Sentences with phrase «longer narrative film»

Not exact matches

The most expensive and technically ambitious film ever made, James Cameron's long - gestating epic pitting Earthly despoilers against a forest - dwelling alien race delivers unique spectacle, breathtaking sights, narrative excitement and an overarching anti-imperialist, back - to - nature theme that will play very well around the world, and yet is rather ironic coming from such a technology - driven picture.

There is a lot to learn from Alfred Hitchcock's work, his narrative was close to perfect and the skill to create suspense by depriving us of the payoff and restricting our view forcing us to imagine how bad the situation was, for the longest time just to deliver it at the peek of our attention, and that my friends, that is a gift for the film fanatic as for the filmmaker.

With his resistance to the very idea of conventional narrative coherence and resolution (beyond mocking their cliches), it's no wonder that the most perfect film Maddin has created so far is probably 2000's «The Heart of the World,» an epic of quasi-archival fetishism just six giddy, succinct minutes long.

At 134 minutes, the film may seem challengingly long, but the strength of its ensemble cast and unusually evolving narrative results in a satisfying watch that's reminiscent of tucking in with an engrossing book.

But more often than not, the studio's films are primarily concerned with keeping all the narrative plates spinning on the long march toward the Thanos showdown that will finally start in Avengers: Infinity War.

There's a certain kind of film I see at many festivals: oblique, short on narrative and incident (or filled with repetitive incident), shot in a style that favors long (distance and time) shots of people doing nothing, or doing mundane things like crossing the street in real time.

A deliberately paced literary film that takes too long to build narrative momentum and explore its central dramatic conflicts.

Writer - director Roland Joffé has built a career on narratives of white men in foreign territories, with films like The Killing Fields, The Mission, and City of Joy being notable (and tiresome) examples of a distinctly middlebrow breed of the historical drama that locates subaltern longing through an imperialist lens.

With Shirkers, Sandi Tan (also a first - time filmmaker) revisits the long - lost footage from her unfinished narrative feature shot in Tan's native Singapore in 1992, also called Shirkers, and in the process reckons with both why the film was never finished and how several relationships were forever changed in its wake.

It had taken a decade, but the simple narrative film was finally no longer the standard Hollywood product.

It won't be long before this movie's late - game success has journos pushing the narrative that it's a great film year for women, and thanks to Bigelow, it may very well be.

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.

Nothing is better suited for 35 mm film than the western because of the narrative significance of the land, often depicted in lingering long shots.

The resulting procedural aspect of the film gives it gripping narrative drive, but it's the pitiless portrait of middle - class life in modern Russia that lingers longest.

The site's unpredictable cycles of frenzied activity and long dormancy have to do with his also being an Associate Professor of English and Gender & Sexuality Studies at Northwestern, where his research and teaching mostly concern narrative film in different eras, genres, and countries.

From the giant screaming spider - scorpion hybrids the «Gladers» call «Grievers,» to the virus - infected zombies they call «Cranks,» to a return of a shady, long - thought - dead character from their past (who could've been an entirely new character and it wouldn't have mattered), to Thomas» middle - finger salute to Janson, the callbacks to the previous two films don't do much but add padding to the narrative.

Muller is particularly illuminating when discussing Otto Preminger's formal inventiveness — his long, subtle takes, his ability to create compositions that essentially edit the film within the camera — and the various noir «types» that inhabit the narrative, such as the «bad cop» or the sickly neighbor who, in Muller's words, is often «waiting around to be a plot point in a crime story.»

And at 142 minutes, Luhrmann doesn't do us any favors by prolonging the narrative almost 30 minutes longer than the longest of the earlier films.

Following a single father who works as a human billboard in Taipei, and his left - to - their - own - devices kids, with the presence of their mother represented by three different actresses, the film has the barest thread of story (Tsai has admitted that he no longer has any real interest in narrative), and seems determined to provoke less patient audience members into walking out, with a series of shots that last upwards of ten minutes without all that much movement in them.

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

The second narrative, told in words and set in 1977, chronicles Ben (played in the film by Oakes Fegley) as he travels to Manhattan in search of clues about his long - lost father.

The film's long for its subject matter at 130 minutes, and its narrative gets confusing, but it's a movie that will stick in your mind.

It's been seven long years since director Jonathan Demme's last narrative feature film, «Rachel Getting Married.»

Tatum and Hill are great together, and as happens in the first film, the narrative too quickly splits the guys apart with a strained dramatic arc that drops the funny and drags out the middle stretch of the picture far too long.

I would be cheating my own rules for this annual exercise if I were to crown Howards End as my film of the year - I have in fact seen it many, many times before and loved it for a long time (although never before was I able to enjoy the finesse of its narrative structure, and admire its sumptuous mise - en - scene and art direction - actually delivered on a shoestring budget - on a big screen).

The Darkest Days of Us always appears to be on the verge of turning into a genre film, though Rondero never relieves the narrative's tension with such conventional developments, allowing the characters to drift away and get lost in their longing.

Creed doesn't propel the Rocky franchise into a rebirth — the boxing - film genre reached its narrative limits long ago.

