Sentences with phrase «narrative film almost»

We've got a new feature length narrative film almost done being edited and we need some key positions to join the team and carry the film through it's release.

Not exact matches

This approach would call foul on all sorts of things: Moses wielding a sword but not a staff; Moses being chatty but Aaron having almost no lines; Moses killing lots of people and fighting in the Egyptian army; no «staff - to - snake» scene; no repeated utterances of «let my people go»; no «baby Moses in the Nile» scene; and every other deviation the film takes from the narrative in Exodus 1 - 14.

This is almost surprising given that the narrative film takes place exclusively in a large prison in the Dominican Republic, alternating machismo with romance in a wholly believable way and with the two principal lovebirds exuding quite a bit of chemistry for inmates with little physical contact.

One of the problems with the film is that there's almost no traditional narrative arc at all, meaning that the film doesn't really stand on its own.

It's just as clear, however, that the film's incongruously languid pace stands as an almost insurmountable obstacle virtually from the get - go, as filmmakers Jon Hurwitz and Hayden Schlossberg have employed an episodic structure that becomes more and more problematic as the thin narrative unfolds - with the ongoing emphasis on subplots of a decidedly underwhelming nature (eg Jim's continuing efforts at resisting the advances of a sultry neighbor) compounding the movie's increasingly lackluster atmosphere.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

That the film makes almost zero sense is besides the point; those worrying about what Frank's job is, how Mitch's nerdy co-workers find out about the fraternity, or why Mitch's standard - issue love interest Nicole (Ellen Pompeo, who looks like a more sandy - haired Renée Zellweger) has any interest in the doofus will be flummoxed by the gaping holes in logic and narrative cohesion on display.

It is, in the end, not difficult to see why V.I. Warshawsky was unable to kickstart a series of movies involving the central character, with the film's profound failure due almost equally to Turner's nails - on - a-chalkboard performance and the narrative's paint - by - numbers execution.

Although many tales of these events have made into narrative films, to think about the reality of what actually happened is almost too much to fathom.

The same is true of most of the film's narrative turns: the growing success and decline of John's dental practice, for example, is presented matter - of - factly, and feels almost inconsequential.

Writer / director M. Night Shyamalan's penchant for a deliberate narrative is certainly in full effect with Unbreakable, as the movie, though consistently entertaining and occasionally engrossing, progresses at a lackadaisical pace that tends to prevent the viewer from wholeheartedly embracing the material - with the film ultimately faring better than, for example, The Sixth Sense due to its progressively absorbing narrative (ie there's a sense of forward momentum that was almost entirely absent from that earlier picture).

And at 142 minutes, Luhrmann doesn't do us any favors by prolonging the narrative almost 30 minutes longer than the longest of the earlier films.

The Coen Brothers» love letter to 1950s studio films has almost too much of what makes a Coen Brothers film great, with not enough focus on resolutions or narrative.

Attracting an impressive cast of almost exclusively comediennes — Natasha Lyonne, Judy Greer, Molly Shannon and Aubrey Plaza — the film regrettably misuses the talent it has been afforded by stranding them in a dispassionate and thoroughly unconvincing narrative that will have viewers actively searching for the comedy.

Dickinson, in his film debut, almost makes this familiar narrative feel fresh.

Each film owes a great deal to its source material: the action is largely confined to a single setting over the course of a few hours, and the narrative is driven almost entirely by dialogue.

In almost any other movie, the idea of propping your story up through amnesia would be an absurd, risible narrative course, but Liman, aided by Matt Damon, make the absence of self feel paramount in the film and its spectacular action sequences.

The narrative architect behind the Bourne film series, Tony Gilroy, takes the helm in the next chapter of the hugely popular espionage franchise that has earned almost $ 1 billion at the global box office: The Bourne Legacy.

While Ferrara's film may lack Scorsese's rhythm and likeability, he brings impulsive beats and a narrative flow that feels so wild and impetuous I'm almost convinced Ferrara was just as coked out as his titular lieutenant during the filming process (which he openly admits).

The almost complete absence of a narrative through line is less of an issue early in the film when Amy, Kiki, and Carla are flinging around one - liners that have a fresh, improvised flair to them.

With a collage of interviews with real - life survivors following the end of the film, it makes a strange shift from narrative feature to an almost documentary - like structure that just feels misplaced.

Sucker Punch is a bloated, overblown and almost entirely senseless action film that has about the slightest of narrative pinning with which Snyder can sneak in another grandiose depiction of knife, sword, gun, plane and hand - to - hand combat using his live - action dolls and action figures to play with in the heavily green - screened CGI - scape.

His narrative structure inhibited an emotionally thorough attachment to the characters, but thanks to its outstanding soundtrack and a trio of rock - solid performances from its leads, the film is still a solid depiction of a time where glitter and gold was in, and hearing hard rock aliens on the radio was almost commonplace.

His surprise at winning it was almost as great as mine; Last Ride «s a good film, but far from a great one, and the downward spiral traced by Hugo Weaving's character in the film is not done justice by a soundtrack that hits an elegiac pitch at the very outset but never modulates it in concert with the narrative.

