Sentences with phrase «moving films i have seen»

It is one of the most emotionally moving films i have seen i n a long time.

And now along comes Everest, a brilliant dramatisation of tragically real events that, quite simply, is one of the most powerful and moving films I've seen all year.

Not exact matches

«What we've seen through technological changes, the shift from film to video opened up a lot of opportunities for women to move behind the camera,» she said.

«In other words, the content in a film rated PG today is comparable to what you might have seen in a PG - 13 movie a decade ago, and today's PG - 13 is more like yesterday's R. And the line keeps moving.»

It was truly one of the most beautiful and moving films I've ever seen and — although that's not saying much considering I don't watch many movies (I'm cursed with almost always falling asleep)-- my cinephile husband agrees.

They have to move the two hands independently of one another and make them each follow a particular path in order to reach a final destination (see film 1).

I've seen many zombie moves in my time, «Dawn of the Dead» and «Evil Dead» to name a couple, and all the zombies in those films want to do is eat you!

In fact, the film starts off with one of the more moving images I have seen in American cinema in which during an unveiling of a statue celebrating America's peace and prosperity, a crowd is stunned to find a homeless man, our tramp, sleeping on the monument.

I would not recommend this film to most people - but if you're up for a VERY non-narrative film (think two and a half hour poem) about life's most serious questions, then you might find Tree of Life (especially the 2nd act) one of the most beautiful and moving films you'll see this year.

One of the best and most beautiful and moving films I have ever seen!

Filmgoers lucky enough to have seen James Marsh's deeply moving 2008 documentary «Man On Wire» may see «The Walk» as that film's shallower, less elegiac cousin — even if both Marsh and Zemeckis note the grim irony that Petit's free run of the towers would never be possible in the post-9 / 11 security state.

Even though it tells a simple tale, has only two main characters and features several scenes that are mostly silent, it is more moving, more memorable, and just so much BETTER in every way possible than 95 % of the films I see each year.

I'll admit that going into Gridiron Gang, I was very skeptical that it would have anything to offer that I haven't seen before, but it surprised me, not because it did have anything unique, but that, for a formula film, it is competent, efficient, and until the final game, shows excellent restraint at not trying to overplay anything beyond what is necessary to move the plot along.

You're getting no more or no less than you'd expect from a movie like The Movie Never Stopped, but I was glad to see Simmons get a chance to help carry a film rather than simply move around the edges of the main story in a supporting role.

If you have seen or read greek tragedies or seen and liked the profound David Lean's «Brief Encounter» film, then you must no doubt see this deeply moving Sarah Polley's «Stories We Tell»

I Saw the Light had been set for a fall debut in lieu of an Oscar campaign, but with early reviews firmly in the negative column, Sony Pictures Classics has moved the film away from awards season.

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.

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.

To make it slightly more manageable, however, we've excluded the following films because we've already seen them very recently in either Venice or Telluride (titles are linked to reviews): Jason Reitman's «Labor Day,» Jonathan Glazer's «Under The Skin,» starring Scarlett Johansson; Alfonso Cuaron's «Gravity»; the Michael Fassbender - starring «12 Years A Slave»; Kelly Reichardt's «Night Moves»; Ralph Fiennes» «The Invisible Woman ``; Ti West's «The Sacrament ``; David Gordon Green's «Joe» starring Nicolas Cage, John Curran «s «Tracks, «and Hayao Miyazaki «s alleged last film, «The Wind Rises.»

Ahead of its premiere at Cannes, a poster has arrived online for Nicolas Winding Refn's new film The Neon Demon, featuring Elle Fanning... SEE ALSO: Watch the first trailer for The Neon Demon The Neon Demon sees Fanning as an «aspiring model who moves to Los Angeles, where her youth and vitality are devoured by a -LSB-...]

The first trailer for acclaimed director Nicolas Winding Refn's (Drive) new film The Neon Demon has arrived online, and we have it for you below... SEE ALSO: Two posters for Nicolas Winding Refn's The Neon Demon The Neon Demon tells the story of Jesse, «an aspiring model who moves to Los Angeles, only to encounter a -LSB-...]

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-...]

