Sentences with phrase «movies as an escape»

There is much to love in Woody Allen's Wonder Wheel, from the breathtaking costumes and cinematography, to the nostalgia of Coney Island and 1950s New York, to Allen's recurring and relentless appreciation of movies as an escape from real...

Not exact matches

In what looks like the cold open of a James Bond movie, a head - mounted GoPro camera captures the Frenchman and his cohort as they narrowly escapes a cascade of alpine snow by skiing right off the sheer face of a mountain — with parachutes at the ready.

Movies were an escape from reality then as they are now, so FDR often enjoyed watching Mickey Mouse cartoons while in office.

There have been quite a few movies this year about young adults trying to escape small spaces, but none of them are quite as masterful and tightly paced as 10 Cloverfield Lane, the unofficial sequel to Cloverfield.

A TV where a man is watching movies as a way of numbing himself against the pain of reality... another way of escape.

Movies were his escape as a young man and a constant for the son of a Navy man whose family moved often.

But he is banking on the convicts lacking Roger Moore's crocodile - running skills showcased in Bond movie «Live and Let Die» when he escapes from an island using the reptiles as stepping stones.

As we learn in Escape from the Planet of the Apes (1971), the third installment of the series, Dr. Zira vivisected and experimented on human captives, who in the movie year of 3955 are considered animals and thus expendable in the pursuit of scientific knowledge.

But Carpenter movies such as Assault on Precinct 13 and Escape From New York are not only more thrilling but also funnier.

Alas, if you're someone who enjoys movies as, say, a two - hour escape, you may find this documentary on the death of film at digital's hands a bit too inside baseball.

One follows Thor and his adopted brother Loki (Tom Hiddleston), who faked his death in the previous movie, as they try to escape from a planet run by the egocentric Grandmaster (a very funny Jeff Goldblum).

The movie's goal is to be a distraction from life but not to engross, to escape other thoughts and feelings but not to introduce any new ones, something to kill time with as you watch the plastic characters go through the motions of the soulless soap opera like plot.

The movie's goal is to be a distraction from life but not to engross, to escape other thoughts and feelings but not to introduce any new ones, something to kill time with as you watch the plastic characters go through the motions of

The movie's goal is to be a distraction from life but not to engross, to escape other thoughts and feelings but not to introduce any new ones, something to kill time with as you watch

That doesn't mean the movie escapes the intersectional nature of this universe of movies: There's a cameo from one superhero (kind of a favor, since Thor appeared after the end credits of that hero's solo film), and the Hulk, as well as his scientist counterpart Bruce Banner (Mark Ruffalo), has a supporting role.

Whether you look upon this as a sports movie or a teacher's tale, there's little escaping the fact that this is not the sort of film that's going to break any boundaries.

The fantastical movie is a world apart from «Lady Bird,» Gerwig's first solo directing credit, which stars Saoirse Ronan as a disgruntled Sacramento teen who's eager to escape her drab surroundings in 2002.

While horror movies often get shuffled into the «escapist entertainment» corner, a way to escape the world and just let your inner animal hoot and holler at blood and guts for 90 minutes, there are few genres as ready, willing, and effective at actually reflecting our real - world fears and anxieties.

Undoubtedly influential, it points the way to the more realistic English horror movies such as The Wicker Man in the 1970s, and an escape from the grip of the Hammer Horror stylings of the era.

The movie belongs as much to Melanie Laurent's Shosanna Dreyfus, a French Jew who escapes the SS and creates a new identity running (what else?)

In this incredibly sad movie about escaping societal restraints and poverty, Linda stands as another painfully human obstacle in one incredible man's life.

The movie opens seven years after a woman, having helped a man find a dog that he said was lost, was captured and put in a single room in a shed from which she could not escape as it is sealed by a door governed by a code known only by the owner - kidnapper.

The Americans hidden by Canada's ambassador were in almost constant danger, and their escape was a profile in courage, yet many of Argo's suspenseful moments seem contrived — as calculated as anything in, well, a Hollywood movie.

A blockbuster movie that, as Kyle Hodge wrote on these same pages, «is not just a celebration of black excellence, but a glimpse at an African nation that escaped colonization and is instead a rich, powerful, and advanced community.»

«The movie also doesn't entirely escape an arid, educational quality, coming off mostly as a curious hybrid of the best and the regrettable in right - side - of - history cinema,» he wrote.

The core of the movie is about a sensitive boy and a grumpy girl who plan to meet for a private adventure; he escapes from his scout camp, she temporarily runs away from home, and while this sweet, odd, and adorable romance takes center stage, Anderson (as usual) populates the periphery with all sorts of colorful oddballs.

He made «The Thing» (1982), «Escape From New York» and «Christine,» but his best movie in recent years has been «Starman,» the one with Jeff Bridges as the outer - space alien learning to be a human being.

