Sentences with phrase «more social drama»

It's more social drama than gangster movie, but there is plenty of violence, all of it of a furiously sloppy and savage nature of street thugs.

The six - disc set also features Cagney in Picture Snatcher (1933) and Mayor Of Hell (1933), Cagney co-starring with Edward G. Robinson in Smart Money (1931), Robinson in Brother Orchid (1940), and Humphrey Bogart in Black Legion (1937), which is more social drama than gangster film but can fit the bill in pinch.

The return to school comes with the return to more kids and more social drama.

Not exact matches

Both films integrated social issues into their narrative fabric quite naturally, even though Creed was angled more as a sports drama.

By setting this intimate conflict against a wider social drama, Daldry makes his portrait of a dancer all the more compelling.

Offbeat and funny but thoroughly realistic, this period drama explores issues of family, youth and social pressure through the eyes of a 15 - year - old who's just starting to realise that people perhaps are more complicated than...

And since independent film is where social progress typically finds its earliest, least compromised expression, we're now seeing more richly observant films like «Return,» a sensitively rendered drama that marks a promising debut for writer - director Liza Johnson, in rewarding collaboration with underrated actress Linda Cardellini.

Both principal actors have a strong enough sense of their characters, even as they're pulled into increasingly harrowing places, to make the film a more successful one than Loach's last few, but it's still schematic and predictable, and it aggressively stacks the deck against Blake and Kattie in a way that makes it more effective as social activism, and less so as drama.

Coming from the US, I take as much as I can from films that depict a culture I am unfamiliar with, but having the opportunity to discuss the technique and story of a French drama with someone who is more than familiar with the director's work and the social commentary surrounding a film brings about a whole new understanding and experience from what I initially left the theater with.

Silliphant personally scripts more 75 % of the first season, stamping the show with his brand of social drama and filling the dramas with troubled, tormented and just plain screwed - up souls looking for some peace.

The torch - lit Rembrandt lighting of the first few episodes has, thanks to the profusion of oil lamps, given way to a more even, golden illumination, a visual analog for how social and technological progress removes some of the darkness from life, yet leaves the essential human drama — the collision of individuals stumbling from cradle to grave — untouched.

Among the highlights include the world premiere of Chris Evans» directorial debut «Before We Go» (formerly «1:30 Train»), dueling Anna Kendrick films in dark drama «Cake» and musical adaptation «The Last Five Years,» ensemble comedy «This is Where I Leave You» starring Corey Stoll, Adam Driver and more, Jason Reitman's «Men, Women and Children» with Ansel Elgort, Kaitin Dever and others, and «99 Homes,» Ramin Bahrani's financial world set drama which also serves as the first film outside of «The Amazing Spider - Man» franchise for Andrew Garfield since «The Social Network.»

Best known for his acting credits, including In America and the cocky detective in Hot Fuzz, Paddy Considine elevates the British social drama into something more than your average miserable affair, tapping into the grandeur of Western archetypes as Joseph (I am sure there is a biblical parable in there somewhere as well) tries to do one right thing in a maddening world.

That's all the more true because of the kind of films she makes: laconic, gentle, yet delicately excruciating dramas of social unease.

Gina Prince - Bythewood's Beyond the Lights makes our social - media - driven celebrity culture such a centerpiece of its story that this old - fashioned romantic drama set in the world of showbiz seems more topical than it actually is.

Covering everything from action films, social dramas, love stories and crime films, what they have in common is an African identity and cultural grounding that make them more popular than Hollywood films for Nigerian audiences.

It sometimes feels that the British film industry only makes about three or four different kinds of movies: dreadful gangster films that rarely get a release abroad, gritty social realism pictures, period costume dramas, and semi-quirky comedies with a tearjerking side, exemplified by something like «Billy Elliot» or «The Full Monty,» but more often turning out like «Calendar Girls» or «Song For Marion.»