Sentences with phrase «much film art»

This isn't so much film art as an arty film, and its inclusion does neither Fowler nor the Turner any favours.

Not exact matches

May 12 - 14th, 2017 attendees had access to sessions covering popular trends and obscure topics; a film festival, gaming competitions, cosplay contests, a live art auction, and much more.

And while it's true that every branch of Christianity has been racked with scandal over the years, films like the Oscar - winning Spotlight and Netflix true crime series The Keepers do a much better job of creating compelling art that raises questions about faith and morality.

And so we tend to like TV, music, film, art, and sport just as much as other people.»

Every typo leaps off the page and you realise that your caffeine - fuelled, razor - sharp midnight logic makes about as much sense as a Danish art - house film.

How much do we hold back from writing that book, holding that art exhibition, making that film, applying for that job or running that yoga class because we feel we aren't capable, or worthy, and that the perception of us will be critical?

My name niecey i am a single mother i go to school and work i am a good person i do nt get out much cause i have to go to school and work i am getting my aa dergee in theater arts and film i have two boys that i love to every much just tryin to meet new people and make friends nothing sexual or...

The capital of art, culture, music, films, youth, trends and libertinism, has so much to offer!

As much as I may believe all of these things — that this kind of speechlessness in the face of art is a near instant augur of greatness, that a film whose ideas ebb and flow so grandly and subtly fares poorly when bound by the fixity of the written word, that if Malick chooses to engage his spectators on the level of the visual, then well, fuck, shouldn't I be making him a collage or a photo diary?

It was crazy at times, there wasn't much talking and sometimes I felt it wasn't really trying too hard to not be what it was supposed to - an art - house film.

Samuel Goldwyn Films manages to take much of the art out of the arthouse, with few of its indie films gaining any sort of traction with critics.

After spending much of his primary and secondary school education in an alternative arts school, he studied film at New York University.Louiso began his career with minor roles in such films as Stella (1989) and Billy Bathgate (1991), the latter of which provided him with an introduction to Tom Stoppard, who was the film's screenwriter.

Cave may not believe in God or the devil, but his art most certainly does — in much the same way that this fascinatingly self - obsessed film believes in Cave.

Consequently, he developed an audacious fusion of pop culture and independent art house cinema; his films were thrillers that were distinguished as much by their clever, twisting dialogue as their outbursts of extreme violence.

I like my movies with beautiful cinematography, well composed sets.....real - like engaging stories... and an all together a seamless work of art... but all of Almodovar films are too complicated and never ending... too much... I wonder if

When he's not watching movies or writing and editing film criticism, he's trying to absorb as much music, art and literature as possible.

This was something like a miracle: Haneke's gracious affability aside, his has always been, openly and decisively (he's quite literally said as much) an oppositional cinema — often abrasive (his one noble failure, 1997's Funny Games, and its shot - for - shot English - language remake from 2008, being the prime specimens), always painstakingly conscientious and morally committed to disturb (all of his films from The Seventh Continent through The White Ribbon) art films that mean to engage and provoke the audience, not please or reassure in a way that could ever be mistaken for award - grubbing.

Filmed without narration, subtitles, or any comprehensible dialogue, Babies is a direct encounter with four babies who stumble their predictable ways to participating in the awesome beauty of life.Needless to say, their experience of the first year of life is vastly different, yet what stands out is not how much is different but how much is universal as each in their own way attempts to conquer their physical environment.Though the language is different as well as the environment, the babies cry the same, laugh the same, and try to learn the frustrating, yet satisfying art of crawling, then walking in the same way.You will either find Babies entrancing or slow moving depending on your attitude towards babies because frankly that's all there is, yet for all it will be an immediate experience far removed from the world of cell phones and texting, exploring up close and personal the mystery of life as the individual personality of each child begins to emerge.

It may try to force too much information into too little time if you don't know about the history and technology of film, but this documentary romanticizes the art with such passion and finesse that it stands as a reaffirmation of the power of movies and the importance of understanding their history and possible future.

But McQueen had a prolific career before he entered the world of feature films, winning the Turner Prize for his art, as well as making short films, video installations, TV commercials, music videos, and much more besides.

Enter the Dragon isn't so much a great film as it is entertaining and influential, so if you're not a martial arts fanatic, it's best to keep your expectations at bay.

The ending in the theatrical release was not well - liked, but a much - better alternate version is included here, along with interviews with director John Boorman and art director Anthony Pratt, as well as an audio commentary with film historians Travis Crawford and Bill Ackerman.

When he's not watching movies and writing and editing film criticism, he's trying to absorb as much music, art, and literature as possible.

Unfortunately, it seems that this R4 version might have been mastered from an older video transfer - in fact, this looks very much like the original home video transfer of the film done back in the early 1990s, which at the time was state - of - the - art but pales in comparison to what's possible today.

As much as audiences wanted to be Ethan Hawke's character from the first film — rich enough to afford a state - of - the - art defense system — the reality of Anarchy is that not everyone is Ethan Hawke.

As someone who appreciates the art form as it is more commonly employed, I didn't find much to love about this bleak, bloody film, whose story and characterizations felt lacking on the whole.

