Sentences with phrase «makes it such a moving film»

The images are marvelous, a lovely example of Ghibli hand - drawn animation and a reminder of the kind of personality that comes through this kind of art, but it is the compassion and depth of character that makes it such a moving film.

Not exact matches

New technology that combines old ones often makes such things possible, much like film blended record music with moving images to create an entirely new medium.

«The Shape of Things» marks the last good film LaBute has made (for whatever reason he moves on to goofy Hollywood thrillers like «The Wicker Man» and «Lakeview Terrace» and the embarrassing «Death at a Funeral» remake - one would think those films were from a totally different human all together; my bet is he became a drug addict because no one looses such talent so quickly) but this wonderful, tricky and rewarding series of films is well worth your serious time and attention.

After the impact of these two features (the latter screening at Cannes and championed by such critics as Pauline Kael), Schepisi moved on to directing films overseas, including such varied works as Barbarosa (1982), Plenty (1985), Roxanne (1987), The Russia House (1990), Six Degrees of Separation (1993), Last Orders (2001) and the HBO - financed Empire Falls (2005), which won a Golden Globe for Best Mini-Series or Motion Picture made for Television.

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

They weren't catching the wave of excitement Selma's mere presence brought to audiences — not because history was about to be made with the first black female director in the Oscar race, but because Selma was such a very good film, such a moving film, such a sensual, breathtaking, wholly original work that no one really knew what to do with it.

It's a brave move to make such a sick joke for the films main dramatic piece, but then again Haigh doesn't shy away from much in 45 Years.

In an age where all pop culture moves at lightning speed and few works stick around long enough to make an impact before they're replaced with the next thing, the fact that a film such as this one can be so instantly and deservedly iconic is worthy of celebration.

Their business, AEY, grows and grows, thanks to bold moves the guys make, such as personally delivering weapons to a U.S. base in Baghdad (which didn't actually happen, but was still one of the best parts of the film).

While most of Robbie's money is made from acting in tent - pole films such as The Wolf of Wall Street and Suicide Squad, the actress has also made the move into the lucrative producing side.

The Lovely Bones is such a let down (after the less than sterling King Kong) that I wish he'd get a move on and make his next film.

Best Actress: Annette Bening — Kids Are All Right — stern, intelligent yet moving and likeable — it takes a real pro to accomplish that with such style and verve Nicole Kidman — Rabbit Hole — heartbreaking but resilient — a perfect balance between broken and fixed — it is so joyful to watch a character so succinctly communicated Lesley Manville — Another Year — heartbreaking with closeup after closeup of vulnerability and grasping hope — truly a fragile and pulsating performance Julianne Moore — Kids Are All Right — courageous and oh so human — sexy and vulnerable in an earthy way — her struggles with herself are the heart of the movie and she carries it magnificently and warmly Natalie Portman — Black Swan — the tour de force this year — the crazy, emotionally volatile core of a crazy, emotionally volatile film — some wonder if it might be «easer» to play such big emotions but the incredibly thin wire she has to traverse in such an extreme environment is daunting and she makes it work and gives us believability and solicits true sympathy in the middle of a fright fest — a truly accomplished achievement

Portman, who was born in Israel and who lived there until she was three, before her family moved to the US, has taken a brave decision to take on such potentially contentious material — and while the resulting film is perhaps a tad on the conventional - looking side, it has an unusual, and possibly unique, perspective on Israeli psychology, and Portman demonstrates she possesses a confident grasp of film - making fundamentals.

Sciamma's understanding of this is what helps make Girlhood such a powerful, moving and relatable film, even when its ideas are filtered through the specificity of Marieme's story.

David Cage, head of game development at Quantic Dream, has stated that he wishes to make a war game with an «emotional» approach, moving away from the mainstream's idea of how the war genre is portrayed, citing classic films Apocalypse Now and Platoon as influences for such a project.

He had first moved there in 1957 and it was there that he created his influential film work A MOVIE in 1958 (Collection of the Library of Congress, Washington, DC); it was there that he made many of his great found object assemblages (such as his notorious CHILD assemblage of 1959), and it was there that he spent the decade of the 1970s.

In films such as Swinging the Lambeth Walk (1940), where drawn and scratched lines undulate in striated verticals and sine - wave - like horizontals to a jaunty jazz sound track, and Free Radicals (1958), in which chalklike inscriptions streak and sway across a pitch - black screen accompanied by African music, New Zealand animator Len Lye used the cinematic apparatus to make static frames (cels) appear to move.