Sentences with phrase «into modern cinema»
The announcement includes details of the enterprise relaunching Universal's iconic characters into modern cinema, as well as confirmations of superstar cast and that Academy Award ® winner Bill Condon will direct Bride of Frankenstein.
http://www.cinematicessential.com/ Not exact matches
A gripping two - and - a-half hour reinvention of the man - in - tights genre that delved into real moral and ethical ambiguities, it showed maturity without going for R - rated grit and gore, and, in Heath Ledger's Joker, had one of the most iconic performances in modern cinema at its centre.
It is a painful experience to endure; not only is it mind - numbingly boring, but watching a modern masterpiece of cinema dissolve into a mediocre work before your very eyes is like seeing an art gallery on fire and knowing there is nothing you can do.
The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.
That is refreshing at a time when unoriginality has long factored into discourse of modern cinema.
Man With a Movie Camera Year: 1929 Director: Dziga Vertov Some groundbreaking movies from cinema's earliest days now seem merely quaint, their innovations fully absorbed into the DNA of modern filmmaking.
Snow globes, dog - eared pop - up books, vintage advertising, silent cinema, Ealing comedies and the Spirit of ’45 all feed into the essence of the film, and King offers a dreamlike vision of London which mixes mid-century fervour with a modern embrace of cultural diversity.
Slow cinema lodestone Journey to the West comes across as Tsai's brilliant and clever attempt at auto - critique, as he places the contemplative fundamentals of his cinema (as symbolised by Lee Kang - sheng and Denis Lavant) into the frantic, chatty, unwieldy maelstrom of modern urban life.
If you go into Your Highness thinking of it as lesson in modern - day cinema, you'll leave with these three conclusions: 1) Danny McBride is still not much of a screenwriter 2) David Gordon Green still hasn't found is stride directing «action comedies» and 3) Justin Theroux is an incredibly underrated comedic actor.
I'd be one of the last people to write off modern cinema altogether and indeed one can find plenty of well - made entries into this class from Disney and others.
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.
«Astonishing... The Sensation of Sight introduces a rare and touching character practically nonexistent in modern movies — a character who resists with dignity our current slide into cultural decadence and who provokes our nerves and curiosity... The great actor David Strathairn and all the brilliant cast of this unique movie made the right decision to invest their talents in this project... Wiederspahn is surely a new hope in American independent cinema.»
Faults, although a little too controlled, is a worthy addition into the modern canon of «cult» movies and places Riley Stearn firmly into the «ones to watch» category of modern independent cinema
Though written as a book before nearly all of the books this feels influenced by, as a film, The Giver feels very much crafted to fall into a modern - day sensibility of cinema.
Occupying a space between sculpture, cinema and drawing, his work's historical importance has been internationally recognized in such exhibitions as Into the Light: the Projected Image in American Art 1964 - 77 at the Whitney Museum of American Art, New York (2001 - 2); The Expanded Screen: Actions and Installations of the Sixties and Seventies at the Museum Moderner Kunst, Vienna, Austria (2003 - 4); The Expanded Eye at the Kunsthaus Zurich, Switzerland (2006); Beyond Cinema: the Art of Projection at Hamburger Bahnhof, Berlin, Germany (2006 - 7); The Cinema Effect: Illusion, Reality and the Projected Image at the Hirshhorn Museum, Washington, DC (2008); The Geometry of Motion 1920s / 1970s at the Museum of Modern Art, New York (2008); and On Line at the Museum of Modern Art, New York (2010 - 11).
The profile of artists working in moving image has been elevated in recent years by those who've made the leap into cinema — Steve McQueen, Sam Taylor - Wood, Gillian Wearing — and those taking over leading gallery spaces — Tacita Dean at Tate Modern, Pipilotti Rist at The Hayward.
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.