Sentences with phrase «more as a filmmaker»

In Good Company sees writer - director Paul Weitz (American Pie, About a Boy) maturing even more as a filmmaker, as he gets the tone of this seriocomic look at the state of corporations and their anti-family approach mostly right.

Can you imagine when she grows even more as a filmmaker?

Not exact matches

He added that the extra revenue would wind up as a boon to filmmakers, with studios investing more money in film budgets and making more movies overall.

China's richest man, on a buying spree in Hollywood, urged U.S. filmmakers to work more closely with the Asian country as he unveiled a subsidy meant to lure productions to his multi-billion dollar studio in the eastern Chinese city of Qingdao.

«I think the investment that Netflix is putting into interesting filmmakers and interesting projects would be more admirable if it weren't being used as some kind of bizarre leverage against shutting down theaters,» he said.

It's the first movie Gibson's directed in a decade, since he became more known for his racist rant during a DUI arrest and allegations of domestic abuse than his work as a filmmaker.

Lake's legacy and perhaps her greatest love is her role as independent filmmaker, launched with her 2008 documentary, «The Business of Being Born» and 2011 follow - up series «More Business of Being Born.»

As more and more stars have started to denounce filmmaker Woody Allen, his longtime friend and «Annie Hall» co-star, Diane Keaton, is sticking by his side, calling him a «friend» on Twitter and saying she believes his claim he didn't molest his daughter, Dylan.

A century later, the filmmaker seems more leftist, saving Beth from Davis» fate as a satirical target, when by dumb luck, she spots Freeway from her airplane seat, and becomes an accidental hero by concocting a fake emergency to fool the pilots into landing.

And in the end, the only thing that really matters is that the filmmakers were market - savvy enough to frame Atom — the junkyard bot adopted by Goyo's character — as a puppyish, adorably scrappy, Iron Giant - style affection machine and, more importantly, to pair him with Goyo and allow them both to run roughshod over Jackman.

The filmmakers went into this project insisting that all the actors do their own singing, and while «crooners» like Pierce Brosnan and Colin Firth (let alone Stellan Skarsgård, who is very, very brave to have done his own singing) are not going to go down in history as much more than barely competent, star Meryl Streep, who has already proven her musical chops theatrically and previously in such films as Postcards from the Edge, is marvelous, if a bit too country - yodelish for this patently pop score.

It's clear almost immediately that filmmaker Shawn Levy just doesn't have the right sensibility for this material, as the director, known for his fluffy, decidedly comedic offerings, has infused This Is Where I Leave You with a terminally lightweight feel that grows more and more problematic as time progresses - as the absence of authentically heartfelt moments ultimately proves disastrous (ie the film possesses the feel of a glorified sitcom, for the most part).

Malick, who remains in a league of his own as a filmmaker of pure high art, creative and artistic excellence, epic heights of groundbreaking grandiosity, metaphysical transcendence, spiritual awakening, symbolism, and so much more... Tree of Life represents his highest note in filmmaking achievement.

While shooting itself in the foot with a cast of such world - renown, gut - bustin» jesters like Billy Bob Thornton and Jon Heder, «Scoundrels» more importantly wasted the talents of director Todd Phillips in a major way, casting serious doubts on his developing abilities as an ace comedic filmmaker.

Such cross-cultural kinships would have likely been illustrated with more finesse by a more seasoned filmmaker; however, Jolie's worldly, non-Tinseltown exploits seem to have palpably informed her work, making her the rare American director of combat cinema whose outlook is as temperate as it is unapologetic.

Taking the film on its own material terms, there's a perverse frisson of pleasure — of sweet, egregiously unequal justice — to be had in watching two people this immaculately beautiful finally unite in quite such accordingly beautiful fashion, and it's here where James (once more acting as producer) and the filmmakers have us right where they want us.

