Sentences with phrase «narrative film as»

«Few artists have cut as impressive a swathe between structural and narrative film as the British artist, Isaac Julien.

Heineman has said that he wanted «Cartel Land» to feel like a narrative film as much as possible, and to an extent it does.

More so than such fine narrative films as Eye in the Sky and Good Kill, this is a picture to vivify what, for some, remains an abstract debate.

Not exact matches

But the narrative already has the makings of a feel - good Hollywood movie — so it should come as no surprise that a feature film dramatizing Ma's rags - to - riches rise is already in the works.

The film and its two predecessors, 2008's Cloverfield and 2016's 10 Cloverfield Lane, are share the same producer (Abrams) as well as a somewhat mysterious monster - movie narrative connection.

Despite a real - life narrative stuffed with secrets and suspense, the film version quickly feels bloated as Stone treats us to scene after scene of Snowden struggling with his inner dilemma and, especially, with his devoted girlfriend, Lindsay, who is a major character in her own right.

As an industry content leader, Participant annually produces up to six narrative feature films, five documentary films, three episodic television series, and more than 40 hours of digital short form programming, through its digital subsidiary SoulPancake — all aimed at entertainment that inspires social awareness and engaging audiences to participate in positive social change.

Although White is absolutely right about the tendency of today's animated films (Tangled included) to pander to the most annoying and depressing aspects of popular culture even as they ignore or deny the richer, deeper culture from which most classic fairy tales emerged, the animated features that Disney brought to the screen when Uncle Walt himself still oversaw the studio made a point of drawing considerable aesthetic, emotional, and narrative power from specifically Christian aspects of the culture that, even today, America shares with Europe.

Normally I can block out the bullshit and see the game as it's happening on the film, but this time I was buying the narrative hook, line and sinker, just like everybody else.

Chocolate Milk: The Documentary counters this habitually negative narrative as award - winning director and producer Elizabeth Bayne, MPH, MFA explores the racial inequities of breastfeeding in her first feature - length film.

«Through villainizing and trivializing biological parents, or through erasing them from the narrative altogether, such as in Anne of Green Gables, the film industry has a reputation for missing the mark on the importance of biology to adoptees.

As a member of the film's advisory board, I was able to see an early cut of the documentary and can tell you it's a very compelling narrative.

The results deepen our understanding of how the brain functions, how narratives work in film, and memory mechanisms impaired by conditions such as Alzheimer's disease.

Both of these films show individuals who are reassembling the narrative, making an attempt at the reconstruction and restoration of memory - as - history, however incomplete.

This style of diet that has recently gained a ton of press due to the film What The Health as well as many other media publications following a similar narrative.

There is a lot to learn from Alfred Hitchcock's work, his narrative was close to perfect and the skill to create suspense by depriving us of the payoff and restricting our view forcing us to imagine how bad the situation was, for the longest time just to deliver it at the peek of our attention, and that my friends, that is a gift for the film fanatic as for the filmmaker.

Years of experience in the entertainment, fashion, film and tv world as on - camera talent combined with a decade of exploring energy healing traditions to include Shamanic Healing, Reiki, Voice Dialogue and Yoga helped Kahshanna sink her narrative, branding and media chops into her boutique media hub Kissing Lions Public Relations.

It's not a message that audiences will extract as a prickly needle from the haystack of situational (read random) comic set - pieces that the filmmakers play like trump cards from the bottom of a stacked deck, but it does anchor film's narrative boat.

Indeed, a sex - free, PG - 13 version of «Freed» could be cut without shedding a second of narrative coherence, such as it is; one could ask what the point of that would be, though similar queries might be leveled at the film as it stands.

A much more restrained Xavier Dolan after his pretentious previous film, and he displays an assured direction and firm control of this suspenseful thriller, even though the narrative seems to move too fast as the characters start to act in ways that are not always convincing.

Helmed by seasoned director Rory Kennedy (Last Days in Vietnam, A Boy's Life), the film takes a pretty straightforward and linear approach to Hamilton's narrative — a living, breathing memoir — beginning with his childhood days as a towheaded beach rat who chose pro surfer Bill Hamilton to be his dad.

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

Perhaps no other series of children's films (and few series of films period) has delivered as consistently good visuals and narrative as Potter.

The film might feel aimless in spots, but as more layers of the narrative are peeled off, you understand just exactly how things came to be and how Wyeth, John and Dee might want revenge for what was done to their parents.

