Sentences with phrase «make films of all sorts»

I make films of all sorts, I'm an artist, I make music and love all kinds.

Not exact matches

The show aired in 2002 and 2003 and served as a sort of «school» for Boivin, who used it to learn the ropes of film making.

While promoting his Top Five film in 2014, Rock displayed the sort of sharp insights and political know - how that made him such an interesting comedian in the»90s.

I have never attempted to find film of this play or make any sort of corroborative effort that might ruin my memory of it.

The promo made by the South Korean broadcaster features the likes of Son Heung - Min, Harry Kane, Javier Hernandez and Mauricio Pochettino hilariously superimposed in what looks like a short clip from an old Korean film of sorts.

As far as Expelled is concerned, none of that exists and although, yes, the film does say that they give themselves, the sort of, the pretense of not blaming Darwin, you get a couple of people including Ben Stein saying «of course no one is saying Darwin cast the Holocaust,» but of course they then make every possible connection they can; and I think it's interesting that if you took out those little excuses that said, «of course no one says Darwin cast the Holocaust,» that is exactly what someone would understand from the film.

And because I'm a sort of odd bloke, I decided to throw a juicer in the back of a truck, hire a camera crew to follow me as I drove across the United States, and make a movie about it — Fat, Sick & Nearly Dead, a documentary film about my journey.

I use it as my make - up base, as it absorbs super quickly and does not leave any sort of «film» on my face!

The 2000 film did a sort of combination of these two concepts, making the spokes - Who the mayor, but keeping the «only he can hear Horton» angle.

That's where perhaps the film represents any sort of nudge to the president: yes, you've made it through but don't relax on your laurels just yet...

The tough, satisfying French film Le Petit Lieutenant is an austere drama of the sort that rarely makes it to American screens except on cable television.

There's no denying that when George Clooney wants to be an «artist,» he's more than capable of making some lovely art films, and that's clearly the case here, but there's no valid reason why he should spend his money producing a painstakingly slow travelogue set in the Italian countryside like this and allow it to be disguised as some sort of «thriller.»

Mike White, who scripted biting, edgy satire of this sort («The Good Girl,»» Chuck and Buck») before making his fortune with «School of Rock,» serves up an unsettling and generally deft comedy of manners with this clash, a film that greatly benefits from subtle, stinging performances by Salma Hayek and as her opposite number, John Lithgow.

This carping ignores the fact that this sort of thing now seems dated and even faintly embarrassing in the genre, a point brought home through the exciting but positively antediluvian coming attractions trailer for the next Bond film, Tomorrow Never Dies, prior to the Peacemaker screening (which, in retrospect, makes the other trailer, for the Bruce Willis film The Jackal, seem even more pointless).

I actually enjoy these sorts of films, as the writing is generally of high caliber, and the exotic locales and vibrant scenery make for an enjoyable cinematic experience, even if the main story is a bit dull.

It was enjoyable but not a breakthrough composition in terms of the film, sort of just standard fare biopic montage of interviews and old photos with the main thread of the piece being the documentarian's footage of Toback's then newest adventure in film - making.

There are rumors circulating about an extended director's cut, an R - rated cut, all sorts of cuts of this film that will «restore» all the sequences and scenes left on the cutting room floor and make the choppy, helter - skelter nature of the film flow better and make more sense.

Paltrow does what she can in the role of Mills» wife, but she has too little screen time to make any sort of impact; by the end of the film, she is quite literally reduced to the role of a prop.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

Far be it from me to expect any sort of cerebral experience from a slasher about a doll, but it's evident that a degree of thought DID go into this, which makes its overall failure as a horror film all the more disappointing.

As The Disaster Artist (both the book and the movie) details, he made all sorts of bizarre, incompetent decisions, like shooting his movie on 35 - millimeter and digital film simultaneously at prohibitive expense, building elaborate and pricey sets for locations he could have filmed on for free, and firing crew members without cause at the drop of a hat.

By briefly profiling each, the filmmakers ensure we care about them all; they are not treated as some sort of novelty act for the sake of the camera, and this is what makes the film a standout

While there's something to Ingrid Goes West and its indictment of insufferable L.A. millennial culture and social media's dangers, Spicer's targets are too bluntly specific to make the sort of nuanced argument that the film aims to attempt.

What do you do when you put Titanic, Gladiator, all sort of disaster movies into a blender... Well, you'll get Pompeii, a film that is so utterly derivative of all films that have gone before it, but somehow made with such enthusiasm by Paul W.S. Anderson, the king of «schlock» cinema that you'll find it somewhat enjoyable.