Incidentally: The events depicted in «Last Rampage: The Escape of Gary Tison» previously inspired a well - received 1983 TV - movie, «A Killer in the Family,» which starred Robert Mitchum as Gary Tison, and James Spader, Lance Kerwin and Eric Stoltz as his sons.

The movie opens with the introduction of its main players, offering brief displays of their talents: Jesse Eisenberg as J. Daniel Atlas, an arrogant, celebrity prestidigitator; a quirky, tightly wound Woody Harrelson, as Merritt McKinney, a once famous mentalist; Isla Fisher, as Henley Reeves, an escape artist, who makes her garish debut pretending to plunge, shackled, into a tank of piranhas; and pretty boy Dave Franco, as Jack Wilder, a quick - witted, pickpocket.

Too often this year, I used the movie theater as an escape hatch, instead of an opportunity to enrich myself.

Pitch Black is about an escaped convict, called Riddick, who, as the movie constantly reminds us, is a very dangerous killer.

The first movie featured Nick Castle, Jamie Lee Curtis in her acting debut as the girl he stalks after escaping from a psychiatric hospital, and Donald Pleasence as Dr. Loomis, desperately trying to track down his patient.

Near the end, he discusses the movie's impact on the rest of his career (it was directly responsible for getting him hired by Disney for Escape to Witch Mountain and The Watcher in the Woods) and speaks as a fan about some of his favourite films, mentioning Rosemary's Baby and The Exorcist as well as Ingmar Bergman.

An escape from a white corridor that seems a direct homage to the last great vampire movie, Thirst, is handled with tremendous grace and a splendid payoff that clarifies the picture's lore; another, quieter moment, as Jerry delivers a magnificent monologue while standing at Charley's kitchen door, clarifies its subtext.

A good action movie offers a rare type of escape; a movie can act as a place for a viewer to tune out the world while also being busy enough to drown its more obvious flaws in relentless waves of adrenaline.

We'll never know that if this movie were called The Cellar (the name of the original spec script) or No Escape (the name of Dan Trachtenberg's short film based in the Portal universe that may have served as the calling card that got him the gig, and there are quite a few parallels between the two projects) or any number of other names it would have been a more satisfying whole.

As on The Santa Clause 2, the DVD producers exhibit an inability to present the film's full title; they once again drop the The, rendering the movie Santa Clause 3: The Escape Clause on the spine and cover (where the subtitle actually appears to intrude before the 3).

Matt Johnson writes, stars and directs as a young boy who retreats into the fantasy world of film, starring in the movies that run constantly in his head as a means to escape the constant torment and bullying inflicted on him by his peers.

The movie gets as much information from him as it can, and then continues filming as Snowden prepares to escape and go into hiding from the forces that are surely coming to get him in retaliation.

Taking the same starting point as Lelio's Jewish drama, Barnard's story is also instigated by a paternal passing, with sheep farmer Ruth Wilson, who is electrifying in this movie, returning to the family farm 15 years after she escaped from under the shadow of an abusive father.

But this movie offers a different on - the - ground perspective, for the most part, as we follow a few different people trying to escape the towering aliens that are slingshotting human beings into their claw - hands or just ripping out their brains.

As previously reported, the new Escape from a New York will be a prequel, kicking off a new trilogy of Snake Plissken movies that will lead up the events of the original film.

Mia Farrow's outstanding as a Depression Era neglected (even beaten) wife who escapes into the movies every week.

Her bleached blond mane suggests another kind of B - movie: Leah comes off as the femme fatale in a film noir, leading herself and Blue into a dangerous situation that at least one of them won't be able to escape.

When movies aren't perpetuating the saccharine myth of the «magic» of childbirth, they often present everyday, mid-life domesticity as something to be escaped, usually via flight to some exotic location or through the sexual reawakening of an extramarital affair.

The movie was released to DVD the same day as Escape to Witch Mountain and unlike other Disney sequels, was also given delightful Special Edition treatment.

Having said that, it's just as clear that the movie starts to seriously fizzle out as it passes the one - hour mark - particularly as Bernal's emphasis on the drug - fueled escapes of the characters becomes increasingly tiresome.

If any notable instances of softness materialized, they escaped me, as I thought the movie displayed fine clarity and delineation.

I'm a little unsure about what to think of the movie's ending for lighting Tommy Wiseau as a misunderstood hero; although the movie was best when it shows Wiseau trying to escape the villainy prescribed to him, it's hard ti know whether we should dislike him for his recklessness and ignorance of his crew or sympathize with his lofty dreams and willingness to support Mark.

The movie - which follows several soldiers as they arrive on a small island hoping to escape the zombie menace but must instead contend with an ongoing feud between a pair of rival clans - opens with some promise, admittedly, as writer / director Romero effectively returns to the atmosphere established by 2007's Diary of the Dead (with the decision to jettison that film's handheld visual style certainly working in its favor).