Sentences with phrase «most films about love»

Most films about love deal with the initial rush of emotion, when cheeks and hearts burn hot, with that thing that has been termed, most horrendously, as «meet - cute.»

Not exact matches

I can't argue with his marketing savvy — a month after its release, Love & Friendship had already become Stillman's most successful film — but I also can't help feeling that we Janeites were onto something when we wondered about the aptness of the new title.

Tom Levenson writes books (most recently Newton and the Counterfeiter) and makes films about science, its history, and whatever else catches his magpie's love of shiny bits.

How you feel about Kahlil Gibran's The Prophet, one of the most visually stimulating films of this or any year, depends on 1) how much you love animation and 2) what you think of Kahlil Gibran.

«Clean» might be a film in code about the most infamous of all rock - and - roll widows, but I hope not, since Allison Anders» «Sugar Town» had already done a fine job of eviscerating (again, in code) this woman, who nevertheless, love her or hate her, arguably served the important and underrated function of muse for the troubled drug - addled musician.

This modest, enormously likable film, about love and temptation and ties that bind, is about brotherhood most of all.

Most of the film is about a love story between down and out Andrew and epileptic Sam, who is making her way through life while keeping her disability a secret and trying to connect to someone besides her loving and yet embarrassing mother.

A film about sex, friendship, intimacy and most of all, love, Keep the Lights On takes an honest look at the nature of relationships in our times.

And even though I made the people I love most in this world do and say some of the stupidest shit ever put in a movie, I was still very particular about who would shepherd our film into the box office wild lands.

Loving, however, should not be dismissed as one of 2016's most important films, especially now that we're about to enter the darkest period of recent American history.

It's a film about what is not said; filled with painfully reserved people unable to express their feelings about life, love, right and wrong until it's too late; the sort of movie where the most action - packed scene is a maid asking to borrow a book.

The film is more about the love stories between Tim and Mary and Tim and his dad and how he can make the most out of his time with both of them.

In fact, it so desperately wants to capture that beatnik - y place and tone where crime films and swinging London met that it just seems to try too hard, slathering the movie with music, trippy visuals and other elements that just can't make up for the deficit of a weak and blandly told story about a ex-con (Colin Farrell) hired to look after a reclusive young actress (Keira Knightley) who finds himself falling in love, which of course puts himself in direct confrontation with one of London's most vicious gangsters.

The documentary is mainly comprised of interviews, many with the director himself in his apartment, but the highlight for most will be the scene of Tarantino and De Palma talking about the similarities in their careers of having to deal with public attention regarding the violent content in their films (this comes after an extended sequence featuring Tarantino explaining his love for De Palma, which includes a personal scrapbook of printed interviews and a description of the influence that Casualties of War had on certain elements in Reservoir Dogs).

European titles include La Grande Bouffe, Marco Ferrerri's most notorious film which unsurprisingly never received a theatrical run in Ireland in 1973 (given that it's about four friends who gather together one weekend to eat themselves to death), and Catherine Deneuve in Les Desmoiselles de Rochefort, Jacques Demy's exuberant love letter to American musicals.

Gray speaks to us about not directing Phoenix, his personal links to his films, and what he loves most about NYC.

Quentin Tarantino has, and will most likely always be my biggest influence as an aspiring filmmaker, and his latest film highlights everything I love about his style.

What I love most about Slant is that its film critics are wrong on nearly every film.

There are lots of other things I could say about the film — most of the music seems incongruous and yet is utterly fitting, which I love.

Tonkin charts Greene's love for film through the decades — from his years as a famed film critic (during which he wrote, Tonkin says, «perhaps the most notorious notice in the history of film criticism» about Shirley Temple) to his days as a movie insider and collaborator with such luminaries as Alexander Korda, Alberto Cavacanti, and, of course, Reed, with whom he made his most lasting mark on the medium.

Most festivals try to program films that bring celebrities to town, others try to program every last film they can think of, but Fantastic Fest is all about the people - the movie lovers with real grit, who love to find great films even if they're horror flicks from Spain or hip hop musicals from Japan.

Jesus Chris, I know Spike has never been the most «tactful» or «low - key» presence in film, and we love him for it, but can he PLEASE shut the fuck up about the Eastwood thing?

For their new film @DisobedienceMov, Rachel McAdams and Rachel Weisz talk about «the most raw and vulnerable love - making scene» they've ever done.

I also loved the punk rock nihilism of Buzzard — another movie about escalating disasters — and Spike Lee's heedlessly over-the-top Chi - Raq, a sex comedy about gun violence that I'd argue is the most vital film of the year.

by Walter Chaw Alan Parker likes to use his platform as a film director to preach about all manner of society's more obvious ails, reserving the bulk of his ham - fisted proselytizing for the problems he himself identifies as endemic to the United States: hedonism and drug abuse (The Wall, Midnight Express); the price of a culture of fame (The Wall, Fame); the price of Vietnam and our broken social services system (Birdy); the rampant Yankee tragedy of divorce (Shoot the Moon); racism (Mississippi Burning, Come See the Paradise); our love / hate / fear relationship with food (The Road to Wellville); and, most recently (and egregiously), the death penalty (The Life of David Gale).

But what's fascinating about the film's premise is that it gives Tanne more character detail and topics of conversation to work with than most filmmakers have when they're telling a love story.

And now, with The Florida Project — one of the most highly buzzed - about films at the 2017 Cannes Film Festival, where it premiered in the Directors» Fortnight section — Baker's skill as a loving humanist chronicler of America's garish forgotten places has ripened into something truly marvelous.

