Sentences with phrase «narrative film from»

House of Demons (formerly known as Trip House) is the first narrative film from director Patrick Meaney, and it is distributed by Smith Global Media / Sony.

Your response to «Blue Night,» a first narrative film from director Fabien Constant («Mademoiselle C»), will very much depend on your response to Sarah Jessica Parker as a performer, for this is very much a vehicle for Parker, and it plays into some of her strengths and many of her weaknesses.

Not exact matches

The most expensive and technically ambitious film ever made, James Cameron's long - gestating epic pitting Earthly despoilers against a forest - dwelling alien race delivers unique spectacle, breathtaking sights, narrative excitement and an overarching anti-imperialist, back - to - nature theme that will play very well around the world, and yet is rather ironic coming from such a technology - driven picture.

Particular attention is given to the kinds of content that is communicated through such narratives (cognitive, social and emotional, information processing skills, implicit messages, and modes of learning), and to the processes and potential of learning from television and film.

One example would be Aimee Dorr Leifer's essay entitled «Teaching with Television and Film,» (TTF) published in N. L. Gage's The Psychology of Teaching Methods, a widely read Yearbook of the National Society for the Study of Education.1 Even in this essay, however, Leifer reviews what has been learned from various psychological studies of television and film narratives, and the limited range of the studies limits the vision of narrative teaching that she puts forth.

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.

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.

«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.

This polemic against the American healthcare system benefited from a far more focused approach than his previous films, which covered so much ground they sometimes lost any sense of narrative or coherence.

His centerpiece is a narrative running from Metropolis to Dr. Strangelove, indicating that the power of film images affected first German rocketry and then, through the von Braun story, American space technology.

In this documentary, plant - based diets are also shown to have a significant impact on our environment — the film subtly evolves from a narrative around nutrition and into a discussion around climate change, arguing that the decision to reduce meat consumption is perhaps the most profound choice an individual can make to reduce their impact on the earth.

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.

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.

An interestinbg if problematic film, whose last reel breaks free from the narrative to take on a more primitive line that recalls episodes out of TV's Outer limits or Twlight Zone.

The film still suffers from a muddy narrative and dour outlook, but this extended version corrects a number of problems with plotting and expands the DC Comics universe with better character development and world building.

The film, which is based on a television series (which was itself a spinoff from the Wallace & Gromit franchise), boasts a tremendously appealing stop - motion animation style that's heightened by an assortment of affable characters, and it's worth noting, too, that the movie's total absence of dialogue in no way hinders one's ability to get caught up in the briskly - paced narrative.

The film was obviously shot in one day, but the cast and crew rehearsed for months to time their movements precisely with the flow of the camera while capturing the complex narrative, with elaborate costumes from different periods, and several trips out to the exterior of the museum.

The best thing that can be said about Bats vs. Supes is that it's rapid collapse at the box office may finally be enough to convince Warner Brothers to remove Snyder from any future DC Comics films and give them to those who've show an ability to deliver movies with coherent character, narrative and emotion in addition to pure spectacle — and preferably all of the above.

From the outset, then, Scott establishes the entire film's brutally clumsy narrative schema.

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.

A committed central performance from Jasmine Hyde can't quite save this half - baked thriller that matches jarring tonal leaps and narrative ineptitude with unfortunate echoes of superior films.

It's a tricky narrative challenge to shift from inherently compelling wildlife scenes to abstract courtroom debate, but the film manages it capably, even spicing things up with one justice's admonition that Wise needs to cut his slavery analogies.

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.

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.

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.

While the respectable result is a more meaningful film than just about anything Mandoki worked on during his 17 years in Hollywood («Angel Eyes,» «Message in a Bottle»), pic suffers from an overindulgence of triumph - over-adversity cliches and a meandering narrative.

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.

