Sentences with phrase «into fiction film»

Believe Me marks director Will Bakke's first foray into fiction film after two documentaries, One Nation Under God and Beware of the Christians.

Not exact matches

As the actor who redefined what it means to be The Man in Hollywood with films like «Pulp Fiction,» he simply put too much into the role, making the Octopus one of his least memorable characters to date.

But they are far more apt to be interjected into the more adult sitcoms and late - night comedy, and to be reflected in films, editorials, art, fiction, and memoirs considered enlightened and liberating.»

Oscar - winning films like the abuse - survival tale Precious, the 2016 Best Picture winner Room, about a kidnapping victim, may not be straight - ahead biopics, but both stories were pulled from the headlines and spun into fiction.

James Dashner, the author of «The Maze Runner,» a top - selling dystopian science fiction series that was turned into a film trilogy, has been dropped by his publisher, Random House, due to his inclusion on a list of authors who allegedly engaged in harassment.

This year's books had something for everyone with mysteries, historical fiction and non-fiction, books in a series and books that have been made into films.

It is quite easy to take a trip to the river and discover that the part of the film when commandos Jack Hawkins and William Holden parachute into the jungle and plant dynamite under the bridge, which British officer Alec Guinness and his surprisingly healthy - looking troops have built, is pure fiction.

The European Space Agency's first foray into science fiction, in the form of a short film entitled Ambition that promotes the Rosetta mission, may herald a new way in which science outreach can be conducted.

Michael Apted, who turned the simple BBC documentary Seven Up into the most remarkable documentary series ever created, takes another stab at fiction with the British mathematician equivalent of a spy film, Enigma.

But John's command does push the film further into the old science - fiction, doomsday territory of films like Five; The World, the Flesh and the Devil; and Night of the Living Dead, where the only way in the world the races could commingle was at its end.

Glazer puts all this into scenes that play out like a classier version of a science - fiction / horror film — one of those cheesy ones about a monster in human form.

Šulík seems to almost switched into documentarist mode as he employs similar approaches in staging encounters with witnesses or survivors and in even special case, he even embeds a documentary footage to break through the veil of fiction film.

After Danny Boyle filmed an adaptation of the book (released in 2000), Garland transitioned into screenwriting, with a proclivity for dystopian science fiction.

Beginning his career as an author and responsible for the source material of Danny Boyle's The Beach in 2000, Alex Garland then directly ventured into the film industry by doing screenplay's - again with Boyle on 28 Days Later and Sunshine - before he eventually took the reigns himself by making his directorial debut with the magnificent science fiction film Ex Machina in 2014.

Commercially, of course, it's prudent to venture into avant garde science fiction territory on a smallish budget, the way Jonathan Glazer did with his truly disorienting and memorable 2013 alien visitation film «Under the Skin.»

Various Clarke, Kubrick, and science fiction authorities are interviewed throughout the video, providing interesting commentary on their favorite scenes in the movie, as well as insights into the specific personalities of the creators of the film and the book.

Possibly the greatest science fiction film of all time, The Empire Strikes Back put the spirit of adventure and drama back into action movies.

Yes, the film inserts fiction into actual events, but I didn't have much of a problem with it, and thought it worked quite nicely.

Although it is a thriller, a science fiction film, and a horror story all rolled up into one, potential viewers would be well advised to temper expectations for an exciting plotline or riveting action montages.

But the film takes a nosedive into overbaked melodramatics when it dusts off the history books and veers in all directions to tell its crooked tale (blurring fact and fiction) of the iron - clad will of the strong monarch (voicing that the good fight was for God and country) and how she defeated the Spanish Armada and brought a long and fruitful time of peace and prosperity to her country.

If a science - fiction historical epic starring Michael Fassbender and directed by Justin Kurzel isn't something worth watching, then everyone had better just give up trying to adapt games into films in the first place.

Journals Elliott Stein reports from the 5th Miami film festival on the excitement surrounding Nestor Almendros» Nobody Listened, and Pat Aufderheide discusses the emerging aesthetic gene - splicing between fiction and documentary praxis, thrown into sharp relief the San Francisco film festival.

Very exciting, it's been 8 years since Primer (a science - fiction favourite in these parts), and while the writer / director's screenplay for «A Topiary» never got made into a film, he whipped out this surprise to many earlier this week by way of the festival announcement and a very shiny bit of key art which confirms that Carruth will star in the film along with Amy Seimetz (A Horrible Way To Die).

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

A supernatural depiction of love and loss that delves deep into the science fiction realm of a grander understanding, A Ghost Story was unlike any film seen this year or any other.

