Sentences with phrase «into film form»

Not exact matches

Not the familiar questions of generations of theological classrooms, but concrete questions posed by the lives we know, and honed into graphic forms by the best of our novelists, film - makers, and social commentators.

I would bet that the gay neighbor in the 1999 film American Beauty, who, it is implied, loves guns, collects Nazi trinkets, and turns to murder all because he represses his own urges, formed more people's views about how to regard homosexuals than did the entire decade's research into psychosexuality by the whole scientific community.

In the case of flexible packaging, converting would be the process of utilizing films, foils and resins and through the process of lamination, forming them into a multilayer structure.

Form dough into a disk shape, wrap it in cling film and refrigerate for 1 hr.

Once the dough is all clumped together form a big dough ball and wrap it into cling film.

You can do pilot - scale evaluations of films, or adhesive lamination of different films, then convert them into thermoformed, vertical / horizontal form - fill - seal, or stand - up pouches.

Transfer the ball out onto cling film and using your hand press it flat and form it into a desired shape.

Dump onto the worktop and quickly knead together into a ball, then form into a disc and wrap into foil or cling film.

Line the spring form pan with cling film and press the dough into the bottom of the pan.

Building such efforts into our tourism economy, I have assisted in the introduction and expansion of creative, low - impact forms of development, such as support for film production and agricultural tourism and the construction of the Maurice D. Hinchey Catskill Interpretive Center.

Plateau hypothesized that when you dip a rigid wire frame into a soap solution, the surface of the soap film formed on the frame represents a minimum mathematically possible area, no matter the shape of the frame.

As a result, water molecules tend to stick to one another; that adhesion is why water forms rounded droplets on a smooth surface and does not spread out into a completely flat film.

The feline films and the simulation revealed that fluid inertia is the prime mover in forming the column of liquid that rises with the tongue into the mouth.

Using a 1,600 - pound Cold War - era camera (originally used to film nuclear tests) retrofitted with digital sensors and special software, Samaras strove to capture the dazzling moment a lightning strike is born, hoping these high - resolution photographs would provide insights into how lightning forms and why lightning bolts often follow an erratic path.

It does not refer to the size of the production or the budget, but to the poster for the film, in which the letters BEN - HUR are formed into a mountain - sized block of stone: see bit.ly / ben - hur.

Previously, the γ» phase of iron nitride has only been synthesized in either thin - film form in high - vacuum environments or as inclusions in other materials, and never integrated into an actual device.

The pools swelled when rain fell, but when they evaporated, the organic molecules in them became more concentrated, forming films like cell membranes, or joining into longer chains like strands of RNA.

Organic matter leaches into those puddles, forming a film on top of the water.

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.

They found that the reaction occurs without an energetic push, but the position of the water molecules as they come in to form first «puddles» of water that connect into a film as they grow bigger.

To be fair Affleck's face is too genial to be believable as the «broken» Batman at the beginning of the film - the guy going too far and branding criminals - but when Bruce finds himself an obsession in the form of Superman, Affleck morphs into what may be the best screen Batman of our time.

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.

The basics have been well - publicized: The film, shot in black and white, is about a German Nazi who took over a factory in Poland during World War II and talked his powerful acquaintances into allowing him to use cheap labor, in the form of Jewish workers.

If you've seen a lot of horror movies form before 1970 you can see how Lewis ushers horror into a new gorier era with this film.

What we have in the misbegotten mess called Kings is a film of countless good intentions — one that starts going bad in its first scene, gets worse form there and then dissolves into pure chaos.

But the film also has too many memorable vignettes to count: Haven Hamilton's prickly recording session, where he mercilessly browbeats a hippie pianist; Barbara Jean's squirmily uncomfortable, rambling psychological meltdown while performing live for an impatient, unforgiving audience; Sueleen's conflicted ambitions when her «big break» devolves into a cheap striptease act; gentle Mr. Green's quiet suffering at the hands of his flakey niece; John Triplette's negotiations with various talent, buttering each of them up with compliments while at the same time insulting the musical form (and its admirers) in which they practice.

But then again, there probably isn't any ending to the film that really wouldn't be farfetched in some form or fashion, the cinematic equivalent of being painted into a corner, so it would have been a miracle not to disappoint.

Meanwhile, a recovering Harry Hart (Colin Firth, «The King's Speech»), who survived the events of the previous film, has to rehabilitate himself back into form.

