Sentences with phrase «modern cinema more»
BEST SUPPORTING ACTRESS Nowhere is the paucity of well written female characters in modern cinema more evident than in this years» Supporting Actress category.
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His film has had much more immediate critical love, but the dwindling box office means that this is a movie destined to be discovered on that modern day equivalent of the repertory cinema, Netflix.
These battle scenes feel more akin to modern action cinema and while they may be the main event to historians and war buffs, they're also more routine and less entertaining for the average viewer.
Few film franchises have been more constitutive of the modern movie spectacle (and the digital age of cinema) than Harry Potter.
Though it did premiere at Cannes, Thief isn't an obvious selection for Criterion, who tends to release vintage, foreign and independent cinema much more frequently than modern American studio fare.
Tracing the lineage of Japanese cinema can either lead from the traditional stage (Noh and Kabuki (as in Ozu, perhaps, or, more recently, Hayao Miyazaki)-RRB-, or it can lead from the American westerns of John Ford, as in Akira Kurosawa's work and, via a more circuitous route, the modern gangster cinema of Takashi Miike and Takeshi Kitano.
If critics have a function anymore besides carving their own gravestones on the marble of modern cinema, it's to point a finger at films like Junebug, which sounds like a thousand other pictures but is actually something all its own: a Southern Gothic in the tradition of Flannery O'Connor that treats its characters as more than plot - movers or cardboard caricatures.
This particular film, directed by Scott Derrickson (Sinister; The Day the Earth Stood Still) is an axiom in the sense that modern cinema is trending the more visual route rather than the intellectual.
Death Proof (# 40) Quentin Tarantino's minimalist revenge flick masterfully juxtaposed a Sixies and a modern view of feminism to tear down Stuntman Mike's steely resolve and reinstate women as an authoritative force of the cinema, succeeding where more obvious feminist pieces like The Brave One failed.
High - Rise (Ben Wheatley, 2016) Ben Wheatley and Amy Jump have confirmed themselves to be the modern masters even as they move towards more mainstream cinema.
Darkman may be rough around the edges, but it won my heart in 1990 and only seems more welcome today with its homemade charm that completely escapes modern blockbuster cinema.
This film may not be great enough to wonder why it didn't feature in the award season discussion (and its Visual Effects nomination over the more effects - driven Scott Pilgrim vs. the World and Tron: Legacy is a real head - scratcher), but it still easily lands at the better end of modern cinema.
Nevertheless, the exciting pulp quality of the role gives it a special place in modern cinema, and as conceived with Thurman, is one of Tarantino's more interesting creations.
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.
More than that, Gods of Egypt will in itself become a fable of the failures of blockbuster cinema, how drama or a even a slightly compelling script can't compete with the sheer mediocrity of a product manufactured to meet the poor, and misguided standards of what the modern movie resembles today.
Classic Hollywood flicks, gritty film noir, Taiwanese new wave, and modern Indian cinema Read more
As a result of this exceptionally offbeat aesthetic, his trademark dry wit, Anderson has won critical acclaim from both sides of the Atlantic, and there are certainly not many modern directors whose films can create such an air of anticipation amongst the more cine - literate of regular cinema attendees.
The inside of the museum is even more impressive and houses the most important modern art museum in Europe with more than 50,000 works of art from 5,000 artists, as well as a library, cinema and various performance spaces.
Birthplace of modern cinema and self - professed gastronomic capital of the nation, ancient Lyon has much more to offer a would - be tourist than the fantastic restaurants it has become synonymous with.
Museums, galleries, libraries, theatres, cinemas, they're all here, and more, including the National Library of Scotland, the National Gallery of Scotland and Scottish National Gallery of Modern Art, the Royal Botanic Garden and, of course, Edinburgh Castle, which dominates the skyline.
Contemporary art from elsewhere gave me far more — the Kabakovs with their tremendous lament for a mother Russia that might have been, using the illusion of cinema as the purest of metaphors; the lissome visions of the Lebanese artist Saloua Raouda Choucair in painting and sculpture at Tate Modern — Islam meeting modernism.