The end result is a well - intentioned yet hopelessly ineffective thriller that would've been better off with a more talented filmmaker at the helm, as it's becoming all - too - obvious that Berg simply doesn't have the chops to handle big - budget action fare.

As our descendants evolve, colonize more of their own brains, and approach the man - machine singularity, filmmakers can continue to add onto Lucy, and then some critic can add on to the end of this review because we'll never evolve beyond movie criticism.

It's just as clear, however, that the film's incongruously languid pace stands as an almost insurmountable obstacle virtually from the get - go, as filmmakers Jon Hurwitz and Hayden Schlossberg have employed an episodic structure that becomes more and more problematic as the thin narrative unfolds - with the ongoing emphasis on subplots of a decidedly underwhelming nature (eg Jim's continuing efforts at resisting the advances of a sultry neighbor) compounding the movie's increasingly lackluster atmosphere.

Bustling with manic energy, I, Tonya attempts to cobble together a variety of perspectives — including that of the filmmakers — to create a portrait of, and perhaps rejoinder to, history's assessment of the record - breaking athlete as little more than a»90s tabloid footnote.

For those without strong feelings for the Harrison Ford - era Clancy adaptations, which were polished but largely unmemorable, American Assassin works best as a little - league version of one of those or, in more contemporary terms, as an unsurprising origin story for what the filmmakers obviously hope is the beginning of a franchise.

Die - hard fans will be thrilled with the extensive interviews and concert footage; as a more casual fan, after an hour I had learned almost everything I ever wanted to know about the man and was ready for the filmmakers to wrap it up — I was shocked to realize I was less than halfway through the movie.

It's a promising setup that's employed to curiously (and consistently) uninvolving effect by director Stanley Kubrick, as the filmmaker, working from a script cowritten with Terry Southern and Peter George, proves unable to wholeheartedly capture the viewer's interest right from the get - go - with the movie suffering from a stagy, talky vibe that grows more and more problematic as time progresses.

It's a seemingly foolproof premise that's employed to distinctly (and consistently) underwhelming effect by director Johannes Roberts, as the filmmaker, working from a screenplay cowritten with Noel Clarke, Dave Fairbanks, and Marc Small, offers up a narrative that's been jam - packed with generic, hackneyed elements that slowly - but - surely drain one's interest - with, for example, the movie's absence of sympathetic characters growing more and more problematic as time progresses.

As both a fiction filmmaker and a documentarian, Wim Wenders has always been more concerned with the journeys of individuals than the systems and institutions in which those journeys are made.

Filmmakers John Francis Daley and Jonathan M. Goldstein have infused Vacation with an almost aggressively episodic narrative that grows more and more problematic as time progresses, as the movie suffers from a hit / miss ratio that is, to an increasingly palpable extent, far more miss than hit and it does consequently become awfully difficult to work up any genuine interest in the protagonists» continuing exploits.

Commercial movies like Black Beauty and The Yellow Rolls Royce have utilized the same format, and more recently, adventurous filmmakers have experimented with this structure in such films as Go and Pulp Fiction.

Obviously alotting more work, and money, towards getting an ensemble cast — as opposed to garnering producers with emphasis on purpose and ingenuity — the filmmakers, here, create a product that is not the least bit unique; it's a generic label laden with followed genre - specific cliches, bawdy humor, and disjointed direction.

There's consequently a lack of momentum here that grows more and more pronounced as time slowly progresses, while the movie's anti-climactic final stretch ensures that Snowden ends on as underwhelming and forgettable a note as one could envision - which ultimately confirms the movie's place as a tremendously disappointing missed opportunity and yet another subpar effort from a once - vital filmmaker.

A prolific filmmaker who is more concerned with the drive of her characters rather than the plot that weaves them together, she has been dubbed by one critic as one of the only current French directors who «has been able to reconcile the lyricism of French cinema with the impulse to capture the often harsh face of contemporary France.