When you see the poster for this film, with a moustachioed Ryan Gosling sitting on his sofa, grinning from ear to ear and accompanied by a sex doll, you be forgiven for entering into this and expecting some form of farcical sex - comedy.

While this kind of practice was unsustainable in the context of the entire production, the costume Durran referenced did make it into the final film, in the form of a red dress worn by Belle.

The real story of the film has said slacker finally growing into a quasi-functional person and maturing by facing up to the past of the girl he so loves, which itself is given a LITERAL twist in the form of the League of Evil Exes.

As the overindulgence of the pinnacle of the holiday season fades into memory, a new form of gluttony commences, one predicated upon seeing as many films as possible.

Kiarostami's film presents a concept, fully formed and cogent, and allows the rest of the film to set to work on that concept, breaking it into Heisenbergian particles, then bringing it back into solid shape, and on and on.

Yes, I've seen some happy films this year, some of which were incredible, but films like Toy Story 2 was ground into a form that could be accessible to all ages (for the record, I actually do think that Toy Story 2 is the superior film), and The Straight Story was too serene to ever be thought of as having much zeal.

So good is Cable that you wish the film would've allowed more room for growth with his inclusion into the story and while he plays a key role in proceedings, you still can't escape the feeling that the film would've grown as a whole had Brolin been allowed more spotlight, ditto for Dennisen and Reynolds budding mateship, that despite forming the core of the narrative thrust is never properly built up, making Wilson's mission as a whole less engaging than it could've been.

In other words, Boll's latest evokes the form but not the content of such film series as Lord of the Rings, Pirates of the Caribbean and Star Wars, which means that few if any fantasy fans will be deceived into believing that Dungeon Siege is a legitimate endeavor rather than the same everything - must - go yard sale of clichés and familiar formulas the director mined for his previous work.

Quentin Tarantino's eighth film might also be his most Tarantino film, the one that takes all his quirks as a filmmaker and compresses them into their purest form.

Like the traditional fairy tales from which the film takes its title, Once Upon a Time in Venice has a storyteller, in the form of John (Thomas Middleditch), a nerdy intern / protégé for ex-LAPD cop Steve Ford (Willis), a not - very - successful private - eye sliding further into the underworld morass he mostly frequents.

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.

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.

Stardust is a comfortable film for Gaiman enthusiasts: this is what the guy's good at, relieved of the exposition the novel form demands; here're the author's stripped - down fairy tale archetypes decanted into pulp form, tapped out without embarrassment and full to bursting with joy.

Refn's latest film, Only God Forgives, reunites him with Drive's star, Ryan Gosling, but it moves even further away from traditional narrative and into a near abstract, near hallucinogenic, near nihilistic subversion of traditional narrative and with it, the usual visceral, emotional, and intellectual pleasures associated with that form.

His dance films (Ballet, 1995; La danse, 2009; and Crazy Horse, 2011) are astounding, and, along with 2010's Boxing Gym, form with National Gallery as expansive a look at the business, craft and sheer effort that goes into the presentation of art to an audience.

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.

One of the main problems here is that the film lacks any striking focal point — there's evil evident, right enough, but when the only form it takes is a levitating oinker, a self - jamming door and an imaginary kiddie called «Jody», it's pretty difficult to enter into the spirit of things.

The film focuses on a team of court - martialed maniacs coerced into forming a squad bent on suicide to destroy the Nazi machine of war.

The legacy pro wrestler has officially stepped into the trash - talking shoes of Duke Nukem for the upcoming live - action film, according to producers Andrew Form and Brad Fuller.

Of course, this easily could have been expanded into the two - disc set that the film deserves, had there been an audio commentary, a presentation of each «Pooh» featurette in its original form, a more extensive art gallery, a featurette on the theme park attractions, a longer making - of documentary, and an additional audio option.

It is typical of Desplechin's eclecticism and openness to stylistic and narrative bricolage that this should take the form of a subtle appropriation of Japanese Noh theatre, from which he borrows the distinctive ornamental flute that permeates the score, as well as its precise formality (like most of Desplechin's films, La Sentinelle is broken into chapters, of which the first, «The Ghost», echoes the Noh repertoire's predilection for the supernatural).

Ego's relationship with Star - Lord forms one of the emotional cruxes of the film while his goal, assimilating the rest of the universe into himself, makes up most of the actual narrative.