That narrative slyness is especially welcome in Friedkin, acting as a palliative to the sensory overdose in which he habitually deals; such a contrast was nowhere to be seen in «Bug» (2006), a film that sent me straight from the cinema to the pharmacy in search of anti-itch cream, but we find it in the first half of «Killer Joe,» thanks to the title character.

This turned out to be a ham - fisted and theologically suspect film about a possible scenario at the end of the age, utilizing a lot of the imagery and the narrative as found in the book of The Revelation of John.

As this film progresses in its short narrative, we find out deeper elements of the real addiction of the few characters that we get to know.

Even as it entertains increasingly far - fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.

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.

The episodic bent of the film's first half - much of the narrative seems to follow the central characters as they fight one fire after another - does test the viewer's patience to a fairly demonstrable degree, and it's clear that Backdraft, by and large, works best when focused on the rivalry and relationship between the central figures (and how it ultimately affects their respective work).

In similar films such as «Tinker Tailor Soldier Spy,» «The Debt» and «The Good Shepherd,» past and present are blended in such a way as to suggest the legacy of trauma, a narrative strategy that seems highly relevant to Red Sparrow.

This film is great watch with a solid narrative structure and with honest performances from all actors involved, hopefully you'll find Transsiberian a worthwhile watch as I did.

As the script begins to unravel the secrets of Miguel's ancestors, the film gets bogged down in its over-plotted family melodrama, with the last third in particular feeling like the filmmakers are running down a narrative to - do list.

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.

There reaches a point, however, at which Killer's Kiss begins to morph into an unexpectedly compelling film noir, as the narrative begins revolving around Davey and Gloria's efforts at escaping from Vincent's increasingly nefarious clutches.

The trick for a movie of this type, at least one that is aspiring to be more than just a simple - minded exploitation film (such as the original Charles Bronson «Death Wish,» a far more complicated work than usually given credit for, especially in comparison to its tacky sequels), is to create a narrative that somehow justifies such actions without completely overdoing it.

She discovers that as she meets with a kindly sports memorabilia dealer (Jon Hamm, in his sweetest film role) and the focus of the narrative shifts.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

Now because of the structure of the film manipulative narrative Diana comes across as a one dimensional Gollum.

Pellington and screenwriter Alex Ross Perry make their point within the film's first few minutes and keep making it — establishing that, yes, certain objects obviously do matter to us as harbingers of the narratives we assemble out of the incidents in our lives — as if they're the first artists to broach the subject.

It's just that the film feels so unusually empty; even if he has subtly snuck his usual hallmarks into the mechanics of the narrative itself, he's populated the foreground with characters who never come alive as anything more than archetypes, who trade in so much exposition it's hard to see how any audience member could be overwhelmed with confusion at the story being told.

In some - respects, this film also resembles Welles» «Mr. Arkadian», with a detective searching a man's past as the central - narrative — this was also copied by Alan Parker and his writers on «Angel Heart» (1986), another classic of horror.

It's as if the film is trying too hard to sell its dramatic kick, and the harder it tries, as irony would have it, the harder it is to get a grip on the weight of a dramatic narrative concept that feels a tad thin, what with all of the fluff that is consistent in cheese, yet not even consistent in tone.

Both films integrated social issues into their narrative fabric quite naturally, even though Creed was angled more as a sports drama.

After the painfully one - sided sexual adventure of the first film, in which she met Christian and was brutally exposed to his odd habits, and after Christian's even nastier control - freakishness in the ill - conceived «50 Shades Darker,» Ana is at last able to demand to hold the reins from time to time — a narrative turn that manages to frame their marriage as an empowering structure for women: now enclosed in the gilded cage of their union, Ana can pull on the rope that Christian had tied around her neck.

This feature length narrative film follows the emotional and psychological journey of a young, black, gay artist as he discovers the hidden legacies of the gay and lesbian subcultures within the Harlem Renaissance.

Though it does have its own version of a three - act structure, this film is not a conventional narrative that will fit into a tidy box and it's not a story so much as an experience.

Josh Brolin and Daniel Kaluuya also are strong supporting actors, both providing the film with a heightened sense of urgency as well as a balanced level of comic relief which doesn't take away from the films overarching narrative.

The vapid plot line follows the same narrative arc as «Tootsie» but hasn't the heart or purpose of that film.