Sentences with phrase «narrative film works»

Ground rules: One, we're not talking about his documentaries, short or otherwise — narrative film works are the game.

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 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.

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.

The film is missing a narrative — even a vague sketch of one would work, if that opaqueness was conveyed with an intentionality — to show how its protagonists, Alice and Tom, value themselves and their intimate relationships.

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).

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.

It can be overindulgent at times and Myers» over-the-top lens through which he projected his early comedy films can seep into the narrative and produce some overbearing results at times, though «Supermensch» feels like a work of minimalist restraint compared to films like «Wayne's World» and «Austin Powers».

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

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.

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.

There's no tension, no forward narrative, more cliches than a Roland Emmerich film, no proper establishing of scenes or the geometry of said scene so you can work out where everyone is and what needs doing and some piss poor acting.

Yet what the film lacks is the substance of its progenitor, the concreteness of a certain visual grammar and narrative originality The Matrix used to transform itself into a work of surprising science - fictional elegance.

She has produced short narrative and documentary films, music videos, and web series and her work have shown at festivals including Virginia Film Festival and Tampa International LGBT Film Festival.

But Out 1 was one such film, an unforgivingly experimental work of serpentine narrative structures and conspiratorial cul - de-sacs that demanded the repeat viewings and deep immersion a home video release could afford.

Some are quick to deride this film as a shadow of Malick's previous work, but, if anything, it's the natural conclusion of the themes, narrative sensibilities and aesthetic he's built over the last four decades.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

INTERNATIONAL NARRATIVE FEATURE FILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raquNARRATIVE FEATURE FILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» sFILMS: Any narrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raqunarrative work of fiction of international origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» sfilms that are shot in a «mockumentary» style.

It's an unabashedly high concept premise that's employed to positive effect by director John Landis, although it does go without saying that the lion's share of praise for the film's success belongs to both Aykroyd and Murphy - as the actors» exceedingly engaging work ultimately proves instrumental in smoothing over some of the more questionable elements within the narrative.

While there are standout examples — like Darren Aronofsky's disorienting, eye - opening Requiem for a Dream, or the achingly beautiful narratives of animated animal - people addicts in BoJack Horseman — sagas like this one usually work better on the page than on the screen; the brief gloss of film can make drug use seem rather too appealing, while the idea of spending eight TV seasons with an addict seems rather unappealing.

U.S. NARRATIVE FEATURE FILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raquNARRATIVE FEATURE FILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» sFILMS: Any narrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary&raqunarrative work of fiction of U.S. origin with a running time of 50 minutes or more, including films that are shot in a «mockumentary» sfilms that are shot in a «mockumentary» style.

If you see a moody pattern emerging on the type of films they've worked on, you'd be on the money; the pair, influenced by folks like Krzysztof Penderecki, Terry Bozzio and even later - day dark and doomy Scott Walker, traffic largely in droney and disquieting soundscapes, specializing in that sweet spot where discordant sounds subtly burn in the back of the frame rather than overpowering the narrative.

Known for complex narratives that often concern a network of characters engaging with the mediation of identity, truth and history, Egoyan's work over the last decade plus applies these concerns to a variety of film subjects, as well as installations, plays and operas.

While I found it interesting to form my own rationale as to what the film is about, by the same token, I often am reluctant to actually recommend films that don't work on fundamental narrative terms without having to read personal philosophical theories into them.

The complex narrative is rendered more relevant by the appearance of familiar technology in the film, where animals take the subway to work and Facetime their families.

A chronological leap advances the narrative seven years, and the reckless romanticism of the film's first half drops away to reveal a chillier, calmer work focused more explicitly on scientific inquiry.

Some films can work without a structured narrative or clear conclusion but this does not fall under that category.

Following a single father who works as a human billboard in Taipei, and his left - to - their - own - devices kids, with the presence of their mother represented by three different actresses, the film has the barest thread of story (Tsai has admitted that he no longer has any real interest in narrative), and seems determined to provoke less patient audience members into walking out, with a series of shots that last upwards of ten minutes without all that much movement in them.

In the end, it is by no means a truly awful piece of work, but the big problem is that it was originally conceived as a short film, and has clearly suffered from the expansion of the narrative that has led to it cropping up on the big screen.