This is no small thing for Sorkin, who, in his long and productive career of writing for film and television, from the testosterone - heavy offices of «Sports Night» to the dizzying techno - prophet narratives of «The Social Network,» «Moneyball» and «Steve Jobs,» has never before given us a proper female lead.

What we did within the constraint of the workshop and the limited budget; -LCB- was -RCB- we would just shoot one part of this long feature narrative film.

Sadly, at just under two hours in length, The Forbidden Room is way too long for what it is and it quickly becomes apparent that the film is more interested in its stunt casting than a cohesive narrative.

Masashi Yamamoto: Originally, I was going to make a long feature narrative film.

Each film was more compulsively watchable than the last, with both director and star fine - tuning how much narrative nonsense audiences could stand, so long as Neeson throat - punched enough people and bellowed into his cellphone so many times.

In terms of narrative structure, the previous Spielberg film that Lincoln ends up most resembling is Close Encounters of the Third Kind (1977), which while a more consistently entertaining film still provided a dramatic change in pace and style at the end to deliver a long feel - good sequence as a sort of reward to the audience for hanging in for that long.

Although the film lacks an engaging narrative or structure and has none of the stunningly composed long takes and bravura performances found in 0.5 mm, Han Han's trademark scepticism and wry reserve still shine through in his first directorial effort.

British film director Steve McQueen's 2008 debut film, Hunger, is notable for many reasons: It is a great film, a great debut film, uses an innovative narrative structure, uses interesting cinematography in concert with its soundtrack, makes the best use of ambient sound to have the best non-musical soundtrack I've heard in a long time (if not ever), is the work of a black artist that is not obsessed with black only topics, and shows a maturity and grace that goes beyond even the first films of directors like David Gordon Green, in George Washington, and Terrence Malick, in Badlands.

Not just some longer version with deleted scenes cut back in, the Extended Editions were painstakingly reedited for home video by Peter Jackson with new special effects, a reworked score by Howard Shore to match the new rhythms of the narrative and some lovely scenes that were cut for time in the theatrical version of the film but add depth to the characters and the scope of the epic.

Engendering activism is one of the strengths that documentary has over narrative film; we see real people and real situations, secrets are exposed and unpleasant truths are brought into the light so that we can no longer ignore them.

Even with omissions in the narrative that inspire in the viewer a longing for more, Ain't Them Bodies Saints is a true film.

A deeply sentimental and meditative film about the weight of grief and the attachments we have to the homes we build, A Ghost Story overcomes its somewhat pretentious trappings (long, Malickian takes with whispered narrative, shooting in Academy Ratio with rounded corners) and silly premise of watching Casey Affleck spend nearly the entire film with a sheet over his head and spins a metaphysical tale that transcends space and time.

So far, so funny; but before long it becomes awkwardly apparent that this is a film rooted in the single gag LOL zombies a novelty that, while sharply done, needs more narrative brawn to sustain it.

These narrative films ``... would help to break ground in Hollywood in terms of funding women storytellers and women who were directing the films...» The 2018 Sundance Film Festival will premiere three Gamechanger films: The Tale, a story about sexual abuse written and directed by Jennifer Fox; Nancy, a dramatic story blurring the lines of fact and fiction written and directed by Christina Choe; and The Long Dumb Road, a road trip movie filled with detours and bumps along the way, written and directed by Hannah Fidell.

Gerwig constructs the film like memory in a way that's easy to place ourselves into its hero's shoes (really, any character's shoes, for the film thinks all of its folk are heroes), we remember pieces and snippets of a longer narrative, only to later gild them with meaning thanks to time and distance.

But then, by the time you're this far into the movie, you've either resolved to go with every nonsensical flow of the film or have long since ditched the possibility that they would right this ship before it crashed and sank from its reckless attempts at a plausible narrative arc.

See the documentaries • It's no longer Sundance's «best - kept secret» that the documentary offerings are, on average, better than the festival's narrative films.

It takes a certain kind of mindset to spend one's days writing code — Bujalski, whose earlier films mostly orbited around bohemian - hipster types, seems at ease amidst the pasty introverts participating in the weekend - long hotel - set chess tournament that gives the film its narrative spine.

My colleagues at the website Hammer to Nail (where I am lead film critic) have watched the narratives Lemon (a meditation on race and gender starring Michael Cera and Nia Long), Person to Person (a dreamy murder mystery, also with Michael Cera) and the aforementioned Sylvio (based on a popular series of short videos from the «Simply Sylvio» Vine account), and praised them, so I am eager to check them out, myself.

The main menu gives a great representation of the turtles sewer - home, Mikey will constantly express his love of pizza (including a long description of pizza toppings), group taunts and attacks mirror those from the live - action films of old, and the comic style cut scenes used to tell the game's narrative express the TMNT's comic origins brilliantly.

Lloyd's videos continue the lineage of experimental film by displaying non-representational imagery and breaking with sequential narrative through the use of long shots, flicker effects, and repetitive variations of visual motifs.

The film defies the convention of a linear narrative; the long haired protagonist rehearses an extract from Gilbert Sorrentino's poem The Morning Roundup, whilst also attempting to recall particular memories and sensations.

This work is a study for a longer, more narrative film project that has been commissioned by the London - based organization, Animate Projects and producer Jacqui Davies.