Where plenty of more serious -
minded modern films would try to build a relevant message into this plot about the dangers of unchecked corporate power, lax regulations, or genetic experiments, Rampage seems to consciously make the antagonists as shrill and unrealistic as possible, to avoid any unfortunate associations with reality.
Not exact matches
``... [the] gulf between the Church and the scientific
mind... widens with each generation, and
modern means of diffusing knowledge by the press, radio, and
film, have brought us now to such a pass that the Christian, and especially the Catholic, whose beliefs are enriched in their religious manifestation by the ceremonies and practices of a most ancient past, finds himself considered the initiate of a recondite cult whose practices are not only unintelligible to men around him, but savour to them of superstition and magic.»
And while the band and director may have had nonbelievers in
mind, the
film is powerful enough to win over skeptics of the
modern worship movement.
Beauvois
films the women toiling in the Limousin sun for extended periods of time throughout the
film, painstakingly painting the picture in the viewers»
minds of how hard it is to actually tend to a farm 24/7 without
modern technology.
Not in everything,
mind you; the filmmakers have chosen (unfortunately, I think) to go for a slightly
modern touch in some aspects of the
film, such as Lucilla's costumes.
The Academy treats
modern films like red - headed stepchildren in the costume design category, but perhaps the resume of 83 - year - old two - time Oscar winner Albert Wolsky will change their
minds.
Produced by Dylan Hale Lewis, the horror
film features an all - star cast including: AnnaLynne McCord («90210»), Traci Lords (Cry Baby), Ariel Winter («
Modern Family»), Roger Bart («Desperate Housewives»), Jeremy Sumpter (Soul Surfer), Malcolm McDowell, Matthew Gray Gubler («Criminal
Minds»), Academy Award winner Marlee Matlin (Children of a Lesser God), Ray Wise (Good Night, and Good Luck) and John Waters.
After Russell Crowe's one - two punch of Gladiator and A Beautiful
Mind (both very standard, Oscar - friendly choices), the Academy chose a cynical musical (Chicago), a fantasy epic (Return of the King), a tiny, short story boxing fable with a pro-euthanasia message (Million Dollar Baby), a wild ensemble
film about racism (Crash), a dark crime epic (The Departed), another dark crime epic with an inconclusive ending no less (No Country for Old Men), and a movie about
modern India (Slumdog Millionaire).
But it speaks to this still nascent anti-spoiler culture of cinema - going that is part of the
modern undermining of
film criticism, which, when done right, opens the
minds of the audience to
films that don't necessarily fit audience expectations.
Because its imagery — which also calls to
mind Michael Mann's The Last of the Mohicans, the cinema's every
modern representation of revolution (the few decent scenes in Roland Emmerich's stupid The Patriot, for instance), and even the militarism of choreographer Busby Berkeley — is far more virile than its screenplay, Drumline's seductive aesthetic is without strong narrative pillars, if a rather welcome imposition: the
film's saving grace is the brilliant execution of its march numbers.
Perhaps the closest thing imaginable to a
modern day Ernst Lubitsch
film, Love & Friendship sees puffed - up gentry adorned in lace - trimmed garments (colour - coded as to the capacity of their imagination) trying to get their prissy
minds around the concept of
modern romance.
Never
mind that the
film is bookended with shots of the ash - preserved victims, they nonetheless leave very little to be preserved in the name of satisfying
modern audiences» demand for disaster porn.
Whether you're of the
mind that demonlover is critical of
modern, ruthless, globalized capitalism, or that the
film is an unintentional celebration of that ruthlessness, Sonic Youth has composed music for it so bafflingly ambiguous and abstract that it could support either opinion.
But before gamers go crazy and start spreading false rumors and say the gaming business is bigger than
film, keep in
mind that
Modern Warfare 2 sells for at LEAST $ 60 and a movie ticket in 2008 was $ 7.18, according to boxofficemojo.com.