Overall, he has compiled nearly 70
narrative film credits.
Not exact matches
This
film is a satire about the lack of real communication found in contemporary high - tech society.With no real
narrative, beginning, or ending
credits, it centers on Munson, his wife, and a bizarre orange - clad goggle - wearing exterminator named Elmo.
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.
There's an undeniable power to its fantasy, but the
film has a sophisticated enough
narrative and shape that it deserves more
credit than the simple, dismissive «I'm glad it exists, but...» response I've anecdotally heard from more than one gay viewer.
Speaking to Variety's chief
film critic Scott Foundas, Mann discusses growing up in Chicago, becoming interested in crime stories, the visual ideas he had for the
film, the nonfiction book he discarded but still
credited, the influence of real criminals and past
films (particularly his eye - opening time shooting The Jericho Mile in Folsom Prison), choosing Tangerine Dream to do the score (a decision he still second guesses), the
film's writing (including basing characters on real crime figures), casting, explosive stunts, changes made from the shooting script, and the modernist
narrative.
From literally the very first second of the
film where Will Arnett's gravelly voiced title character provides a hilarious
narrative guide to the opening
credits, there's silliness to spare, and much of it is based on Batman's self - absorbed tough - guy persona.
Kings is a very basic
film, where the younger stars take up most of the
narrative and screen time, while Berry (Kidnap) and Craig (Logan Lucky) appear in just enough scenes to satisfy their marquee
credit.
Spheeris» next
narrative film would be the 1998 college comedy Senseless, which stands as her last theatrical
credit to date.
A summer movie event that has literally been a decade in the making, Avengers: Infinity War is the new capstone of Marvel Studios» ambitious master plan to bring the majority of their comic book heroes to cinematic life — not in separate, stand - alone
films, but rather in an intricate web of interlocking
narratives, each of which features various plot points and isolated moments (some buried within or after the closing
credits) that have laid the groundwork for the events depicted here.
He won't get as much
credit as he deserves for adapting such a complex novel, but Ford handles the interweaving
narratives effortlessly; it's never jarring, and yet despite taking place in two different worlds, the way in which the
film has been constructed makes complete sense and only strengthens its emotional impact.
Written by Meg LeFauve, with her, Sohn, and others
credited on story, The Good Dinosaur features the most mundane
narrative of any Pixar
film — mundane because it so blatantly aspires to mythic resonance.
Characters from those
films pop up during Thor «s main
narrative and after the end
credits, living up to Marvel's commitment to populating their
films with the same bland versions of perfectly acceptable characters.