Sentences with phrase «like dreams the film»

Not exact matches

For years he'd been dreaming up publicity stunts — such as offering Amanda Knox a large sum to appear in an adult film — and then enticing the likes of Gawker or TMZ to treat that stunt offer like news.

That's like watching a Fellini film on mute when Nino Rota's score is what illuminates it, intensifies it, and makes you feel like you're living in an Italian dream.

So they've dreamed up an event — giant screens showing Hitchcock films like «Psycho» — to help draw a crowd that doesn't care much about offense, defense or special teams.

Counselors in rehab often warned me of watching films like Pulp Fiction or Requiem for a Dream, which have a reputation for glorifying drug use and could have led me to a relapse.

«Humans have long been fascinated with the idea of replicating nature through machines, from Leonardo da Vinci's famous mechanical knight to speculative fiction of future androids like Philip K. Dick's «Do Androids Dream of Electric Sheep» that inspired the Blade Runner film,» Gu says.

Genetically engineered mice might sound like the stuff of horror films, but consider them a scientist's dream.

On paper you may look like a perfect match, enjoy the same hobbies, love classic films, and dream of traveling across the country in an RV, kids in tow.

After being showcased in big film festivals like Sundance, Imperial Dreams very quickly fell off the radar after it wasn't picked up by a distributor.

She explains to one of her patients, a detective haunted by a murder he was unable to prevent, that the first dreams we have when we fall asleep are like arty short films and longer dreams are like blockbusters.

The Beijing - raised, London - and Mount Holyoke — educated filmmaker shares with the American Honey helmer an interest in young people at the margins, a knack for eliciting fantastic performances from amateur or under - the - radar actors, and what film critic April Wolfe described to me as a «dream - like realism.»

While the film never reaches the kind of emotional peaks of James» best work like «Hoop Dreams» or «The Interrupters,» Abacus: Small Enough To Jail is no less compelling.

An amazingly weird assemblage of notions from Greek mythology and concepts from pessimistic geniuses like Stanley Kubrick, Roman Polanski and Michael Haneke, the film creates something akin to a dreadful dream.

It feels like a dream that a movie could have this kind of poetic grace and epic sweep, or could be so faithful to its source and still work so perfectly as a film.

Finally, the film looks like its literally come out an immature five year old who was day dreaming about the latest film he saw, ots so unbelievably bad that when i was young i came up with better dialogue and story.

Though the film is called Coco, the main character is actually Miguel (Gonzalez, The Bridge), a twelve - year - old Mexican boy who has big dreams of one day becoming a famous musician, much like the romantic legendary guitar playing movie star, Ernesto de la Cruz (voiced by Bratt, Doctor Strange).

Like all of the aforementioned films - and let's certainly not forget Burden of Dreams - while you don't need to be as acquainted with these films as their obsessors, context certainly will aid in your enjoyment.

Assayas uses music, mostly classical, the clouds of the film's title, and his weighty lines spoken by his talented actresses (particularly Binoche) to create a dream - like film arcing from one revelatory scene to another.

A film that will leave you dreaming about what it would be like to step off the edge of the world and discover you could fly.

Beautiful stream of dream like film making brings forward a fascinating look at one woman's life and remembers the dog who was at her side.

It's never dull to watch pros like Pacino, Bening, Plummer, Garner and Cannavale interact - this is dream casting - and the film makes the most of that, along with a pleasingly comprehensive Lennon soundtrack.

Sound was added during production, but the film's trance - like images could stand on their own as a visual poem in which the action seems to take place on the cusp of dreams and reality.

The first two «Expendables» films were nothing more than elaborate teases, but «Escape Plan» feels like the actual dream team - up that action fans were hoping for when Schwarzenegger announced his retirement from politics.

1 The whole film seems to be hovering — just like the young man on the bridge — between a world we tend to call «reality» and one we refer to as «dreams».

I personally didn't really like Requiem for a Dream and this film is pretty similar to that.

In the same way a child playing with dolls is apt to exaggerate movements and voices to animate soulless toys, so do the performances and tableau of the film feel embellished and dream - like.

The film feels like a really messed up dream or a hallucination.

The film is like some fever dream that's intent on driving the viewer mad... and while the plot is dense, its probably not as difficult to follow as has been suggested.

The film plays like a story that might come out through dream analysis during therapy sessions, as it perfectly tells in metaphor what Shyamalan thinks of himself in terms of the cinematic universe.