This has been a film I've been looking forward to for quite some time, and I am overjoyed to see it finally moving forward with the immensely talented Jessica Chastain.

The Bicycle Thief (Ladri di biciclette) Year: 1948 Director: Vittorio De Sica This tale of a father and son in poverty - stricken Italy is on of the most moving films I've ever seen.

Co-written and directed by David Greenwalt, who would later do mostly television work for teen series such as «Buffy the Vampire Slayer» and «Angel», this is a smart and energetic film that, despite some of one of the more contrived premises you're ever likely to see, manages to succeed by keeping the story constantly moving and changing, and actually do it with some wit.

I caught some of the titles: Nugu - ui ttal - do anin Haewon (Nobody's Daughter Haewon) is a delightful film from the South Korean auteur Hong Sang - soo, the story of a female student's «sentimental education» as it were, as she traverses through reality, fantasy, and dreams, we viewers never quite sure what we are watching; Jim Jarmusch's Only Lovers Left Alive (TIFF's Opening Night film) is an engaging and drily humorous alternative vampire film, Tilda Swinton melding perfectly into the languid yet tense atmosphere of the whole piece; Night Moves is from a director (Kelly Reichardt) I've heard good things about but not seen, so I was curious to see it, but whilst the film is engaging with its ethical probing, I found the style quite laborious and lifeless; The Kampala Story (Kasper Bisgaard & Donald Mugisha) is a good little film (60 minutes long) about a teenage girl in Uganda trying to help her family out, directed in a simple, direct manner, utilising documentary elements within its fiction.

I can't wait to see both movies though, as TWR was the last movie I needed to see from 2009's list of nominated films to put a nail in the casket of last year and now I can finally move on to 2010 movies without having the weight of not seeing everything hanging over me.

These young adult movies have seen some impressive names step behind the director chair but Maze Runner finds itself as the feature debut of visual effects artist Wes Ball and there's no doubting the fact that this feels like a first - time effort of someone who can't bring the energy required to keep a film's pulse moving.

Of all the major horror franchises, The Texas Chain Saw Massacre has been pretty poorly served despite being eight films in, and still filmmakers and studios can not move away from trying to give a definitive background on main antagonist Leatherface, a fact given credence by the eponymous title which, in any other franchise, would be seen as being definitive but this being the schizophrenic series that it is, this is the second movie in it to bear this title, the other being 1990s Leatherface: The Texas Chainsaw Massacre III.

In a move that hasn't yet been mirrored by the film industry, August: Osage County took the top prizes and proved that even the Tonys know a good one when they see one.

Also Worthy and Worthwhile «Keep The Lights On,» «Neighboring Sounds,» «A Royal Affair» (Mikkel Boe Følsgaard guy should have also been in our Breakout Performances of 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lhave also been in our Breakout Performances of 2012 piece), «The Forgiveness Of Blood» (already Criterion approved with good reason), «Shut Up and Play the Hits,» «Compliance» (captivatingly ugly), «2 Days In New York» (hilariously neurotic, Julie Delpy is clearly the heir apparent to Woody Allen), «Cosmopolis,» «Side By Side,» «Argo,» «The Turin Horse» (Goodnight, Mr. Tarr you sweet prince of the bleak and wretched), «Once Upon A Time In Anatolia» (in many ways mesmerizing and beautiful, but for me, ultimately more in a cerebral way than in a moving, emotional one), «Goodbye Love» (Mia Hansen - Love clearly watches the films of her husband Olivier Assayas; a spiritual cousin to his last 3 - 4 pictures), «Elena,» «Francine» (great non-judgemental direction; Melissa Leo is terrific), «Ai Weiwei: Never Sorry,» «Alps,» «The Loneliest Planet,» «The Kid With The Bike» and pretty much every film in our 11 Films You May Not Have Seen lHave Seen list.

Still, it's good to see Jason Reitman tackling such tonal range in his still - young filmography — though I could have stood a little more of the loose, spiky texture that characterized his still - undervalued direction of «Juno,» a film less cannily written and cleverly assembled than «Up in the Air,» but one that moved me more directly on first viewing.

