Sentences with phrase «modern film director»

It would be difficult to name a more dependable modern film director than Brad Bird, the animator turned writer / director responsible for some of the most beloved animated films of recent decades,

Not exact matches

As he began his film career, the director grew obsessed with telling the Noah story from that perspective — and employing the power of modern special effects to portray Earth's first apocalypse.

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.

It is for this sense of the transcendental that Malick is often hailed by some as a modern - day Robert Bresson, the director of such films as the deeply spiritual Diary of a Country Priest.

Susan Spungen The Modern Cook The food stylist behind sumptuous films like It's Complicated, Julie & Julia, and Eat, Pray, Love, Susan started her career in food as the founding Food Director at Martha Stewart Living.

The film, which hits theaters February 16, is a modern twist on a romantic comedy (boy and girl meet, fall in love, but then break up, and are suddenly reunited, ending up in that awkward stage where they have to debate whether to wave hello while taking out the trash), but it's also a particularly female spin on the coming of age story, the likes of which we're only beginning to see onscreen as more women carve out a place for themselves in writer's rooms and director's chairs.

This idea, of social commentary illuminating an absurd aspect of modern life, is precisely what director George Romero was stating with his pivotal film, Dawn of the Dead.

Director Chris Columbus has brought together the modern and mythical spheres with sharp pacing and a nifty sense of fun that atone for the film's dippier moments.

The year 1997 featured Sutherland as Joey in a modern film noir called The Last Days of Frankie the Fly, and as director of the psycho - thriller Truth or Consequences, N.M..

When written out as a list like this, one might expect the film to go through these problems like a tick - box of «working - class misery», or for the inhabitants of Bradford to be manipulated by a director wanting to take pot shots at modern Britain.

A remake of the 1974 film of the same name, Death Wish pairs aging action icon Bruce Willis with director Eli Roth (Hostel, The Green Inferno) to bring the classic tale of vigilante justice to modern audiences.

Maybe then, if some of them become become directors, they won't just be ripping off Tarantino and P.T. Anderson and causing Roger Ebert to write worried commentaries about the state of modern film, but will know the source that it all comes from

Maybe if they realized the influence these classic directors and films have had on the modern filmmakers and movies they enjoy, they would be more inclined to see these films.

Director Michael Mann does a retread and modern film version of his highly successful 1980's television series and despite his calibre, this turns out to be just like all the other poor makeovers of hit TV shows.

9) Bang Gang (A Modern Love Story) Directed by promising director Eva Husson, this unflinching and mesmerizing French film has early day Sofia Coppola's style mixed with Larry Clark's Kids.

We sat down with the writer / director recently to discuss some of the film's themes and get his thoughts on the state of modern comedy.

With only two feature films and one TV show to his name, writer / director Jody Hill, is now synonymous with ignoring the boundaries and «genre rules» of modern comedy and creating anti-heroes that laughably burble with nihilistic rage, scary faux pas and hot - air egos.

With modern warfare thriller Eye in the Sky out now in cinemas [read our reviews here and here], Scott J. Davis sat down with director Gavin Hood to discuss the film.

Director Steven Soderbergh has averaged a film a year since his acclaimed 1989 debut Sex, Lies & Videotape, an incredible work rate by modern filmmaking standards especially for one who frequently works within the political vagaries fof the studio system.

And its also nice to see a director turn away from the modern - MTV look that so many of todays films have and take on a more Hitchcockian approach.

Directed by Steven Spielberg, one of America's most accomplished modern - era directors, the film is both technically and emotionally powerful, rudely propelling its audience into the sheer nightmare of the war arena in order to shock it out of its customarily passive role and engender some level of emotional identification with its key characters.

DIRECTOR Matthew Heineman follows up his brutal, Oscar - nominated Cartel Land with this equally harrowing and alarming film focused on one of the modern world's most inescapable issues.

In this Sundance award - winning film, Director Matthew Heineman and Executive Producer Kathryn Bigelow («The Hurt Locker», «Zero Dark Thirty») gain unprecedented, on - the - ground access to the riveting stories of two modern - day vigilante groups and their shared enemy — the murderous Mexican drug cartels.

Pieces from several Marvel Studios releases, as well as director Taika Waititi's film, are on display at Marvel's Art Exhibit over at the Queensland Gallery of Modern Art in Brisbane, Australia.

Champions: The film - a musical set in modern day Tinseltown - landed 12 nominations, and took home gongs for Best Director for Damien Chazelle, Best Screenplay, Best Production, Best Score, Best Editing and Best Song

It's legendary for a reason: director Roman Polanski's 1968 film Rosemary's Baby is every bit the disturbing, terrifying modern horror story it's always been.

