Sentences with phrase «lesser films of the genre»

Not exact matches

This film feels like the musical genre's missing link, bridging the gap between the classic MGM musicals of the Freed Unit, and the more modern, less sanitised genre it eventually became.

Given the current wave of horror films (The Sixth Sense, The Blair Witch Project, and the teen slasher genre) one understands that perhaps the studio may have wanted more horror and less ponderous sci - fi, which may have spurned Hill's departure.

Although this film falls into the ever - bulging genre of inspirational stories of courage and hope against all odds, director David Gordon Green has given Bauman's story a grittier, less predictable edge with Gyllenhaal never going for cheap sentiment or movie cliches.

Though not as stupid as some horror films, it is less exciting and fun than most modern films of any genre.

The twist in Lakeview Terrace is that the bigot front and centre is a black man (named after Biblical Abel, no less) and that it's all been genre - mixed in the cop - gone - rogue, Internal Affairs / Unlawful Entry tradition, speaking ultimately to the distinct»70s feeling of paranoia towards authority that's resurfaced in films of the last eight Bush years while trying, with some success, to refocus racism into generalized rage, confusion, frustration, and intolerance.

The less you know about «Trash Fire,» the better, but know that it's one of those genre films that people will be talking about all year.

: I realize I'm going to take some heat for putting this widely loathed film on my best list, especially since I was less than enthused by the overrated critic faves «Three Billboards Outside Ebbing, Missouri» and «Call Me by Your Name,» but Darren Aronofsky's fantasia about a self - infatuated poet (Javier Bardem) and his suffering muse of a wife (Jennifer Lawrence) is, like «Get Out,» both horrific and satiric in ways that move beyond the easy confines of genre.

Some might call it a parade of genre clichés, but the film is less about the destination than the journey.

The less that is said about Roland Emmerich's disaster of a disaster film the better, but the entire genre of giant monster movies in the tradition of Godzilla from areas beyond Japan is hit or miss at best.

But it is certain that the film is less tied to the conventions of some film genre, as, for example, Miller's Crossing is, belonging as it does completely to the tradition of the gangster film.

Below is expanded coverage of 12 films across several genres that we have the highest hopes for, plus 14 more in 25 words or less.

Admittedly, I have a soft spot for the horror genre, but based on the film's unforgettably tense and borderline - gothic trailer, it seems like it will be an atypical genre flick: relying less on sudden shocks and more on an atmosphere of dread and uncertainty to affect its viewers.

But it also has a degree of grace and imaginative elegance — which is why it feels less like an alien - visitation genre movie than a chin - stroking art film in VFX disguise.

It's coming from the same team that brought us Until Dawn, only it'll be less of a cinematic, story - driven tale inspired by the slasher film genre and more of an on - rails shooter built for virtual reality — specifically PlayStation VR.

I confess that I hadn't seen Krull in years, but I'm happy to report that I still prefer Krull — which seems a lot weirder and less booby - obsessed than Sword and The Sorcerer — to most of the films in the 1980s» sword - and - sandal genre.

You obviously expect less from a film by Mikael Salomon, the Swedish cinematographer of such Hollywood films as James Cameron's The Abyss, Steven Spielberg's Always, and Ron Howard's Backdraft, whose subsequent directing career has consisted almost entirely of lesser genre television (like A&E's 2008 «The Andromeda Strain» miniseries and Lifetime's Drew Peterson: Untouchable).

At almost three hours long, this film plays like one of Terrence Malick's lesser efforts (e.g., The New World) and is the kind of self - indulgent and artsy western that helped kill off the genre 30 years ago.

When the film is, relatively speaking, a mid-budget genre entry, there's less pressure and you can call more of the shots behind the camera as executive producer.

Just like Sony's handling of Heaven is For Real, this project is less Christian than most films of the genre, and chooses to be «spiritual» instead, glossing over much of the Christian message.

His writing is less successful than his direction: the derivative nature of the plot clangs up against some poorly executed references to other horror films (one reference to The Thing is flat - out terrible), resulting in another example of a genre film - maker trying to appeal through referencing better work than doing good work themselves.

Now, that might mean a movie that's marginally less dopey than most mainstream films that deal with the occult, but in the days of this and Rosemary's Baby, etc., the emphasis was much more on smart than on genre.

He did say, however, that «the light, amusing bits can not overcome the grinding, hectic emptiness, the bloated cynicism that is less a shortcoming of this particular film than a feature of the genre.»

Sheer, luxuriant noir all the way — apart from a brief Women on the Verge - style film - within - a-film — Broken Embraces is a ravishing film from the Spanish maestro, a glowing tribute to the genre, and one to delight his fans and film buffs everywhere, althouth the wider audiences of Volver are less secure.

It's perhaps less surprising when you look at the genre of films typically rewarded by the Academy.

As a «genre film», The Shape of Water was a less typical Oscar winner compared to the likes of Three Billboards Outside Ebbings, Missouri, Dunkirk, or even The Post.

What began as (apparently) a serious political film instead settles for the less demanding obligations of genre, as the plot becomes more far - fetched, edging toward fable.

But while Del Toro's zealous direction means it's never less than entertaining, the film doesn't quite reach the sheer heights of its genre colleagues.

We've all learned that, Brad and I have worked on a lot of these genre films, the less you show the scarier.

From his roots as a child in Florida, witnessing his brother drown before his eyes and suffering blindness as a result of Glaucoma, to his triumphant, genre - breaking career, the film juxtaposes Charles» personal struggles with his professional achievements, and screenwriter James L. White doesn't gloss over the less attractive aspects.

First defined by the German experimental filmmaker Hans Richter, the essay film has tended to emerge during periods of historic crises, and can be understood less as a genre and more as a mode of approaching the elusiveness of meaning.