While there are standout examples — like Darren Aronofsky's disorienting, eye - opening Requiem for a Dream, or the achingly beautiful narratives of animated animal - people addicts in BoJack Horseman — sagas like this one usually work better on the page than on the screen; the brief gloss of film can make drug use seem rather too appealing, while the idea of spending eight TV seasons with an addict seems rather unappealing.

Though the times are troubled — the Korean War rages in the background, and attitudes toward both sexuality and mental illness, as depicted in the film, were less than enlightened — everything looks like a dream.

A fan of Requiem for a Dream, Gaghan cribbed that film's composer as well as its cinematographer, Matthew Libatique; joining Gaghan for a screen - specific commentary track, Libatique is not afraid of alienating the viewer in name - checking development techniques — as a «Dawson,» I found myself transcribing terms like «cross process» for future reference.

Like so many of Yorgos Lanthimos's films, the first half is so bone - splittingly perfect, that the second's sharp veer into mere greatness — venturing into places most good films could only dream of — feels like an ever - so - slight letdLike so many of Yorgos Lanthimos's films, the first half is so bone - splittingly perfect, that the second's sharp veer into mere greatness — venturing into places most good films could only dream of — feels like an ever - so - slight letdlike an ever - so - slight letdown.

Most of the horror on display in Shults» film comes in the form of dreams that, while haunting and evocative, are more like asides than part of the narrative.

But then Samantha starts hallucinating (in cheeseball nightmares that play like Harlin forgot he was no longer filming «A Nightmare on Elm Street 4: The Dream Master») and screaming at her injured daughter about how she should grow accustomed to «life as pain.»

One of the film's earliest shots even feels like it's ripped straight out of Akira Kurosawa's Dreams, a film in which Scorsese himself performed, evoking authenticity from cinematic history and actual history in even measure.

He's given me films like: Pi, Requiem for a Dream, The Fountain and The Wrestler.

There are walking tours of the city devoted to the film, showcasing sites like Thrift Town, or the big blue house that serves as Lady Bird's dream home, and the city's tourism board have called the film «a little gem that drops out of the sky.»

With Krieps on board, it also somehow feels like the Hitchcock movie Audrey Hepburn didn't get to make but clearly channeled through the unique mind of Anderson, a film - savvy writer - director responsible for such fever dreams as Boogie Nights, Magnolia, Inherent Vice, and of course There Will Be Blood, his previous adventure with Day - Lewis that also felt like a movie stitched together out of something not easily explained on first viewing.

They have enjoyed plenty of creative control on their films to date, but This Is The End finds them being given free rein in a way that must have seemed like a pipe dream just ten years ago.

Lost in Translation Finishing Lost in Translation is like awakening from dream, and then we realize just how in tune with the feeling of jetlag of its central characters the film is.

The film is a gauzy, dream - like account of one man's journey through memory and his own attitudes, as circumstances cause him to alter his perspective on the opposite sex.

The film is set during the Seventies in Savannah, Georgia, where a quartet of young teen Catholic school boys spend much of their idle time pulling pranks and dreaming up comic book characters they'd like to draw.

Juxtaposing the exploits of Martha (Elizabeth Olsen, younger sister of the Full House tots turned international entrepreneurs) in her initiation and entrenchment in, and then escape from, an cult - like commune led by the calculating Patrick (John Hawkes, Winter's Bone), the film delves into her attempts to reconcile — and discern the difference between — her memories and dreams.

I like Requiem for a Dream, but not as much as the folks who've kickstarted this 102 - day celebration of the Darren Aronofsky film.

However, as the film progresses and become more surreal and dream - like, you start to question what is real, especially with Jay being repeatedly told to «wake up» during the film.

Like all Besson films, «The Messenger» does not skimp on the aesthetics, especially during the first half - hour, which includes an almost hallucinogenic dream sequence best served on the big screen.

Based solely on the side by side comparisons that are shot for shot the same as the animated film, this live action version looks like an absolute dream.

While it is not unlike «Sin City,» «Streets of Fire,» or even «Dick Tracy,» the film's overall style mixes in elements of paper mache, cardboard cutouts, comic books, communist propaganda posters, and puppet shows into a plot that feels like Walter Hill «s wet dream.

That movie represents a much more explicit look at the concept of molding a woman in your image of what you want her to be, positioning itself as a rebellion against the manic pixie dream girl tendencies of films like (500) Days of Summer or Garden State, often the result of lazy writing that had a tendency to treat women simply as a formula to complete the man's desires.

Add two dream sequences woven into the narrative with sinister subtlety, and it becomes apparent that the entire film plays like a projection of a male wet dream - cum - nightmare of a libido that knows no borders, leaving Sung - nam apologizing absurdly to his wife for things he said in his sleep.