Sentences with phrase «moment in cinema history»

For although we have arrived at a moment in cinema history where — at last — there are more remarkable cinematic accounts of homosexual love than ever before (Barry Jenkins's Moonlight, Francis Lee's God's Own Country, John Trengove's The Wound), this film occupies a subtle category of its own.

During the New York Film Festival press conference, in discussing a shared favorite film of author / screenwriter Brian Selznick and Todd Haynes - the uber - influential The Wizard Of Oz - Selznick said, «The moment, which I think is maybe the greatest moment in cinema history, is when Dorothy opens the door from her black and white world in Kansas into Oz... Maybe that's what this entire movie is...»

Because Black Panther isn't just a crowd - pleasing superhero movie (though it is that for sure), it's a vital moment in cinema history and a heartfelt, thoughtful exploration of the scars of colonialism and the hope for healing.»

(Note: one can't review Skyline without commenting on the film's ending which is, when one thinks about it, one of the biggest bullshit moments in cinema history on oh so many levels.)

Add in spaceship fights, a ground war, and hundreds of rushing Arctic gear covered stormtroopers, and you have one of the most thrilling moments in cinema history.

Not exact matches

While I can't endorse the film as a masterpiece, or even excellent there are enough great moments to respect it as a worthy effort, even if I can't join in with those who champion this as one of the greatest masterworks in the history of cinema.

The early 1970s to the late 1980s was a unique moment in Australian cinema history; a time when censorship was reigned in and home - grown production flourished, resulting in a flurry of exploitation films — sex comedies, horror movies and action thrillers — that pushed buttons and boundaries, trampled over taste and decency, but also offered artistry within their escapism, giving audiences sights and sounds unlike anything they had seen in Australia before.

A dream - sequence reunion between Erik and his slain father (Sterling K. Brown) might count as the most affecting moment in MCU history — if not all of superhero cinema — were it not for Killmonger's final lines: «Throw me in the ocean with my ancestors that jumped off the slave ships,» he says, «because they knew death was better than bondage.»

The jokes are solid, but the parts that really shine are just straightforward moments from the movies — or its promotion — themselves, presented largely, or even entirely, without comment, culminating in possibly the least sizzling sizzle reel in the history of cinema.

Half an hour into Tom Hooper's adaptation of the long - running stage musical Les Miserables, he fixes his camera on Anne Hathaway's tortured, tear - streaked face, and she delivers what ought to become one of the great moments in musical cinema history — right up there with Dorothy singing wistfully of a land far away, Gene Kelly swinging happily around damp lamp poles, and a problem like Maria singing to the grassy Austrian hillsides.

These concerns can be felt throughout Ford's filmography, which returns again and again to the potentials and pitfalls of group formation at a moment in American history — and within a genre of American cinema — defined by the collisions between people of varying classes, ethnicities, and visions of the nation's future.

As a piece of cinema, though, the movie looks back, toward a much earlier moment in the history of the medium.

True North's counterpart, Fantôme Afrique, weaves cinematic and architectural references through the rich imagery of urban Ouagadougou, the centre for cinema in Africa, and the arid spaces of rural Burkina Faso, and is punctuated by archival footage from early colonial expeditions and landmark moments in African history.

Influenced by history, cinema and popular culture, Spanish artist Ernesto Cánovas sources images from old and new media to produce evocative, semi-abstract paintings that capture a fleeting moment in time.

Further, the main section is complemented by a number of cinema and screening programmes which point up some defining moments in the history of video.

• Christian Marclay's The Clock (2010), a 24 - hour single - channel montage constructed out of moments in cinema and television history depicting the passage of time.

This important moment in the history of the museum marked a defining shift towards a view of contemporary art that locates it within the broader landscape of contemporary visual culture — a direct reflection of the growing importance, from the early 1990s onwards, of film and cinema in contemporary art production, as well as the convergence of film and visual art as once - distinct media.