Lucy is the more fun and successful of the two, mostly for Besson's ability to understand his limitations in terms of what he can achieve as a filmmaker, and his knowledge of how to construct his films to appeal to a worldwide audience.

It's a manipulative, disingenuous gesture that displays a lack of self - reflexivity from Chevigny and Kauffman, who clearly view their documentation as separate and more noble than the cacophony of spectacles and violence propagated by Hollywood filmmakers.

As a filmmaker, Beatty has really bitten off more than he can chew.

As anyone who has seen Maddin's stunning 2000 short film «The Heart of the World» (possibly the pinnacle of his career) can attest, he can cram more complex storytelling and memorable imagery into a few minutes of screen time than most filmmakers can muster in an entire career.

Somehow, even the jokes that worked in the trailer don't work anymore; it's as if the guy who cut the trailer had more of a knack for timing than the filmmakers behind this sloppy mess.

Even as its plot suggests more traditional coming - of - age dynamics, the filmmaker doesn't retread familiar territory so much as reinvent it.

As a filmmaker, why undermine the tenuous «reality» of your characters by reducing them to pawns in cartoonish sequences that would be more appropriate in a Saturday Night Live skit?

The filmmakers referred to the film more as fan fiction and it might not actually live up to the standard set by Mark Twain's stories, but it certainly is fun to see them try to tell a modernized story of Tom Sawyer and Huckleberry Finn.

Perhaps more significant is how Yoga Hosers shows Smith's continued devolution as a filmmaker.

Unfortunately, the filmmakers end up coming off as more uncaring than the world they want to depict.

As a supporting actor, Kebbell's somewhat more likable, but the filmmakers fail to elaborate on Agenor past being the goofy, often under - appreciated, sidekick.

At the same time, Uchida is responsible for some of the most remarkable swordplay films of the 1950s and»60s; his five - film Musashi Miyamoto epic (not screened at MOMA), starring Kinnosuke Nakamura in the title role and Ken Takakura as his arch-nemesis Kojiro, surpasses the better - known Inagaki Samurai Trilogy starring Toshiro Mifune in terms of both drama and swordplay, yet remains little - known in the West (despite its availability on DVD in the U.S.) After the BAM retrospective (and others) in 2008, most of Uchida's films remained unscreened and undistributed in America, so with MOMA's bigger series recently ending, it's time again to encourage distributors like the Criterion Collection, Kino Lorber, and Arrow Video to bring out more of the director's masterpieces, both for critical reconsideration and for those whom the veteran filmmaker will be a major new discovery.

Affleck's first time at bat as a filmmaker is more than promising, it's strikingly assured, showing a keen eye for the exact moment when action defines character.

They never get enough attention on the Red Carpet and, as an aspiring filmmaker, I think they deserve a lot more notice.

«His father's success helped to pave the way for black filmmakers such as «Spike Lee, John Singleton and the Hudlins,» Mario said, but even more important, «I saw my dad unite behind gender, color lines, everything, before it was fashionable to do so.

Given In Good Company's small - screen aesthetic, it's ironic that Weitz lets out a sigh of relief that Grace (late of «That»70s Show») didn't need to break any «TV habits,» although he has grown enough as a filmmaker to have developed theories of camera movement, such as that left - to - right pans possess a more «melancholy air.»

I think the more Anderson self - indulges, the more free he feels as a filmmaker, and this looks to be his most assured step yet in that direction.

Burton's fanatics will once again have reason to rejoice, as he has crafted another animated fantasy that definitely delivers in quality, although some of his more critical fans may feel that he is stepping back rather than growing as a filmmaker with this entry.

Conveying that first glance of mutual attraction as a tracking shot over a crowd of dancers, it's a perfect example of the kind of thing Bonello does more purely than just about any other living filmmaker.

Here's to hoping one of these makes some goddamn money, so more filmmakers can trick studios into backing what are, more often than not, complete expressions of worldview disguised as stories about cowboys and horses.