I seriously doubt that you managed to see all 31 films I listed and you dissed to actually make a judgment (and anybody listing a bunch of films not from 2014 is going to have their judgment called into question anyway, as you realized when you edited your post to move Tangerines to 2015 and include» (or earlier)» to cover your butt... and actually undermine your argument).

«La La Land» is the most original, most gorgeous and most consistently entertaining (and moving) film I've seen this year.

Having been on the Croisette before with his debut film Un 32 août sur Terrre (Un Certain Regard), and the Directors» Fortnight was home for his epic short Next Floor and sobering Polytechnique, the Quebecois helmer saw his critically lauded Incendies and Enemy receive a pass from the fest, but it was this work that ultimately convinced backers with deep pockets to have the auteur filmmaker move onto large - scale productions (Prisoners, Story of Us, the Blade Runner sequel), and in turn Sicario is now among the hopefuls for the Palme d'Or.

Michael Stuhlbarg, who plays Elio's father, turns in one of the year's finest supporting turns and his monologue at the end of the film is some of the most moving work I've seen all year.

Or it could be that others have moved on: the ending of the film sees a great naval ship being put out for scrap, the arrival of the railroad, and Turner's first encounter with photography.

I have seen #Dunkirk and it is a triumph: beautifully filmed, deeply moving, strong turns all round (and yes, that includes Harry Styles)

In the new film The Joneses, Steve (David Duchovny) and Kate Jones (Demi Moore), along with their two teenage children, move into an upscale community with the best goods, clothing and cars that anyone in the neighborhood has ever seen.

It is particularly moving to see amazing film, books, and public appearances from Breillat under extreme physical limitations, about which she has written most eloquently.

More than anything else, though, I would never have guessed before seeing The Fly that Goldblum, a magnificent jester, would be at the center of one of the most moving love stories ever filmed, as ardent as any lover in cinema history.

In theory it's arguable whether putting attractive people doing suggestive dance moves on film constitutes cinema, but when you actually see it, the style, energy and sex appeal included, you'd realize any such argument would fail.

The problem with it is that you know where it has to go for a lot of its moves (there's got to be a withdrawal because it's a drug, and there's got to be some form of comeuppance or moral for the main character to learn) because you've seen it before, but for the most part the film tries to steer clear of the worst of the genre's conceits.

The film's culmination — a big twisty sci - fi reveal — is as novelistic as any of the genre's classics and as imaginative and moving as anything I've seen in the past five years in either independent or studio film - making.

Soni knows first hand what it means to be an outsider, having himself moved to the U.S. for college after growing up in India, «My character is definitely weird but because he has a journey though the film I think audiences will see him more as a real person rather than just a strange guy.

Had those same hacks actually watched the film, they would've seen an extraordinarily moving and unguarded portrait of loneliness and existential bemusement as Akerman's beloved mother deteriorates physically and mentally in front of her hand - held camera.

Not as commendable were the slick but forgettable Leatherface, the first disappointment by French filmmaking duo Alexandre Bustillo and Julien Maury; the Spierig Brothers» Jigsaw, part 8 of the exhausted Saw series; the dull Amityville: The Awakening by Franck Khalfoun, usually a respectable genre director, who does still add his share of clever touches (and meta moments, like when a group of teenagers watch the original Amityville Horror in the «real» Amityville haunted house, into which one's family has just moved); Open Water 3: Cage Dive, whose shark - franchise designation was tacked on as an afterthought, not that it helped to draw in audiences (in an anemic year for great whites, 47 Meters Down takes the prize for the best shark film); Jeepers Creepers 3, a super-limited release — surely in part because of director Victor Salva's history as a convicted child molester — which just a tiny bit later would probably have been shelved permanently in light of the slew of reprehensible - male - behavior outings in recent months.

Eventually, they move on to reviewing the new films out there (or rather reviewing the one film they actually had a chance to see).

Whatever the case: see this alternately moving and frustrating film for Firth (A Christmas Carol, Easy Virtue), who would ascend to A-level status after this if there were any justice in the world.

In recent years, we've seen an increasing number of TV and film actors, such as Hayden Panettiere and Peter Stormare (Until Dawn); Shawn Ashmore, Dominic Monaghan and Aidan Gillen (Quantum Break); and Willem Dafoe / Ellen Page (Beyond: Two Souls), move into games.