Sentences with phrase «made of the film shifting»

Much has been made of the film shifting Hollywood's attention toward the middle - aged — meaning, in their terms, anyone 20 or older.

Not exact matches

After all, there's a reason why a movie about an eccentric scientist who transforms a beat - up DeLorean into a make - shift time machine has become one of the most iconic films of all time.

When rolls are being changed, say, once every 20 minutes, as may be the case with pre-applied zipper film, that time adds up — over an hour and a half of production time lost in a single 8 - hour shift on a single line,» says Chris Graff, vice-president of sales and marketing at the Massachusetts - based Butler Automatic Inc. «That's an hour and a half's worth of packages not being made, shipped and sold from that line during each shift.»

Pre-applied zipper packaging film makes reclosable feasible While many companies can benefit from packaging their products in reclosable packages, many may not consider making the shift from other types of packages due to the perceived high cost.

While it's not a perfect film by any means — a lack of catchy musical numbers and a questionable shift of focus in the film's latter half knock Megamind down a few pegs — the lively cast and interesting flip on the superhero concept make it a fun time at the movies for viewers of all ages.

Working with an insanely talented crew that also includes cinematographer Rodrigo Prieto («Babel,» «Brokeback Mountain»), Affleck has made a film that features multiple locations, dozens of speaking roles, and the kind of tonal shifting that veterans routinely screw up and he's not only dodged the many potential pitfalls but made a modern classic by doing so.

Making his shift from stage theater and TV to film, debuting director Rupert Goold, who wrote the screenplay with David Kajganich, makes it clear that he trusts the facts and implications of the story he's telling.

The Troma style perhaps predates the anything - gross - for - a-laugh approach of the Farrelly Brothers (who also made a film called Stuck on You), but real seaminess between good - natured gags makes for a shifting tone that too often gets beyond the boundaries of good bad taste into merely tiresome unpleasantness.

The many narrative layers of this drama should fit reasonably snug in the context of the plot's progression, but if there is a sense of excess to the material, then it is stressed by a sense of episodicity, which sees the film spending too much time with each segment, yet not enough to flesh them out enough to make the eventual focal shifts smooth.

When the film makes its unfortunate shift from provocative comedy to drama, it begins to feel like a series of maudlin music videos interrupted by romance and saccharine uplift.

The media's insistence on making more of the film than a big, enjoyably dumb action movie only highlights the drastic shift in representation in casting and marketing as a predatory -LSB-...]

Bogart would die less than a year after the film's premiere, and his understated portrayal of a reluctant hustler makes for a rich contrast with Steiger's Method - informed bluster, marking a shift in the tides of American film acting.

During the making of (Johnny X), everything started shifting over to digital, but I still wanted to finish it on film because I feel that film delivers something (organic) that you still can not quite replicate (digitally.)

The pieces fit together well enough for a cohesive single narrative, but the odd shifts of interest lead one to imagine that DreamWorks split their resources into four groups and each were responsible for making an entertaining quarter - film.

This shift from acquiring films at festivals to using festivals to launch already acquired titles makes perfect sense from a publicity point of view, particularly for Amazon, which is committed to giving each of its films a theatrical release before they stream on its Prime Video service.

The sexuality might be a little less subtextual (though there's nothing explicit here), but the testy, shifting power plays in the relationship between Tom and Frances, which serves as the heart of the film, bring to mind a contemporary update of Highsmith's work, albeit seen through Dolan's lens, making it of a piece with his earlier films, particularly once Sarah (Evelyne Brochu), the co-worker posing as the late Guillaume's girlfriend, arrives on the scene to complicate things further.

All of this shows on the screen as The Wolfman comes across as a pieced - together film of disjointed scenes with glaring tonal shifts that makes for unsatisfactory viewing — all sewn together like Frankenstein's monster.

WB has shifted the release date for a 2020 film, a «Deadpool» featurette showing the making - of Colossus has surfaced and more.

The screenwriters make the assumption that audiences will already have a vested interest in Bond's plight from the very first frame due to the events of Casino Royale, though the shift in the tone of this film to emphasize brutal action and CGI - laden stunt work makes tying the two films together a bit of a chore.

Because the FDR / Daisy storyline is so inherently weak, the film shifts its focus to the preposterous notion that a visit to Hyde Park by the King and Queen of Britain in 1939 secured the freedom of the world by making firm allies of the USA and Great Britain.

Putting this trio in this pressure cooker allows for allegiances to shift back and forth, and so much of what makes the film work is the attempt to suss out motivations and who might not be telling the truth.

Some films expand your horizons, some shift your paradigm, some make your spirit soar with the possibilities inherent in the human condition and some are so awful that they make you question the existence of God.

However, the softness and slightly alien aspect of an all - female romance within such a bygone era and the shifts of tensions within the relationship dynamics makes Carol stand apart from more universal films of a similar nature.

Having made dramas that were set in the small worlds of arthouse film financing (Father Of My Children) and French house music (Eden), she shifts her attention here to a year or so in the life of a philosophy teacher named Nathalie (Huppert) as so many of the things that she's taken for granted crumble awaof arthouse film financing (Father Of My Children) and French house music (Eden), she shifts her attention here to a year or so in the life of a philosophy teacher named Nathalie (Huppert) as so many of the things that she's taken for granted crumble awaOf My Children) and French house music (Eden), she shifts her attention here to a year or so in the life of a philosophy teacher named Nathalie (Huppert) as so many of the things that she's taken for granted crumble awaof a philosophy teacher named Nathalie (Huppert) as so many of the things that she's taken for granted crumble awaof the things that she's taken for granted crumble away.

