Sentences with phrase «moving film takes»

Not exact matches

National Association of Theater Owners Vice President Patrick Corcoran declined to comment on Amazon's move but said the time between theatrical and home video release would play into theaters» decision on whether to take a particular film.

Douglas» career first started to take off in the 1970s thanks to a TV show, «The Streets of San Francisco,» but he then moved to the greener pastures of Hollywood films.

A protest took place outside of a Northern Ireland university on Tuesday, which rejected screening a new film about «men and women moving out of homosexual practices and feelings».

But whilst the question of how to coordinate behavioural change is important, I did come out of the film feeling that we are not really going to get anywhere quickly enough if those who are moved by the issue do not themselves take sizeable steps, as individuals.

I am still amazed at the capacity of our political leaders to take vital decisions about the future of our country when they must have been much more exhausted than I was and when everywhere they moved they were filmed, not just on the ground but from the air as well.

Many of the films that propelled these actors to the top were of the action genre, so aspiring thespians, take note — if you want to be in a movie that pulls in top dollar, you might want to brush up on your Lara Croft moves and choreographed hand - to - hand combat.

After taking a class on gay and lesbian film he got inspired to move forward with studying film.

The only time he moves quickly is when his life is threatened, as in the film's opening sequence, when he and a comely Swede take a post-coital walk and chance upon an assassin's tracks in the snow.

House of Sand and Fog is a ponderous, slow moving film which, if you allow yourself to take the time and let yourself fall into the excellent characterizations by Connelly and Kingsley, becomes a ponderous film with a killer ending that, even if you see it coming a mile away, is still a killer ending worth sitting for.

Jason's choice to direct such a different kind of film gives him great merit... and the result is a multi-layered, rich very moving film that takes one in a myriad of emotional directions.

Director Sylvain White, whose last film was the equally unnecessary I'll Always Know What You Did Last Summer, manages to take the joy out of a dance movie by jerking the camera around and speeding up the dance moves so much.

The actors gift Stebbings the substance he desperately needs to help «Defendor» land a few of its more ideal seriocomic moves, but the film itself is a cracked cause that never takes flight in a grand manner that befits the agreeably lunatic premise.

A film with a counterproductive tendency to take its time... but unassumingly strong, moving performances and Darabont's durable storytelling make it a trip worth taking just the same.

In a film filled with examples of whites either habitually exploiting blacks — or even in the case of the fundamentally decent but chronically guilt - stricken Schultz, deciding to «take responsibility» for them — Stephen's calculated and ultimately self - defeating betrayal of a figurative «brother» is truly diabolical and heartbreaking, not to mention a ballsy move for Tarantino, who could have easily gotten away cleaner as a white writer - director without hinging the back half of his movie on a case of Southern Stockholm Syndrome.

Cause right now, these «New Geek Cinema» makers are attempting to tell «clever» films, but if you take a look at what Tarantino is doing, you'll see he's already moving away from the type of film he allegedly birthed.

Hallmarks of Altman's aural and visual style are evident everywhere - overlapping dialogue, life - like improvised roles and ensemble acting, multiple means of communication to connect the characters (phone calls, tape recordings, radio and TV, and P.A. announcements), a continuously moving camera, long takes, and imaginative sound and film editing.

The film shows her Eilis moving into a boarding home run by Mrs. Kehoe (Julie Walters), landing a job and taking night classes thanks to help from Father Flood (Jim Broadbent), and falling in love with an Italian boy named Tony (Emory Cohen).

It still humbles me to think that people care enough to spend their money and time watching our film - But to see people of all backgrounds wearing clothing that celebrates their heritage, taking pictures next to our posters with their friends and family, and sometimes dancing in the lobbies of theaters — often moved me and my wife to tears...»

Just after The Greasy Strangler screening at Fantastic Fest, and just ahead of tomorrow's VOD and theatrical release, we sat down with the actress to discuss her initial hesitation in taking the role, the ballsy nature of the film, her dance moves, and more.

Exarchopoulos takes us deep inside Adèle's skin in the film's more compelling final third, and she is especially heartbreaking when she portrays the character's attempts to move on with stunned dignity despite the crushing physical isolation she feels even years after the carnal relationship has run its course.

As we all grow up, every step we take, every move we make, affects who we are — even if that means we're someone who references Sting in the middle of a film review.

He hasn't exactly shaken up his approach since 1988's «Damnation» (that said, this writer — probably like most — isn't familiar with his crop of»90s short films), and if despairing (yet deeply moving) minimalist films composed of stark black - and - white single takes doesn't tickle your fancy, this film won't change your mind.

Kudos to director Francis Lawrence (I Am Legend), replacing Gary Ross, who took heat for his dizzying hand - held camera moves in the first film.

But, in an age when CGI and digital technology are taking over the realm of animated filmmaking, I'm willing to give Burton a pass for that needless 21st - century enhancement to his otherwise moving and funny film, and his terrifically old - school approach to animation.

Set backstage at three iconic product launches, beginning with the Mac in 1984, moving through the NeXT in 1997 and ending in 1997 with the unveiling of the iPod, the film aims to take audiences behind the scenes of the digital revolution to paint an intimate portrait of the brilliant man at its epicenter, Steve Jobs (Michael Fassbender).

As we move into mid-October, the awards season is beginning to take shape, in the sense that we are getting our first reactions to some of the year's most anticipated films.

