Sentences with phrase «mainstream cinema»

The result is what may be the first openly gay action hero in mainstream cinema.

A few minor technical issues aside, Black Panther is a ground - breaking, thoroughly enjoyable and truly epic piece of mainstream cinema.

Also, competitions have the tendency to produce debate, and that's a rare, wonderful thing in modern mainstream cinema culture.

If there's one thing that mainstream cinema demands, it's an explanation.

Now, viewers are seeing a wave of mainstream cinema that's trying to find the right language for empathy and political resistance.

Many have found the spiritual elements of the director's films rewarding, an aspect rarely presented in mainstream cinema.

And maybe this is due to the fact that the lines between LGBT and non-LGBT films have begun to blur in 2015 when same - sex marriage is legal and LGBT activities are no longer sanctioned from mainstream cinema.

He has starred in mainstream cinema as well, most notably Cloudy with a Chance of Meatballs, Congo and McHale's Navy.

For a 27 - year - old Swedish actor somehow striding into mainstream cinema from multiple doors at once, they appear to be holding her up just fine.

Over the weekend, this video was posted around the Internet; in it, Oscar - winning director Danny Boyle categorized the problem he saw with mainstream cinema as being the «Pixarification» of films.

«I think his work preserves the immediacy of the tradition of independent cinema coupled with a sense of wonder and spectacle that we usually expect from more mainstream cinema,» adds Gioni.

by Walter Chaw Self - referential and self - satisfied, Jay and Silent Bob Strike Back is a continual stream of grotesque sexual references, leering at scantily clad, foul - mouthed women, and enough broad swipes at mainstream cinema (while featuring a parade of celebrity cameos) that it ends up being a cross between «Beavis and Butthead», Cecil B. Demented, and a Bob Hope Christmas special, not to mention an endurance test.

And make no mistake: The Exorcist is most definitely a horror film: though it may be filled with rigorously examined ideas and wonderfully observed character moments, its primary concern is with shocking, scaring and, yes, horrifying its audience out of their wits — does mainstream cinema contain a more upsetting image than the crucifix scene?

In an era where mainstream cinema often makes light of young sex with awkwardly comedic stories, On Chesil Beach almost defiantly rejects to treat this profound topic reductively.

The forest scenes of Return of the Jedi and The Force Awakens nod to Kurosawa also, who was one of the first mainstream cinemas post war to take the large and heavy equipment into forest locations.

An African American director casting one of the greatest African American movie stars as a «classic» western hero, just as President Obama prepares to ride off into the sunset (while mainstream cinema struggles to catch up with the racial diversity of the US) is a recipe for bold imagery.

Suffice to say, by the time the Bueller-esque final moments unfold, the next - big - thing directing talent has not only referenced and honoured that subversive period of 80's mainstream cinema during which Reagan's America was slyly being diced and sliced; he has also conjured a wonderfully witty, bracingly shocking and completely contemporary home - invasion / slasher - pic reinvention.

Though common enough in mainstream cinema today, gay characters are almost invariably relegated to the status of wisecracking best friends with nothing to do in life but act gay and dispense romantic advice.

I can't think of much mainstream cinema that goes to the lengths to appall that this 1978 film does.

45 Years is mature, solemn, and understated storytelling, a far cry from how mainstream cinema can be described.

Not only are their favorite stories being administered regularly by the major studios, dominating multiplexes and displacing a more varied mainstream cinema, their inner psychologies are now being examined in indie movies and documentaries.

Because while the original Lord of the Rings trilogy revolutionised mainstream cinema in ways, and emboldened the likes of James Cameron to undertake equally grandiose productions, these Hobbit films flogged a very dead horse.

Yet, uncritical of the cinematic medium and unconnected with moral concerns, it does not offer the spectator a different position from what mainstream cinema or counter-cinema offers.

In the case of Funny Games, he is critiquing mainstream cinema, and the people who digest it.

Unfortunately for Haneke, this cinematic critique doesn't make a compelling case; in many ways the film contradicts itself, and makes bold assumptions about mainstream cinema that aren't nearly as reproachable as he presumes.

To argue that whatever flaws in mainstream cinema lie squarely, if inadvertently, on Pixar's shoulders is baseless.

It strikes me that in making a film that sits in the grey area between mainstream cinema and video art, Douglas wants to have his cake and eat it.

Eschewing mainstream cinema's luxury illusion economy, Don't Go Back to Sleep conjures a sneaky dread that operates as an apt parable for the current / forthcoming medical or ecological calamities for which a Californian like Kahn is an apt cultural seismograph.

We've become so inundated with this sub-genre of mainstream cinema at this point in time that I won't dispense with much commentary on this one.

Directed with style by D.J. Caruso as the follow - up to his stylish tweaker noir The Salton Sea, the picture has a way with tension and the jump scare — at least until a Fatal Attraction / Astronaut's Wife conclusion proves again that the inoperable tumor of modern mainstream cinema is the ability to end.

Although «The All New Mickey Mouse Club» is where it all began, it wasn't until the runaway success of «The Notebook» in 2004, that Ryan Gosling found himself catapulted into mainstream cinema, as Hollywood's latest heartthrob.

Known for his slow - paced art films, Wong's productions never coincided well with mainstream cinema.

Price uses images, text and music, informed by mainstream cinema and experimental film, the artist's practice is mostly concerned with the medium of digital video and its comparative ubiquity in today's culture.

But for a long time, film was the thorn of art history after that thing called «Hollywood» came along, which threatened the avant - garde film's separation from mainstream cinema.

Whilst the characters on screen navigate the class dynamics of colonial life; choosing to adopt certain characteristics of their European colonisers in order to advance professionally and socially; the film itself reflects a growing trend in mainstream cinema of dealing with African themes using traditional Western narrative structures.

And some end up in mainstream cinema, appearing in such classics as Deliverance and Smokey and The Bandit

But mainstream cinema is all about not offending the very establishment values that inform its culture and aesthetic.

The type of character I have long been waiting to see onscreen, he's both familiar and novel, and his presence gives way to moments heretofore unthinkable in mainstream cinema, like the museum scene, which would make Martinican poet Aimé Césaire proud, as it seems like the direct illustration of a paragraph from «Discourse on Colonialism.»

Certainly, the film does introduce a new viewing experience to mainstream cinemas but for the most part, while this is an intriguing viewing experience, it is hardly the revolution and, if it is, it is a polished and somewhat superficial one.

In a year where we had some pretty cool and unusual things happening in mainstream cinema (an animated «princess» movie where the most important relationship was between two sisters, a space thriller whose face was a middle - aged woman, a high - grossing action movie starring a young woman, a sci - fi blockbuster where 2/3 leads were NOT white men, a female buddy - cop movie), this just seems....

The smart cycle was perhaps the last bastion of true authorship in modern mainstream cinema, where a single director could have pure creative input into their work.

The full production of a picture a year, from script to shooting to cutting to marketing, doesn't always leave a lot of room for rewrites and second guesses, and sometimes the resulting product isn't quite up to snuff — not just by the Allen standard, but those of mainstream cinema in general.

Conventionally in mainstream cinema, the kiss reveals secrets, designates desire, establishes the couple and signifies resolution by reinforcing the myth of romantic love.

It's a simple, yet brilliant conceit realized with depth and emotion, two rare traits in mainstream cinema.

Mila Kunis» Julia is a substantial and often unsympathetic creation, and the question marks that hang over her motivations are unusual in mainstream cinema.