It's gruelling to see these young men turn on each other in progressively more blunt and bullying ways, yet there is an underlying sense of jet - black irony that makes the film extra compelling, as the roles of prisoner and guard, bully and victim, test subject and observer, shift and reverse amorphously throughout.

With a collage of interviews with real - life survivors following the end of the film, it makes a strange shift from narrative feature to an almost documentary - like structure that just feels misplaced.

Together with cinematographer Barry Peterson they give us the best use of tilt - shift in a comedy film that makes the locations look like a game board, and a one - take action scene to rival the one in Black Panther.

At moments, it feels like Tarantino is really trying to say something about the bizarre, angry jigsaw of people who help make this country the polarized mess it remains today, but once the film shifts into an expected cacophony of violence, whatever that might be slips through his gore - stained fingers.

The creeping paranoia and the excellent setups that make you suspect various players, until the true story starts to unfold, creates an unsettling feeling of dread absent from American horror cinema which shifted quite a bit to gore and body horror for a good couple of decades until, probably, THE SIXTH SENSE... but even thereafter, what most filmmakers took from Shyamalan's film was not the buildup of dread, but rather the mystery box and the twist, diminishing the emphasis on narrative and suspense.

However, we've recently seen a shift in this kind of thinking and actors who were predominantly known for film work, such as Glenn Close, James Woods, and Alec Baldwin, have made a successful transition to TV.

The creeping paranoia and the excellent setups that make you suspect various players until the true story starts to unfold creates an unsettling feeling of dread, absent from American horror cinema which shifted quite a bit to gore and body horror for a good couple of decades until, probably, THE SIXTH SENSE... but even thereafter, what most filmmakers took from Shyamalan's film was not the buildup of dread, but rather the mystery box and the twist, weakening the emphasis on narrative and suspense.

Like most of Linklater's films, it's largely made up of people talking, but with the added interest of the unique ever - shifting, never - solid animation style (which he'd reuse with a slightly more standard sci - fi story in A Scanner Darkly).

I'm a defender of the Oscar season in general — it's a rare chance to shift the conversation away from superheroes and talking cartoon animals, and onto films made for actual grown - up human beings.

Looking at Mike Figgis» resume, the bulk of his films has been dramatic character studies, so one would wonder why he would suddenly shift gears and opt to make a suspense thriller.

There is very little dialogue in the film, with long stretches playing out in the relative quiet of sound effects and sparse music that made every cough and seat shift in the theater a part of the building tension.

«The Mangler» is a short story in King's oft - reaped collection Night Shift (only seven of its twenty stories haven't made their way to the screen in some form or another), and revisiting it reveals the film to be surprisingly faithful to the details of the piece — another way of saying that the movie and its source material are equally stupid in their attempts to mine horror from a possessed laundry machine.

The best news is that despite all the talk of gloom and doom, and despite radical shifts in marketing and distribution platforms, there are still so very many delightful US indies — and so many stunning original foreign films — increasingly being made around the globe.

Halloween III could stand to be much sharper in every respect — it isn't scary or even particularly exciting, and only the villains make much of an impression — but once the action shifts to the dead - eyed denizens of Santa Mira, the remote town that Silver Shamrock calls home, the film becomes a sly and creepy indictment of corporate engineering.

It's also short - sighted, for there are other, more substantial criticisms to be made of this film, primarily first - time writer - director Bryan Johnson's wild tonal shifts.

From the celebrated film Juno to a pregnancy boom at Gloucester High School, in Gloucester, Massachusetts (where 17 girls confessed to making a pact to become pregnant together), plus the high - profile pregnancies of 16 - year - old actress Jamie Lynn Spears and 17 - year - old Bristol Palin, daughter of Alaska governor Sarah Palin, a more accepting attitude seems to be replacing an old taboo, and students are not immune to the cultural shift.

Presenting early film footage together with souvenirs created by the artist and workshop participants from Ousedale School and Milton Keynes Arts Centre, the exhibition serves as a make - shift souvenir shop, designed to encourage a nostalgic look back at the early development of The Point entertainment complex.

As reflected by Eric N. Mack, Simon Denny, and Mira Dancy in the film above, tragedies like Charlie Hebdo and big shifts from Black Lives Matter to the legalization of gay marriage, have drawn artists to place renewed consideration into making work that resonates with not just the art world but the wider world, too.

Addressing the «global, environmental and technological shifts» changing the United States, here you will find artists like Ei Arakawa and his headpiece structures shaped like Hawaiian and Manhattan islands, Zackary Drucker and Rhys Ernst's Relationship, a series of forty - six photographs, and Dashiell Manley's The Great Train Robbery, a multipart installation and video project inspired by the silent Western film of the same name made in 1903.

STATEMENT My practice for the past 15 years has been concerned with aspects of intuitive abstraction which incorporates hard edge and organic abstraction as well shifting methodologies of mark making and spatial narratives that are situated within paintings, collages, photographs, objects, Marquette's, books, films, wall paintings and works on paper.

Following Los Angeles, Morris embarked on more intimate portrait films, such as Robert Towne (2005) and 1972 (2008), which shift the viewpoint from the panorama of a city to an individual portrait of one of its protagonists, as a way of examining it from the inside out.Following these works, Morris made Beijing (2008), a film about one of the most intricate and ambiguous international broadcasted events of past years — the 2008 Olympic Games.

In doing so, she creates a complex and multilayered synthesis of various art forms — film, dance, and sculpture — while simultaneously meditating on the process through which art is made, and the shifting sexual dynamics between men and women as embodied in both the sculpture and Halprin's performative re-imagination of it.

Vimeo — City of Samba — Jarbas Agnelli — Carnival's over, but here's a blast from the past (2011) in Rio, five minutes plus of film given that «tilt shift» treatment that makes everything look toy.