth to do live performances of the music.

It's an interesting case study in what can go wrong as a director struggles too hard to find a way into a work for hire, but this film surely doesn't deserve that level of scrutiny.

It was banned in the UK on the basis of Salman Rushdie's safety, though he appealed to the British Board of Film Classification to lift its nationwide ban both due to his opposition of using laws to suppress creative works, but also believing that it would reduce interest in the film.

While pithy, the term isn't quite right: In the 45 years since her first uncredited on - screen appearance, at age 6 in her mother's film White Lightning, Dern has amassed one of the most consistently interesting bodies of work in Hollywood.

WHY: There's been a renewed interest in the work of British spy novelist John le Carré over the last five years, with several of his books adapted into feature films («A Most Wanted Man») and TV miniseries («The Night Manager»).

For those unsure of how this film will play out, like me, it's slightly interesting in some spots to watch Poirpot work out the tangled web surrounding the murder.

Steve Carell and Paul Rudd have worked together previously on The 40 Year Old Virgin, and Anchorman, but in their previous films they didn't have as much on - screen time together, so it was interesting to see how their dynamic changed.

The feminist serial killer road movie Butterfly Kiss, the Bosnian war pic «Welcome to Sarajevo», the period property drama «The Claim» and the Manchester docu - comedy 24 Hour Party People might appear to be films with nothing in common, but in fact all are collaborations between director Michael Winterbottom and writer Frank Cottrell Boyce, who together have shown an ability to produce consistently interesting works in any and every genre.

For now, it remains an interesting and arresting film whose sound and fury may cloud some very good work.

Stewart's fame these days comes primarily from two areas: her relationships, which draw the interest of tens of millions of people, and her studiously independent film work, which garners the ticket sales of, well, somewhat fewer.

Steve would tell you that Asian Cinema is not his only film interest, but if you randomly ask him at any time during the year what he's working on, chances are the answer will be «AFFD.»

There is, as such, little doubt that one's interest in V.I. Warshawski is almost entirely dependent on one's tolerance for Turner's work, as the film is otherwise devoid of elements designed to capture and sustain the viewer's ongoing attention.

For a Criterion title, this release has relatively few special features but the new digital transfer looks terrific and the 1973 short film included here is an interesting look at Holstrom's earliest work.

Like Howard Hawks, another Hollywood professional who celebrated professionalism in his films, Huston is more interested on how things work and how they fall apart, where arguably the greatest noirs were more interested in the why.

Would Cartel Land work without Tim Foley and José Mireles, these insanely interesting people at the film's center?

AVC: One of the interesting things about horror as a genre is that it's possible to work on a micro-budget and still make an effective film.

While I found it interesting to form my own rationale as to what the film is about, by the same token, I often am reluctant to actually recommend films that don't work on fundamental narrative terms without having to read personal philosophical theories into them.

Helgeland's version does also work very well, and it is a good film, but the theatrical cut also has its strengths as well, playing up more laughs and adding an interesting pathos to the mix.