Sentences with phrase «made costume dramas»

There is very little that compels us about this vision that is chiefly attributed to screenwriter Jason Fuchs (a contributor to Ice Age: Continental Drift) and director Joe Wright, a Brit who comes to this project having primarily made costume dramas like Atonement, 2012's Anna Karenina, and 2005's Pride & Prejudice.

The danger in making a costume drama is that all of it will be as lifeless as wax figures.

The best men to make costume dramas seem to be Ishmael Merchant and James Ivory, the fellows that brought us Room with a View, Howard's End, and Remains of the Day.

Not exact matches

I thought, «why not ask her to make the costumes for our children's Easter drama?»

Peploe tries to make this forgivable with stylish flourishes not often seen in today's costume dramas.

It doesn't take an important life and reduce it to domestic crisis and costume drama («A Man for All Seasons») or pop simplification («The Agony and the Ecstasy»), but deals with it on the planes that made it important.

Making its American debut Sunday via the PBS series «Masterpiece Mystery,» 201 years after Elizabeth Bennet finally said yes to Mr. Darcy, it's a highly satisfying riff on the original work, as well as a credit to the modern British costume drama.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

The Age of Innocence (1993) is not the only costume drama or historical picture that Martin Scorsese made but it is his only classical literary adaptation from the filmmaker that, all these years later, we still remember for edgy violence and cinematic energy.

One of the joys of Asante's filmmaking is how she subverts audience expectations to make observations on politics, race and gender: As Sophie Mayer observes in her review for Sight & Sound, «in a clever twist on the Bechdel test, Asante shows that it is through talking about marriage and men that the female protagonists of costume drama are able to articulate a political philosophy.»

Superb in every sense of the word, acting, script, costume design, attention to detail.An old fashioned drama real quality film making at it's best.

It's that fervor — along with the restraint inherent in costume dramas — that makes him a picture - perfect fit for the ornate medley of blood and lust that is «Crimson Peak.»

And for all his comments about specific actions, line readings, and so on made by the actors, he sheds no light on how he arrived at such offbeat casting choices; after all, the likes of Anderson, Dan Aykroyd, Anthony LaPaglia, and Eric Stoltz aren't exactly the names that immediately come to mind for a costume drama.

Hell, it's a point I've made multiple times over the years, and since Harris includes in the latter category the sort of costume dramas and comparatively straightforward historical narratives that more or less dominated the upper ranks of Slant's top 25 films of the year — namely A Quiet Passion, Phantom Thread, and The Lost City of Z — we self - servingly agree.

It's a plush and strangely ornate film despite the hellish setting and there's always the sense that Shortland is perhaps more interested in making a crimped, up - market costume drama in the mould of Jane Campion's Bright Star than she is a bona fide survival movie with dirt under its fingernails.

Presented more as a costume drama than a film with any modern relevance, Milk «s power to move is largely dependent on the viewer's ability to watch Sean Penn make hammy faces at the camera.

An unashamed crowd - pleaser, Masquerade should at least appeal as a costume drama and a showcase for a cast led by Byung - hun Lee, who, this critic hopes, will make a dramatic debut in American cinema someday soon.

And then there is the really off - beat stuff like a post-apocalyptic-vampire-western-road movie, Stake Land (which is magnificent), a naughty DIY costumed hero flick from James Gun called Super and starring Ellen Page and Kevin Bacon, an Eva Green starring ethereal cloning drama from Hungary, but in English, called Womb, and a film that will make you completely reassess how you feel about Santa Claus and his elf posse when the jolly fat man is portrayed as a 25 meter tall horned demon encased in a block of ice under a Finnish mountain.

It's his fourth nomination in a rich career that extends way back to the late 1950s though he's best know for the popular costume dramas he made in the 1980s and 1990s with his producer and life partner, the late Ismail Merchant (1936 - 2005).

It's a costume drama that feels like the world's darkest, dour - est, most inappropriate thriller serial, placing a series of increasingly complicated and unpleasant revenge - scenarios in chronological order and reminding of, if anything, just how bad Nolan's Memento makes you feel.

After all, Scorsese was the American cinema's great purveyor of organized crime, misguided vigilantism, and brutal violence; what was he doing making a «costume drama» of Edwardian manners?

While Russell largely fails to make dramatic connections and bring us into the inner world of his characters» conflicted desires, he succeeds mightily in making a film of often breathtaking beauty that balances the conventions of the British costume drama with his experimental proclivities.

The cast - list might suggest otherwise, but this utterly forgettable costume drama really is one you should make a point of missing.

It often seems as if the one thing that every Hollywood actor wants to do is make at least one costume drama.

What made the sharp - witted author so brilliant and timeless is strangely absent here; instead, we're served up another bland, passionless costume drama as stuffy and oxygen - depriving as its corsets.

Since Deeds isn't a period costume drama, one wouldn't think much about its clothes, which actually makes this program more compelling than one might expect.

Even if I did not particularly learn anything from it, I was completely engrossed by Elizabeth, which not only makes the traditionally stuffy and aloof British costume drama accessible, but entertaining and exciting as well.

Drama Series Direction Writing Evan Rachel Wood Thandie Newton Jeffrey Wright Editing Cinematography Costumes Art Direction Make - up Sound Editing Sound Mixing Visual Effects

With a title that makes it sound like an 18th - century costume drama — perhaps a cousin to Jacques Rivette's recent Balzac adaptation, The Duchess Of Langeais — and a marketing campaign that sells it as kinky erotica, Peter Strickland's The Duke Of Burgundy risks attracting exactly the wrong crowd.

The trailer for Phantom Thread plays a part in this deliberate deception — judging by the footage made available, Phantom Thread looks to be a stuffy, somber costume drama.

When it came to making a drama thriller about a perfectionist fashion designer, filmmaker Paul Thomas Anderson reached out to his longtime costume designer of seven films Mark Bridges for Phantom Thread.

Trailers sold Phantom Thread as a stuffy costume drama, but what Anderson has actually created is a hilarious - but - dry comedy about two people who were seemingly made for each other.

It sometimes feels that the British film industry only makes about three or four different kinds of movies: dreadful gangster films that rarely get a release abroad, gritty social realism pictures, period costume dramas, and semi-quirky comedies with a tearjerking side, exemplified by something like «Billy Elliot» or «The Full Monty,» but more often turning out like «Calendar Girls» or «Song For Marion.»