Unfortunately, even though this film possesses a wonderful example of retroactive narrative structure in noir, it is almost completely ignored in Tyrer's text.

«The narrative of Linklater's flawed film, despite its flashy rotoscoping style, is overshadowed by the director's uncanny ability to write dialogue that breathes with so much life that it often transcends the images on the screen and almost leads the viewer to believe he can reach out and touch the words coming out of the characters» mouths.»

That is not to say that the director compromised his style in any way; many will still find his glacial pacing, aversion to traditional narrative and the film's almost total lack of action an agonising ordeal, but for those willing to open themselves up to Hou's cinematic majesty, the results are intoxicating and mesmerising in a way no other film could accomplish in 2015.

Writer / director Vivian Qu creates a sparse but powerful narrative with Angels Wear White, a film that focuses on an almost entirely female cast to explore the rape of two young girls in a small Chinese seaside town.

The almost complete absence of a narrative allows the film to simply indulge in scene after scene of chaotic activity.

Martin Scorsese's adaptation of the novel Shutter Island (by Mystic River and Gone, Baby, Gone author Dennis Lehane) is a film that operates on a heightened level that almost makes a traditional narrative analysis redundant.

Heineman crafts the film with a confidence and intense focus that results in a tight, dark, and powerful narrative that's almost too dramatic to be true.

«The new film does indeed tell the same tale as J. R. R. Tolkien's lean «Rings» precursor, charting the exploits of Frodo Baggins» uncle Bilbo (Martin Freeman) some 60 years before the quest to destroy the One Ring, but the narrative soars because it also operates as something tangential to the almost - decade - old movie trilogy, setting the stage while also expanding this rich universe.

The main distinguishing feature of this film is its almost - novel nesting - doll plot structure, and passing thematic interest in its narrative's formulaic nature.

Even a gusty late - act narrative flip by Chazelle — the kind of bold move that could torpedo another, lesser film — works perfectly, and will almost certainly leave you a human - shaped pile of sobs and tears and damp Kleenex.

As much as I enjoy a tight narrative and a gripping story, there is something to be said for films where the look and atmosphere is almost, maybe even more, vital to their success than the tale they tell.

Although the festival touted 32 women directors among the 98 feature narrative and documentary film selections, I only counted 28 (and I saw almost all of them).

A little seen and vastly underrated skid row drama, the film nimbly eschews convention, sidestepping almost every narrative beat associated with the boxing genre.

The narrative almost changed with the very last competition film when Lynne Ramsay rushed to get her final cut onto the Croisette with You Were Never Really Here (3.6) and was close but no cigar for the second highest rated film just squeaking in in front of Zvyagintsev's Loveless (3.5).

As it turns out, the refugees are even more peripheral, almost invisible (including the Moroccan household staff members) to the film's narrative, which suggests Happy End is pointing a wagging finger at the entirety of white, privileged Europe, a continent engaged in her own foolhardy, manipulative dramas, happily ambivalent to anything beyond the safety and convenience of self - imposed blinders.

It sounds a lot like theater exercises, almost more so than the traditional narrative structure of film.

«Zero Motivation» Israeli dark comedy «Zero Motivation» won the top Narrative Prize at Tribeca this year, and it felt like this was the rare prize winner that won almost unanimous support from attendees: the film attracted raves from pretty much everyone that saw it, and marks first - time filmmaker Talya Lavie as an exciting new comedic voice in cinema.

The high - resolution digital cameras that shot 1983 deliver gorgeous, almost grainless images that somehow feel tawdrier than those in the first two films, given the downbeat narrative environs.

Music and pop culture plays an integral role throughout in «setting the scene,» as it were, and Gerwig's choices for the songs that play in various key moments are almost always pitch - perfect (Dave Matthews Band's «Crash into Me» figures prominently in the narrative — and, as an aside, will be stuck in your head for days after seeing the film).

As Last Flag Flying eases into being a road - trip film (a distinctly American genre I didn't realize I missed so much until I was riding sidecar), Linklater, always better at time - constrained narratives, hits his stride, the guys» camaraderie making Cranston's shenanigans almost palatable.

Trouble is, our keen awareness of things like contractual obligations and social media snitching means that the narrative bubbling around a film like Avengers: Infinity War can be almost entirely predicated around who lives and who dies.

The story here follows the exact same plot as the film with almost nothing really new when it comes to narrative.

Whereas in film you're responding to the narrative and the process for each film is generally quite similar, with games there are so many different kinds of them, and within each game, different sets of circumstances, so from project to project there is almost always going to be a new issue within music that needs to be tackled and dealt with.

Derived from a broad catalog of sources, such as experimental film, West German television and internet clips, the drawings blot from one to the next, or else move through mirroring, allusion, and metonymy into a loose, almost narrative cycle.

Compelling features of the Winter Show include two of Walker's 2009 films — which are based on narratives from archives of a bureau established in 1865 to assist African Americans with the transition from slavery to freedom — presenting the artist's signature black - silhouette cut - out figures, which almost impossibly convey the complexities of race, gender, sexuality and power in their stilted and provocative movements.

Objects play a central role in the film, almost as characters in their own right; the mise en scene becoming as potent as the action of the protagonists or any suggested narrative.