Modern movies are too long - self indulgent directors ruin their own films because they don't know when to cut.

Though «Triple 9» falls right in Hillcoat's wheelhouse and looks every bit as dark and gritty as his previous films, the modern - day setting is a slight departure for the director.

The two directors whose films I saw most often were WANG Tianlin / WONG Tin - Lam (father of modern - era, popular, low - brow, commercial film director WONG Jing) and YI Wen.

Directors Jonathan Dayton and Valerie Faris have leaned upon the modern resonance of the film to engage with audiences.

Director Tsui Hark and fight director Sammo Hung provide some great wire - fu action sequences among the convoluted plot that is typical of these kinds of Chinese epic moderDirector Tsui Hark and fight director Sammo Hung provide some great wire - fu action sequences among the convoluted plot that is typical of these kinds of Chinese epic moderdirector Sammo Hung provide some great wire - fu action sequences among the convoluted plot that is typical of these kinds of Chinese epic modern films.

The film equivalent of a stroll through the Louvre, the documentary Visions of Light: The Art of Cinematography collects interviews with many of modern - day Hollywood's finest directors of photography and is illustrated by examples of their best work as well as scenes from the pictures which most influenced them.

ABOUT SCHMIDT Director Alexander Payne's film about a Midwestern widower on a journey of self - discovery is uncompromisingly bleak as well as cutting in its portrayal of the casual vulgarity of modern life.

So while Vernon, Florida has become something of a Medium Cool for a new generation of film brats (All the Real Girls director David Gordon Green cites the work as one of his all - timers), The Thin Blue Line has become the moment that many point to as the definitive modern reintroduction to the debate about the matter of degrees that separates fiction from non-fiction cinema.

Sean Baker, director of the critically acclaimed «Tangerine,» chats with Backstage about how shooting an entire film on his cellphone affected his relationship with his actors, and the modern way he cast the visually stunning film.

Director David Mackenzie (a 2014 Breakout Director) crafts the film with the grittiness befitting a modern prison drama, but so much falls on 24 - year - old O'Connell's lead character: the film lives or dies on his angry - dog turn.

In «Horror 101: The Exclusive Seminar» (10:27), director James Wan and writer Leigh Whannell separately discuss their philosophies for the film, putting new spins on the haunted house and possession genres and doing certain things differently from other modern movies.

New York Stories is an extremely mixed bag, but it is essential viewing for fans of three of the most celebrated directors in modern American film.

The Wind and the Lion (1972), the sophomore feature of the film school - trained screenwriter turned director, takes on a romantic tale of rebellion and response, honorable ancient codes and modern military might, and the first stirrings of the United States of America, the modern, maverick young country in a political culture dominated by the history - seeped empires of old Europe, as a world power.

Now, the actress, writer, and director have come together for a film that's perhaps slightly less biting but far more resonant in its depiction of the struggles of modern middle - class parenting.

Five years later, the actor and director reunite in «While We're Young,» a film that, in some ways, takes Greenberg's morbid fascination with modern youth as its jumping - off point.

Director / star Jiang Wen has crafted a modern take on the wild Hong Kong action films of the eighties heyday, with all the energy, dotty humor, broad performances, and mad plot twists, and drops himself in the center as the eye of calm at the center of the chaos.

An exchange of these new films would be cultural beneficial not only for the modern American cinema but also for off stream foreign film directors.

Writer / director Aaron Katz exhibits some strong film - making instincts throughout this modern noir.

8:00 pm — Sundance — Mammoth A favorite among a few Row Three writers, though not unanimously, this film from Swedish director Lukas Moodysson gives a three - faceted look at the modern world, contrasting an American businessman, his family, their Filipino maid, and her family.

Director Bryan Singer still seems to be chasing the greatness that's eluded him since 1995's The Usual Suspects, his second film and modern cinematic classic.

The jury, of course, is too busy watching the 17 films in the main competition to follow some of the other sections such as «New Directors,» a complete retrospective of that whimsical purveyor of modern fairy tales, Jacques Demy, and «The American Way of Death,» a vast program of 40 crime movies from 1990 to 2011.

Writer - director Scott Cooper is consumed with the fashionable self - loathing of the anti-patriotic Left, a self - loathing that was also evident in last year's despicable, ludicrous, and self - congratulatory neo-western Wind River — an apology to disenfranchised Native Americans that nonetheless lionized repentant white Americans as the film's modern - day protagonists.

For films offering highly critical looks at modern life and its inmates, there are of course many other directors one could also reference, ranging from Michelangelo Antonioni to Michael Haneke.

; the famed director hopped from helming a film with porcine themes (Porco being about a bounty hunter pilot cursed with the façade of a pig) to producing one rich in Japanese culture and modern history