At the same time that it works as a narrative, Walkabout is just as good as a film about nature, languishing on scenes depicting the exotic creatures one might find in the Australian outback.

Yes, there is plenty of narrative to work through, and the performances and events that unfold deserve the breathing space that splitting Mockingjay into two films allows.

The film lacks the narrative tightness, stark beauty, and gripping intensity of Granik's feature - film work.

Tangerine Entertainment produces narrative feature films by female directors, consults on various aspects of the filmmaking process, and works to create audience and community for work by women.

A sensitive and astute consideration of a film working in the seemingly popular contemporary genre of the multiple, interlocking narrative.

Too often «unfilmable» is an excuse for poor source material, where recent works like Cosmopolis illustrate that a perfectly fine film is undercut by a perfectly appalling narrative drawn word - for - word from the source material.

On Wednesday, November 1st, nestled in the midst of this twelve day celebration of Israeli filmmaking, sits the 6th Annual Films By & About Women, showcasing the work of female filmmakers and films with a narrative focus on the female perspective.

As an astounding Shakespearean director and actor, he is also proven to make bigger budget films work for him and tell interesting narratives for characters we didn't think we'd care about i.e. Thor and his live - action remake of Cinderella for Disney.

It was especially poignant to see Robinson, a lesbian filmmaker who's been working in the industry for years on various projects including The L Word, present such a radical film to both older audiences who were familiar to the character and young audiences who are growing up with the chance to see a complex women - centric narrative propelled by her.

For a film like this to work, the two leads need to have the acting ability to carry the entire narrative, and Cullen and New certainly achieve this under the skilled direction of Andrew Haigh.

Despite being, in a sense, the most straightforward, linear narrative movie the writer and director Paul Thomas Anderson has made in quite some time (perhaps since «Punch Drunk Love» — and this is not the only respect in which the two films resemble each other), «Phantom Thread» could be the filmmaker's most fascinatingly oblique work.

But though it could be viewed as a series of short, fun, film pitches - Channing Tatum's happy sailor tap - dancing routine was a favourite - wrapped up in the larger narrative of a movie star being kidnapped, its so beautifully put together, well - performed, tightly - scripted and deliberating making fun of itself that it works.

Some of the minor characters don't work as well for the film as they do for the book due to the pacing of the film and overall narrative.

Falling between existentially thorny and viscerally haunting, Minority Report is a passel of missed opportunities, clumsy narratives, and misspent potential, the latest Spielberg film to work best as an analogy for his middle - late career.

The performances of the young cast are very natural, and Sloma is perhaps the standout: she is given the opening and closing sequences as well as at least her share of the interwoven narrative, but the film couldn't work without her confident portrayal of a young woman on the verge of maturity.

(1) Indeed, beginning his fimmaking career in the 1960s, Schroeter has been an important and influential proponent of the New German Cinema, although his personal eccentricities and refusal to use conventional narrative tools in his films have rendered his work somewhat obscure and less marketable than some of his more famous contemporaries such as Rainer Werner Fassbinder, Wim Wenders, Werner Herzog and Volker Schlöndorff.

The bleak and confusing narrative vaguely touches on issues of grief for emotional impact, but it's the silly playfulness of the film and Cusack's dedication to it that make 1408 work on its own limited terms.

As the narrative arc treads old ground, there's no mistaking this film is all about the acting, and it's a fine ensemble working under the surprisingly assured direction of Russell — in this genre.

Working with a strategized network narrative — one that stands out from the many in Bordwell's samples, the year 2000 film had appeared as less all - encompassing and oddly mapped out, but after the screening I felt that device was no less disciplined as it engages the viewer by revealing some information, dispelling some, while omitting others — those countless fades to black are welcome beats for analysis.

Even setting aside my opinion that it's Anderson's coldest and least funny work to date, the film defies everything we know about commercial filmmaking, using an eclectic cast light on star power, an eccentric title, a period setting, international flavor, an R rating, and a versatile narrative that seems secondary to production design.

Chanel will partner with Tribeca Enterprises for the third annual «Through Her Lens: The Tribeca Chanel Women's Filmmaker Program,» which works to support and promote emerging American women screenwriters and directors of short - form narrative film.