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 Rider Brady Jandreau, a Lakota cowboy from South Dakota, enacts a version of his own harrowing story of loss and recovery in writer - director Chloé Zhao's stunningly lyrical western, a seamless and deeply moving blend of narrative and documentary film techniques.

But in the year 2011 (and in the humble opinion of this reviewer) the film does feel a tad dated from a narrative standpoint.

This extraordinary piece of artistry and craftsmanship integrates its dazzling special effects so seamlessly that they're indistinguishable from the film's narrative, poetry, and, above all, metaphysics.

With this, the film becomes more sure on its legs — particularly after what should have been strong performances from heavy hitters Buscemi and Sevigny, but instead served mostly to run narrative paces (Buscemi as a surrogate father, Sevigny as a surrogate pragmatist) for Charley and Pete.

Still, this capable cast aside, the film's weaknesses in depth and its reliance on setting (versus narrative) hold Exodus: Gods and Kings back from being a ubiquitous historical epic film.

Somewhere between his debut feature Badlands and this year's Knight of Cups, Terrence Malick peeled conventional narrative from his films; his work became unashamedly naked.

Winner's superb direction and the screenplay by David W. Rintels and Gerald Wilson keep the film from vanishing into a morass of plot holes, surprise twists, and confusing narrative developments.

Figures from Craig's previous films frequently intrude upon the narrative of Spectre, including Mr. White (Jesper Christensen, «The Debt»), Silva (Javier Bardem, «To the Wonder»), Vesper Lynd (Eva Green, «Dark Shadows»), Dominic Greene (Mathieu Amalric, «The Grand Budapest Hotel») and, of course, M (Judi Dench, «Philomena»).

They include songs from animated films, documentaries, period narratives, comedies, and dramas.

The act of audience deception here is brilliant — especially as the film shifts gears from a traditional but warm storytelling approach to a subversive and dramatically vibrant narrative as it deconstructs the family and allows room for far more questions than what it seemingly starts with.

One of the film's strategies is to pair the voice of Samuel L. Jackson intoning selections from Baldwin's writing with relevant images salvaged from American history, including segments that highlight the white supremacy encoded in Hollywood narratives.

Andrew O'Hehir, Salon: Debra Granik's blend of low - budget regional realism and crime thriller (adapted from the novel by Daniel Woodrell) is an absolute knockout, for me the narrative film of the festival so far.

This docu - drama from director Jeff Unay plays like a feature film with a narrative following the real - life story of a fighter named Joe Carman.

With Shirkers, Sandi Tan (also a first - time filmmaker) revisits the long - lost footage from her unfinished narrative feature shot in Tan's native Singapore in 1992, also called Shirkers, and in the process reckons with both why the film was never finished and how several relationships were forever changed in its wake.

It seems like Malick's been moving further and further away from traditional narrative with each successive film, and I think that each film is better than the last.

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.

Allan Cameron's Modular Narratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftenNarratives in Contemporary Cinema, the subject of this review, does something similar — for the most part — to Puzzle Films and seems to sit clearly on the side of the debate that understands there is indeed something unique about the complex narratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they oftennarratives of contemporary cinema, arguing that these films are different not only from classical Hollywood films but also from the art cinema and experimental films they often resemble.

While Christopher Plummer's involvement feels organic from the beginning, the film as a whole has pacing, editing, and narrative problems.

In a film so manipulative and wrongheaded on so many different narrative levels, for this gem of a scene to emerge and produce real tears from a character barely written in to the story is a welcome surprise.

Besides, it's not unusual for a film to excise footage used in trailers from the final product, or in other ways, edit footage to create misdirects to protect the core of the narrative.

The film will also entertain fans who have never seen the original films because the jokes and story completely stand on their own merits, and the nods to the old film do not feel forced or distract from the narrative.

Yet for all the set - pieces he directs the hell out of — an opening hunt; a piranha attack — it's only in its elliptical final throes that the film eclipses its surface pleasures, as the eponymous city shifts from narrative goal to vaporous MacGuffin.