Charles Gant: No film managed to take in an excess of # 1m, but Proclaimers musical Sunshine on Leith moves to second place and Le Week - end had a commendable opening

It's a cleverly made film with a story that continually moves forward, taking us on an enjoyable...

There are some issues I had with the film such as some of the cinematography not looking as good as it could've been due to the poor lighting, some of the quick cuts in the action scenes were distracting, the movie can drag a little at points and I do think cutting off 15 minutes could've made the pacing move a little more faster (some scenes felt a little rushed too), where the film decides to take its story can be predictable, and some of the green screen was REALLY noticeable.

Though not without its necessarily dark moments — all the Larrain films I've seen take place during the Pinochet era in Chile — it was an exuberant, moving, and technically amazing film which I was happy to champion; it went on to be nominated for Best Foreign Film at the Oscars.

Taking it in context as to when this film arrived, it's no wonder the Coen Brothers took Hollywood by storm, even if they did so on their own terms and largely outside of the studio system, a move that has allowed them to keep final cut on their films ever since Blood Simple.

It is most unfortunate, then, that these moving and insightful interviews are intercut with footage taken with a helmet camera on a bicycle ride along a rocky mountain path — these point - of - view shots are supposed to convey meaning for Kedar, and yet they make whole sections of the film almost unwatchable.

Evelyn (Judi Dench) has taken up buying cloth while she keeps up a flirtation with Douglas (Bill Nighy), who is conducting tours now, but neither has moved much further in their relationship since we last saw them in the first film.

Her other credits include the award - winning HBO series «Boardwalk Empire» and the films «The Disappearance of Eleanor Rigby,» «Night Moves,» «Being Flynn,» «Taking Woodstock» and «Michael Clayton.»

Though it would take a purist pedant to legitimately lament the evolution of colour stock as a negative turning point in film history, there's no doubt something was lost in Technicolor's takeover as monochrome movies moved from mainstream to niche, and the basic joy of black and white became impossible to appreciate without express attention.

Based on the incredible life story of the Godfather of Soul, the film will give a fearless look inside the music, moves and moods of Brown, taking audiences on the journey from his impoverished childhood to his evolution into one of the most influential figures of the 20th century.

While there are artificial elements to the story, there is a genuineness to the characterizations that allows the film to take hold and emerge as a winning comedic drama about women finding the strength to cope with tragedy and move on with their lives, even well into adulthood.

The set - up is masterful, suggesting any number of ways the scene could go quickly haywire, yet the direction Ducournau ultimately takes is not only unexpected — it is revolting, hilarious and oddly moving, just like the film itself.

: I realize I'm going to take some heat for putting this widely loathed film on my best list, especially since I was less than enthused by the overrated critic faves «Three Billboards Outside Ebbing, Missouri» and «Call Me by Your Name,» but Darren Aronofsky's fantasia about a self - infatuated poet (Javier Bardem) and his suffering muse of a wife (Jennifer Lawrence) is, like «Get Out,» both horrific and satiric in ways that move beyond the easy confines of genre.

The film doesn't dumb down astrophysics like Billy Bob Thorton explaining the «Road Runner thrust move» in Armageddon, but it also doesn't over complicate science where you need to take an advanced college course just to follow along.

This is done in one of the most grating voice - overs in recent memory, the purpose of which seems to exist to either add bits of exposition and flavour that were not organically integrated into the script (perchance a result of Allen popping out a film a year) or simply make the film feel like it is moving forward while Vicky and Christina sit in cabs or take pictures in the various marketplaces.

The film takes a remarkable turn when José Antonio's ex tries to commit suicide and then moves in with the new couple.

The film took me to another place, so different from the world in which I move.

The film also proposes a dual gaze through the visual juxtaposition of action versus immobility, as when a long take films the protagonists stationary whilst indistinguishable bodies hurriedly move past the camera, creating flashes of movement.

Very much a kitchen - sink drama — the family kitchen is the dramatic hub for much of the film — shot in a more or less documentary style and featuring terrific performances by nonprofessionals, the film takes a no - frills dramatic approach that could be roughly located on a Cassavetes - Dardennes spectrum, and uses it to intensely revealing and moving effect.

As the film dutifully moves from one year to the next, Senna is repeatedly pitied by her best friend (Liza Lapira) for never having a lasting relationship, scolded by her mother (Ellen Burstyn) for not taking herself more seriously and turning away prospective mates, and chastised and eventually fired by her boss (Famke Janssen) for being too quirky and esoteric in her fashion choices.

The film found hope, however, in July, when Les Miserables Oscar winner Anne Hathaway entered into negotiations to take over the title role, a move that Schumer wholeheartedly endorsed.

With a little over a month to go before its UK release, another new poster has arrived online for Nicolas Winding Refn's hotly - anticipated horror The Neon Demon featuring Elle Fanning; take a look here... SEE ALSO: Watch the latest trailer for The Neon Demon The film sees Elle Fanning (Maleficent) as an «aspiring model who moves to Los Angeles, -LSB-...]

While it isn't the goriest film you will see this year, it resists the temptation to drop below an R - rating, a move that made the Taken sequels seem alarmingly sanitised.

They split up for a few days: she tours museums and ruins (in the film's most documentary, and also most moving, scenes, perhaps prefiguring the cinematic direction Rossellini would take with his history films fifteen years later) while he tries to hook up with younger women.