And even though I made the people I love most in this world do and say some of the stupidest s — ever put in a movie, I was still very particular about who would shepherd our film into the box office wild lands.

What surprised me the most about The Disaster Artist is the fact that the film feels like a love letter to dreamers while celebrating friendship, drive, and passion.

What I love most though is how these two want to work, the projects they talk about, and how those projects will not only change the conversation about diversity in film but also begin a new conversation about black film.

Here are a few of the most interesting, entertaining and vibrant films about aging folks who continue to live, love, chase their dreams, fight for their independence, defy society's expectations and, when necessary, rage against the dying of the light.

I love how this film showed another story about my two favorite cats Muta and Baron from the Whisper of the Heart movie; and how this movie stuck with that basic format used for most Japanese films.

Written and directed by filmmaker Richard Curtis (Notting Hill, Four Weddings and Funeral, Love Actually) and Mat Whitecross (Spike Island, Road to Guantanamo) and created by The Rumpus Room, people around the world have the chance to co-star alongside some of the world's most famous people to help «Tell Everyone» about the Global Goals by adding their voice to the film.

Having played supporting roles in most of his previous films, Domhnall found the chance to show off his potential as a leading man in Richard Curtis» romantic comedy About Time with Rachel McAdams as his love interest.

It's why I was curious about Dorota Kobiela and Hugh Welchman's insane Loving Vincent, a feature - length film composed of over 65,000 hand - painted oil paintings, animating Van Gogh's most famous paintings and making characters of his subjects.

Like most films of its ilk, Walk Hard may go too over-the-top to prove itself, but there is something charming about it, underscored by its genuine love of music and affinity for musicians.

I think what turned me off the most about the film was the unwavering and blind love of the Nolan fanboys.

The Newell film Harry Potter 4 most resembles, however, is Four Weddings and a Funeral (his conduit to the big time and, consequently, the one he's most likely to cannibalize when handed the golden ticket), in that this third sequel tries to worry itself about the trials of youngsters falling in puppy love, going to their first formals, and learning that there are such things in the world as death and taxes.

At its core, this is one of the most incisive, penetrating, and empathetic films ever made about what it truly means to love another person, audaciously disguised as salacious midnight - movie fare.

In his first lead role, Affleck plays a magnificent doofus, and a problematic story about a Catholic guy who wants to date a lesbian shifts gradually into perhaps the most honest film made about love in the 1990s.

Fisher, who was known most for having played Princess Leia in the popular epic space - opera film franchise, spoke to Ridley about the way stardom would impact her search for love and said that her personal life was set to become more complicated, reports mirror.co.uk.

But for all that, «Annie Hall» is hands down the most hilarious film ever made about love, hysterically funny and packed with gags.

Perhaps the most remarkable aspect of the movie is how current it manages to be, including references to «The Dark Knight» (well, to Batman, anyway) and just about every film to make back its budget in the last year — and then it kicks «Speed Racer» and «Love Guru» while they're down, for good measure.

Charlotte Rampling and Tom Courtenay co-star as a married couple about to celebrate their 45th wedding anniversary when news comes that the body of the husband's first love has been discovered, frozen and preserved in the Swiss Alps... And if you want to see a film directed by Alan Rickman, watch out for A Little Chaos starring Kate Winslet and Matthias Schoenaerts... And this week's most stupid remake is the pointless «reboot» of Point Break to be directed by someone called Ericson Core, who seems to think that Gerard Butler can fill Patrick Swayze's shoes.

It's So Easy and Other Lies (Masa, Expansions, KEXP Blog) NEW Interview: «808» Producer Alex Noyer (Masa, Expansions, KEXP Blog) NEW Two Movies Co-Exist in «Love Among the Ruins» (Tony Kaye, City Arts) NEW Rock Radio Royalty (Tony Kaye, City Arts) NEW SIFF interview: The creators of «The Automatic Hate» talk about one of #SIFF2015's most unforgettable films (Chris Burlingame, The Sunbreak) NEW All Things Must Pass (Janice Headley, KEXP Blog) NEW The Glamour & The Squalor (Chris Estey, KEXP Blog) A Rock and Roll Beach Movie of the Mind (Tony Kaye, City Arts) Creative Control (Cat McCarrey, City Arts) SIFF Thriller «Circle» Isn't Spinning its Wheels (Tony Kaye, City Arts) PNW Filmmaker Ventures into the «Valley of the Sasquatch» (Tony Kaye, City Arts) «Uncertain» Sets the Bar for SIFF Documentaries (Tony Kaye, City Arts) 808 (Chris Estey, KEXP Blog) Itsi Bitsi (Chris Estey, KEXP Blog) Don't Think I've Forgotten: Cambodia's Lost Rock and Roll (Chris Estey, KEXP Blog) Beats of the Antonov (Janice Headley, KEXP Blog) Is There a Way Forward for Superhero Movies?

What Crowley and Hornby achieve is not only a compelling love - story of the old - fashioned kind, but they choose, tellingly, to make the film's most pertinent points about Eilis» self - discovery and journey.

A buoyant film about deep sadness and political disquiet, and quite the most fucked - up love story out there.

Ultimately the men realize that sometimes our most important experiences come later in this lush film about life, love, death and art.

What I loved the most about this film is the unbiased look it takes at such a terrible situation.

Chattanooga Film Festival 400 River Street Chattanooga, TN 37405 Chattanooga Theatre Centre April 5 - 8th The Chattanooga Film Festival loves everything about cinema: the films, filmmakers and audiences; the critics, collectors and curators; and most especially the popcorn.