They can buy all these old Hollywood actors dating hot young actresses in all the movies that come out but they cant buy into a speculative fiction film.

The studio system is in a spot of bother: twice in the past year, Paramount has put tens of millions into a science - fiction film, only to lose their distribution nerve and shunt it off to Netflix for international markets.

Quentin Tarantino's films (Jackie Brown, Pulp Fiction) have mostly borrowed ideas from other filmmakers that he admires and mixed them together into a new, hybrid form, taking the best of what those B - films had to offer and punching it all up with ingenious, sparkling dialogue.

The new science fiction action film from Bong Joon - ho («The Host,» «Mother») defies the odds by turning yet another dystopian future into something thrilling and distinctive.

This engaging film blends a true story with fiction, morphing from a rom - com into a moving drama as it goes along.

(The elderly Ventura's claim to be «19 years, 3 months old» when asked his age early in the film connects directly to a later scene in an abandoned factory; mentions of a revolution that at first seem like science fiction are eventually revealed to be memories of the mid-1970s intruding into the present.

The film seems like it fits into both Cruise and Blunt's fairly recent predilection for science fiction.

What science fiction films do best is warp our deepest concerns and immediate dangers, so that we can watch them bloom into larger than life stories on the big screen.

There are more big ideas packed into this 16 minute film than there are in most major studios» entire catalog of science fiction.

Where so many docs are content to fit into simple categories, often attempting to mimic the narrative formulas of fiction films, Stories We Tell embraces the form and then reaches beyond its usual confines.

Back on the first screen, «100 Years in the Making» (10:43) considers Edgar Rice Burroughs» entry into fiction writing (with an actor reading his autobiographical writings) as well as this film's journey to be made.

After his first film, the seminal science fiction comedy Dark Star (1974) and his second, the legendary action thriller Assault On Precinct 13 (1976), Carpenter cemented his place in pop culture with the terrifying Halloween (1978), the film widely credited with bringing the slasher sub-genre into the mainstream.

In 2009, director Duncan Jones gave gaggles of geeks flaming nerdboners with his debut feature «Moon,» a film that dragged science fiction kicking and screaming back into the -LSB-...]

The best scenes in White God show Hagen's early solidarity with the street dogs into whose company he's been forced; surely no recent fiction film has conveyed with such respect the way animals interact on their own terms.

Ending a frustrating nine - year absence from the screen, during which Martel began and ultimately abandoned a science - fiction project, «Zama» is, fittingly enough, a film about waiting: It brings you deep into the world of Don Diego de Zama, a servant of the Spanish crown longing for a transfer from his soul - sapping Paraguayan outpost.

Clive Barker has since written many novels and other works, and his fiction has been adapted into films, notably the Hellraiser and Candyman series.The new movie will be directed by Robert hollocks and written by Barker, Sarah - Jane Dalby, Christian Francis, Robert Hollocks, Wolf Laine, and Mark Alan Miller.

It presents a future in 2022 that seems unlikely not because we're not currently on the verge of some great ecological disaster, but because rough math suggests that the Heston character would've been born the year before the film's 1973 release and thus his declaration that he'd never seen a grapefruit (or grass, or cows) should worm its way into the audience consciousness as Soylent Green's statement that it's not serious, thoughtful science - fiction, but rather soapbox and screed timed to coincide with, in 1972, the first international conference on climate change.

Another excellent entry into the recent glut of subtle and intelligent science fiction films, Sound of My Voice is a powerful and effective study of a couple under pressure and their willingness to risk everything to achieve their aims.

There are quite a few low budget science fiction films poured into the foundation that supports Coherence.

On a first viewing I felt it wasn't as rousing as what I expected from Tarantino but then Reservoir Dogs and Pulp Fiction instantly catapulted themselves into my favourite films list.

As the possibility of being reunited with a daughter once taken away from her and of marrying a former client arose almost simultaneously, the film morphs into fiction, to disturbing and exhilarating results.

Yet in the last few years an increasing number of films have questioned the dichotomy between documentary and fiction and integrated such questions into the films themselves.

David Bordwell contends that Tarantino deliberately signals his sources to his audience, «in order to tease pop connoisseurs into a new level of engagement,» while Aaron C. Anderson writes that by using framing markers and calculatingly phony distancing devices (like, for example, the black - and - white process shots in Pulp Fiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simuFiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simufiction, and as a «simulation.

Operating on several levels at once — as fiction, as documentary, as investigation into the documentary form, as historical excavation and as exploration of the process of a talented and committed actor --» Kate Plays Christine» which won Greene the Documentary Writing award, even finds time to be beautiful, with Sean Price Williams «cinematography giving the film an aesthetic that is as unique as its premise.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.