Sentences with phrase «into classic cinema»

Jack and Morgan's perspective of an unreachable mountain YEAR: 2008 Having ventured back into the classic cinema of Jack Nicholson t...

Spencer Tracy was one of the actors who got me hooked into classic cinema.

Not exact matches

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The remake of a remake all started with the cinema classic Seven Samurai that is directed by iconic Japanese filmmaker Akira Kurosawa which was then translated into a western back in 1960 directed by -LSB-...]

Duchaussoy noted that the goal of Cannes Classics is «to defend the legacy of cinema, to try to have it fit into Cannes.»

It was made into a classic piece of early 1960s cinema (and a 1990s remake), and will soon arrive at Netflix in a modernized form.

Up until this point, John Cusack had spent almost his entire cinematic career in teen comedies, from Class to The Sure Thing via cult classic Better Off Dead to the misfired Hot Pursuit, Cusack's unique and very human screen persona stole every show he was in - but by 1988, he'd become determined to move on into more serious and adult cinema.

Director Brad Peyton and star Dwayne Johnson's latest collaboration Rampage smashes its way into UK cinemas today, and ahead of its release, Flickering Myth's Thomas Harris caught up with the filmmaker to discuss his adaptation of the classic arcade game, employing motion capture technology, and whether he's interested in a sequel.

In John Frankenheimer's classic 1962 movie thriller «The Manchurian Candidate,» we will be plunged into one of the greatest nightmare sequences in American cinema.

An African American director casting one of the greatest African American movie stars as a «classic» western hero, just as President Obama prepares to ride off into the sunset (while mainstream cinema struggles to catch up with the racial diversity of the US) is a recipe for bold imagery.

Before you pour the bucket of pig's blood on me, I want to first say I'm well aware Silence is adapted from Shūsaku Endō's novel of the same name, which was also turned into a film in 1971 that received worldwide acclaim upon release (another Scorsese remake of an Asian cinema classic!).

Horror is hot on television right now, with networks like A&E and NBC taking classic scary - cinema offerings like Psycho and Silence of the Lambs and converting them into successful series.

My well - known affinity for the classic «Hard Knock Life» makes Annie a natural vehicle to lead us into the world of the cinema.»

This little gem features American treasure and all - around genre cinema maestro John Carpenter discussing his 1988 sci - fi / action / horror cult classic They Live, going into detail about such things as the conceptual ideas behind the movie's premise, his casting of professional wrestler «Rowdy» Roddy Piper as the protagonist, and the rebellious inspiration for the film's infamous fight scene between Piper and the great Keith David.

This disjunction of sounds and images is of course a classic narrative devise of cinema (27) and functions as a kind of pedagogical entry into the visual regime of the film; it does interpolate the viewer and ask him or her to connect these tracks, not necessarily to make sense of them, but at least to organise a suspended logic of connectivity.

Now restructured into two acts with an intermission, Alexander: Revisited is an epic of filmmaking in the manner of such cinema classics as Lawrence of Arabia and Gone with the Wind.

Whether State of Play can seriously consider itself in the same league as Alan J. Pakula's multi-Oscar-winning classic of 70s cinema is not really important — the main question has to be whether the film manages to entrap its audience into guessing at the shadowy motivations of the various players, and maintain the intrigue through to its end.

The film, which is touring in a new digital restoration for its 50th anniversary, is a classic of European art cinema, a minimalist manifesto, and the easiest entry point into the challenging anti-Masterpiece Theatre of Straub and Huillet, a husband - wife duo who co-directed more than 30 films (all of which can be loosely categorized as «adaptations») before Huillet's death in 2006.

After forays into auteur cinema like the magnificent TOKYO SONATA (Un certain regard Jury Prize at Cannes 2008), J - horror pioneer Kiyoshi Kurosawa, whose classics CURE and SÉANCE were adored at Fantasia in their day, makes a triumphant return to the horror thriller genre with the Berlin Film Festival selected Hitchcockian horror thriller CREEPY, which will be screened in Canadian Premiere.

Mitchell effortlessly combines the slick, mounting dread of classic John Carpenter (the score is classic Carpenter synths updated for a chiptune generation) with the modern sensibility of character driven independent cinema to breathe new life into stalker horror.

Since his Times Square Show debut, his pictorial universe has been incredibly consistent and meticulously staged: a cinematic landscape often flattened into eerie planes and characterized by classic foreign sports cars, French pop singers, camouflaged Spitfires and troop ships, icons of European cinema and snowy Alpine peaks — a series of very particular, rhapsodic infatuations, through which he has conjured a fully - realized, unironic, modern - day narrative mythology.

That said, it does feel dated, overdone and a little bit creaky in places, and A View To A Kill really marks the end of the road for «classic» Connery - Lazenby - Moore Bond - cinema was moving on, and it was time to bring the iconic spy film franchise into the modern era.