In my review of the first film, I argued that Woodley seemed out - of - sorts in an action - adventure film, but a year and a different haircut really made a world of difference this time, with Woodley coming into her own here.

What do you do when you put Titanic, Gladiator, all sort of disaster movies into a blender... Well, you'll get Pompeii, a film that is so utterly derivative of all films that have gone before it, but somehow made with such enthusiasm by Paul

That a persuasive case can be made either way could be seen as a validation of the theory that Tarantino is some sort of idiot savant whose films signify almost in spite of their maker's idiosyncracies or intentions.

The film is loaded with seedy and dysfunctional characters of questionable morals and intelligence, which makes things entertaining in a train - wreck sort of way, but it leaves nobody to root for.

Such unfairness is only worth bitching about — only worth making a feature film about — when the same sort of thing happens to a man.

Jacmel seems to be a German nationalist of some sort, yet the film makes little effort to lend that aspect any specificity, so that Kinski's German accent becomes the character's sole marker of difference.

It only makes sense that a film that has had so much time to flesh out its characters should develop some sort of key bond between the two rivals; one that goes beyond the stereotypical battle of good versus bad.

This week the movie blogosphere is oriented on Mike White's directorial debut and a return to film - making of a sort for Gary Oldman.

I too love and respect Paul Thomas Anderson's work but it seems that he was trying to make some sort of «stoner noir film» here, but maybe he was inhaling too much wacky tobaccy himself while making it!

But it seems to me that these historical dramas that you have recently made are simultaneously critiques of the sort of historical films that have recently been produced in Germany.

Steven Spielberg's film is less a war epic than a love story between a boy and his horse, a throwback to the sort of film Hollywood does make anymore, but that Spielberg has mounted with stunning beauty.

The film strains credulity even for a vid - game fantasy by letting the leading lady recover awfully quickly from bad injuries, but other than that Vikander commands attention and is the element here that makes Tomb Raider sort of watchable.»

Hollywood Reporter writer Todd McCarthy called Donovan «a sort - of Atticus Finch of the north» and Variety writer Peter Debruge wrote of the film, «[Spielberg]'s mythmaking approach makes for great Capra-esque entertainment, [though] younger audiences may find it terribly old - fashioned.»

And even if Cuaron had wanted to, Columbus had installed himself as a producer on «Azkaban» with a particular goal in mind: «I wanted to make sure that the film didn't stray too far from the world the audience and the fans have sort of fallen in love with over the course of the first two movies,» he told The Times» John Horn last year.

And it's typical of the sort of early deal - making (and passing) that happens when a big film such as this is being put together.

sung by Mick Jones as himself in a cameo that makes a strange sort of sense within the films context of cloning; a minor character with a freckle fetish who regards Anne of Green Gables as an erotic classic; and one of the most achingly powerful evocations of longing that I have ever seen.

If the film is a big flop, we'll lose credibility for making these sorts of films.

In a time when it seems that every other movie makes some claim to being a film noir, L.A. Confidential is the real thing — a gritty, sordid tale of sex, scandal, betrayal, and corruption of all sorts (police, political, press — and, of course, very personal) in 1940s Hollywood.

The DVD has a short feature on the making of the film, which was created with off - the - shelf software as a sort of low - rent counterpart to the computer animation applied in fellow nominees «Shrek» and «Monsters, Inc.» The disc also has two music videos, a dozen promotional TV spots, seven games playable on computer DVD - ROM drives and full - screen and widescreen versions of the film.

The simplest way to keep a film from looking like a collossal failure is to be honest about what sort of film it is, and give it a budget that makes sense.

It is a film bursting at the seams with a talented group of people that have spent most of their careers making just this sort of thing, so in many ways, the fact it doesn't miss should come as little surprise.

There's only a few films each year that have all of those pieces in place to make that sort of awards run, and this year «The Gangster Squad» certainly could be one of them.

He even includes the original film's songs (Kenny Loggins» voice does make an appearance in the opening sequence) and even the yellow Beetle car, presumably as some sort of nostalgic tribute.

This is absolutely one of the greatest horror films ever made and a must - see for those who are into that sort of thing.

The promises and pitfalls of the digital age is the perfect subject for Herzog, a rare filmmaker who's a bigger personality than most of the people he makes films about — and considering the sorts of eccentrics, dreamers and madmen Herzog makes films about, that's saying a lot.

And the fault must rest squarely on director and co-screenwriter Kirsten Stewart («In America»), who can't seem to decide whether she's making a narrative film or some sort of musical tone poem, and the biggest victims are the characters, who are largely non-existent.