Sentences with phrase «movement on films like»

Some of that word of mouth shows up today with some movement on films like Suburbicon, The Greatest Showman, and Paul Thomas Anderson's Untitled Fashion Project.

Some of that word of mouth shows up today with some movement on films like Suburbicon, The Greatest Showman, and Paul Thomas...

Not exact matches

Here are some of the resources available — let us know on the order section at the base of the licence agreement which, if any, you would like: • A5 small flyers about Fair Food & AFSA • A4 flyers with more information about Fair Food and Food Sovereignty in Australia and why we need a Fair Food movement • Scripts or guided conversation outlines are available to use to introduce the film and to use at the end of the screening to stimulate discussion

Goodman's film, while stressing Timothy McVeigh's virtually one - man show in accumulating the needed materials for a bomb which he detonated on the Alfred P. Murrah Federal Building, spends almost half of its ninety - eight minutes giving the backdrop — not way back to third - party structures like the anti-Catholic Know Nothing movement of 1855 but stretching to the mischief - making of two of McVeigh's forefathers.

By focusing on the specific (and frequently heartbreaking) stories of the aforementioned parents, former Congresswoman and gun - violence survivor Gabrielle Giffords, and Moms Demand Action founder Shannon Watts — who was motivated to action by Newtown and unwittingly sparked a grassroots movement on Facebook — the film lays out the gaping holes in the system where regulations are needed, and offers hopeful examples of activism in the face of what often feels like an insurmountable problem.

When it comes to this crop of nominees, there seems to be a movement towards bigger, stronger, more popular casting and films like Adam McKay's The Big Short and Alejandro González Iñárritu's The Revenant — the former a dramatic comedy centered around the collapse of the housing and credit bubble of 2008, the latter a brooding take on life on the frontier in 19th century America — epitomize star - studded casts.

Sidelining many of the most inspiring aspects of the civil rights movement, the film focuses solely on the nitty - gritty and often alarming way in which Johnson juggled the opposing demands of movement leaders, like Martin Luther King (Anthony Mackie), with those of Southern Democrats, embodied here by Johnson friend and mentor Georgia Senator Richard Russell (Frank Langella), to force the act through a divided and, in many cases, openly racist Congress.

Also new this week: «Blank City» (Kino Lorber), a documentary on the «No Wave» movement of DIY films in New York City in the eighties (Blu - ray and DVD); Nicolas Roeg's «Track 29» (Image), with Theresa Russell and Gary Oldman; «A Town Like Alice» (VCI) and «Carve Her Name with Pride» (VCI), two British war dramas starring Virginia McKenna.

The question of the title of the film therefore takes on a deeper resonance as one considers the tantalizing mélange produced by a marriage of noir, the western, and a jazz movement founded on unrest and violence, sold through a uniquely Japanese medium (animé, natch) that has been the vehicle for some of the most profound examinations of nihilism, violence, and romanticism (thinking especially of masterworks like Grave of the Fireflies and last year's Spirited Away) in the modern cinematic vocabulary.

But the key member of the so - called «mumblecore» independent film movement reached a new level last year, when his romantic comedy Drinking Buddies was a modest hit, especially on V.O.D. Working with established stars like Anna Kendrick, Olivia Wilde, and Jake Johnson, Swanberg made his work available to a bigger audience than ever — which puts more attention on the two new films he had showing for audiences in January alone.

In similar fashion, Rooftop Routine played on the limitations of the camera in capturing the sequences of all the movements in one shot, and viewers of the film are left to imagine the communal experience and the visual rhythms of the hula hoopers with their circular movements against the grid - like views of the city.

The prints are hung in a grid of static images like still frames from a film, sequenced to parallel the chronology of movement on an illuminated marquee.