He doesn't so much have supporting players in the film as he does an extended family of cherished guests who he invites to stay for a while, relax and soak up the ambience: French it girl Léa Seydoux has a part as a maid which may as well be non-speaking; Owen Wilson plays one of M Gustave's concierge brethren and gets a line (if not a laugh); even Tilda Swinton makes a flying visit to Wesworld, caked in gristly prosthetics as an ageing dowager who drops dead after her first and only scene, her passing acting as deus ex machina for an elaborate art heist involving the whereabouts of the apocryphal, priceless chef d'oeuvre, «Boy With Apple».

The more OCD among us here at Playlist Towers find it a source of constant aggravation that release dates vary so much from territory to territory, and festivals often get premieres a full 18 - or - so months before a film gains a proper U.S. release — making a cut - and - dry list of any given year's movies less science than art.

Ceremonies like the Art Directors Guild's Awards and the American Cinema Editors» Eddie Awards offer some much - deserved accolades to films and artists that often escape the spotlight at the Academy Awards... and they also offer a way for us to narrow down our Oscars betting pools.

Where the first film followed an older couple's attempts to match coolness with a much younger pair, while also somewhat clunkily exploring the interplay between authenticity in life and authenticity in art, this one focuses on a college freshman's infatuation with her older future stepsister, a free spirit who makes New York seem as magical as it should be.

One can only imagine how much better the film would be by plugging a better actor like Coburn in the lead role and giving someone with much more martial arts skills and screen presence like Bruce Lee in the other roles.

So I wouldn't put too much stock in the factoid that Tim Burton films have never failed to turn an art direction nomination into a win.

The one that it brings slight reminders of is Jerry Zucker's Ghost but as that film played to the masses and went for entertainment value, Lowery's film plays the to art house, Terence Malick crowd and is much better for it.

Featuring all sorts of titles ranging from the greatest hits of Sundance, highly - anticipated studio films, art - house darlings, foreign imports, special screenings of classic films, and much more, it's slowly turning into a juggernaut that can rival the likes of Tribeca and SXSW.

This time he alludes to the art - cinema context much more directly by opening with music from Francois Truffaut's Jules and Jim and evoking the form of that film with offscreen narration (delivered by Baumbach himself) recounting the story in past tense and with old - fashioned devices such as irises and wipes and French New Wave devices such as fantasy inserts, fleeting flashbacks, freeze - frames, and jump cuts.

Far from the dark ambiguity of High Art, Cholodenko's Laurel Canyon is actually about happy endings and reunifications of familial structures — it's not that I didn't enjoy the film, it's that by the end of it, I didn't respect it so much.

From the time we started up I wrote a lot about art films, much more than anybody had ever done in that area.

While Jarmusch mostly described it as a romance during the NYFF Q&A, that feels like only one facet of a layered film that says so much about culture and its erosion, idols, nostalgia, civilization's decline, and art.

It's been ten years since his last movie, and many may stay away if they can't divorce the art from the artist, but it would be very interesting to see if this awards baity film has a real soul to it in retelling a story of a man who has seen far too much bloodshed and loss on the battlefield.

One of the dangers of gorging yourself on four or five films per day is festival fatigue, by which I don't mean physical exhaustion (though that happens too) but rather a certain involuntary weariness in the face of so much exacting, challenging, or otherwise «difficult» art cinema.

The screenplay by Four Weddings and a Funeral scripter Richard Curtis (who «devised» the Mr. Bean character with Atkinson) and Robin Driscoll does not offer much in the way of plot; the film hangs upon a very basic premise (inept, clumsy London National Art Gallery employee Bean is sent to a Los Angeles gallery as an art experArt Gallery employee Bean is sent to a Los Angeles gallery as an art experart expert).

It's true that English language productions have a substantial global advantage, that only three current Spanish actors rival Watts and McGregor in international fame (Antonio Banderas and real - life couple Penélope Cruz and Javier Bardem), and that film is as much of a business as it is an art.

Laughton's obsessive specificity supposedly made this great piece of art too much of a spiritual burden for the actor turned director, and he never made another film.

It's details like this that make his films so unique, and much like a piece of art, you'll likely only grow to admire «The Grand Budapest Hotel» more with every viewing.

Much new media is available free online on virtual platforms from the personal websites of visual artists to a plethora of sites (such as Vimeo) that offer online viewing communities for lovers of art films, new digital media, and experimental filmmaking.

That eventuality would likely say much more about the film industry's difficulty in marketing smart, art - house fare than it does about the picture itself.

Melbourne International Film Festival Powidoki (Afterimage, Andrzej Wajda, 2016) Wajda's last film is in one way a summing up of a rich career, but so much more as it touches on creativity, state attempts to control art, and personal integrity.

The Boxtrolls is a noticeably better film than Brave, with a much more interesting world, a stronger art style and better voice acting, but it still has that lingering feeling of missed opportunity.

But while much of the film is about the pursuit, and the business, of aesthetic perfection, it's also about the way surfaces are used for concealment; the art of subterfuge, albeit under the most gorgeous camouflage.

Academy Award - winning director Guillermo del Toro was so smitten with the diner's art deco aesthetic, he set extra scenes in the greasy spoon, according to Hakim, although it's unclear how much of the footage made it into the film.