Sentences with phrase «narrative films driven»

Brian Bress, a Los Angeles based artist and filmmaker, creates absurd, circularly narrative films driven by the circumstances of a bizarre cast of ridiculously costumed characters, more often than not played by Bress himself.

Brian Bress, a Los Angeles based artist and filmmaker, creates absurd, circularly narrative films driven by the circumstances of a bizarre cast of ridiculously...

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.

Earnestly presented and well acted, particularly by newcomer Nicole Beharie in the central role, the film shares with many other such agenda - driven dramas a complete lack of narrative surprise, merely connecting the dots.

Django Unchained may not be one of the great Tarantino films and it loses some of its narrative drive towards the end, partially due to Tarantino's most unnecessary cameo to date.

I don't know if anyone has made the comparison yet (I've avoided most reviews), but the film reminded me quite a lot of Michael Mann's neo-noir «Thief,» both in narrative drive and in stylistic signature.

That forward thrust, that sense of both character and audience not knowing how he'll react, or what he'll do next, gives the film an exciting narrative drive.

The first writer to come on the project of adapting a six - hour British miniseries into a 127 - minute film was Carnahan, whose 2007 film The Kingdom has the kind of narrative drive and political awareness that was useful for this film.

The music - driven feature film combines a bold narrative and spectacular live - performance footage of one of the most popular and influential rock bands in history to produce a bracing, raw andvisceral cinematic experience.

It's unclear what drove Danish documentarian Jeppe Ronde to focus on this phenomenon for his first narrative film.

The resulting procedural aspect of the film gives it gripping narrative drive, but it's the pitiless portrait of middle - class life in modern Russia that lingers longest.

The romantic angle is what drives the narrative of the film, but this is first and foremost a character piece that is clearly built around its tremendous leading lady.

The film's awkward structure posits Victoria as the pivotal figure in two power triangles, neither one having any discernible bearing on the other, and both insufficiently powered to drive the narrative alone.

Gone is the first film's svelte singularity of purpose, where world - building served up grace notes that accentuated or relieved narrative and emotional drive.

Refn's latest film, Only God Forgives, reunites him with Drive's star, Ryan Gosling, but it moves even further away from traditional narrative and into a near abstract, near hallucinogenic, near nihilistic subversion of traditional narrative and with it, the usual visceral, emotional, and intellectual pleasures associated with that form.

Goodman also discussed the process of starring in such an action - driven film that only features three characters throughout the majority of the narrative, after starring in movies that have featured notable ensemble casts.

If it sounds like the film isn't much in terms of plot, a driving narrative has never been one of Stillman's motivations.

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.

By moderating the driving force within the core narrative and littering the film with sexual metaphors in its place, leaves the film with very little in the way of plot development and it has simply nowhere to go.

Forlorn depictions of love and death may dignify Neil Jordan's film, but narrative withholding ultimately drives a stake into its unmistakable heart.

The film concludes in a more conventional manner, perhaps, than might be expected, in that it's a flight to freedom — or maybe a fool's errand — but remains gripping and tense, balancing suspense and narrative drive with emotional entanglement and an unerring sense of dread.

It isn't that Best Picture hasn't always been mostly dominated by male narratives — it's that the strong female - driven movies started to fail to catch fire at the box - office around the mid-90s and once that happened, there has never been much of an economic incentive to get those films made.

The music - driven feature film combines a bold narrative and spectacular live - performance footage of one of the most popular and influential rock bands in history to produce a bracing, raw and visceral cinematic experience.

Avengers: Infinity War, as a production, is a truly impressive moviemaking feat as it is hard to recall a film that has had to weave together so many actors, storylines, and locations while still driving a narrative.

His previous film Drinking Buddies didn't have much of a narrative drive either, yet its rambly quality and ruminations on love were charming and slyly meaningful.

Unlike a film like Frances Ha, there's not much particular narrative drive in this film.

It is slightly jarring as we are so used to the comedic timing of a witty ex-cop John McClane archetype, that here Washington plays a somewhat introverted, more pensive and less charismatic character which takes the film from an average action thriller to a suspenseful character - driven narrative.

Without a substantial heroine driving the narrative, in a plot that is too light on fantasy and mystery, The Legend of Longwood fails to make much impact, despite its captivating façade and unfortunately the film becomes just another forgettable adventure quest drama.

- Bob [LOVED] While not as solid a film as Cloud of Sils Maria, Kristen Stewart continues to demonstrate that she is quite capable of driving a dramatic narrative.

The American is a far more narrative driven film but to an extent it shares with The Limits of Control a focus on the process, waiting and build - up rather than being a guns blazing action film.

Beginning as science - driven sci - fi, the film shifts gears into horror - thriller territory, before abandoning those narrative beats in favour of an ambitious, «conceptual» final half - hour that scrambles a little to wrap itself up.

More than half the films of my list share stories that focus on women or girls: Mad Max: Fury Road, Brooklyn, Inside Out, Room, Star Wars: The Force Awakens and Far From the Madding Crowd (Additionally, I would argue that Ava's narrative in Ex Machina also drives that film and that Domhnall Gleeson's character primarily functions as a stand - in for the audience).

Much of the problem comes from the film's slowness and lack of narrative drive.

There is a clear commitment to grounding the narrative here — Lara's motivations are more human and they've all but eliminated the supernatural MacGuffins that drove the Jolie films.

Overlord, with its continual refrain of a soldier's vision of his own probable annihilation, its ominous flash - forwards, and its striking mix of fiction and documentary, certainly has its place among the great death - driven modernist narratives of its era (Nicolas Roeg's 1973 Don't Look Now and Sam Peckinpah's films come immediately to mind), and it has a clear kinship with Kevin Brownlow's similarly handmade «period epics» It Happened Here (1964) and Winstanley (1975).

It will be yet another year where most of the films in the Best Picture race are driven by the male narrative — give or take a Gravity.

Just saw a preview of «Shotgun Stories» in London yesterday, and while I concur on the immense promise of both Nichols and Shannon, I found the film fatally lacking in narrative drive.

And the unresolved romantic and sexual tension between Black Widow and Hulk creates a weird driving force to the narrative: even the absurdity is somehow recirculated into the film's internal economy as comedy and irony and the cast - of - thousands effect never seems to split the focus: Andy Serkis plays metal trader Ulysses Klaw and Julie Delpy has a blink - and - you'll - miss - it cameo as Black Widow's sinister former controller.

by Bill Chambers The Lucio Fulci apologists like to say that gore and general impropriety are the raisons d'être of his work, not storytelling, but there's a built - in fallacy to that implicitly macho challenge: It presumes that his films are light on narrative when in fact it's narrative drive that they lack.

Stories within stories, with rich supporting characters (including a fantastic portrayal of a photojournalist / Grecian chorus by Reuben Blades) driving the narrative, Wang's film embodies the complexity of the political and social situations of a country in transition..

Lady Bird's (Saoirse Ronan) objectives of getting laid and going to college far away from her parents are the plot engines that drive the film's narrative.

After some brief moments of Bruce's act during his brief prime and more of the film's frequent Kane - like interview - driven narrative, the film starts in earnest — not with star Dustin Hoffman recreating the comic's early nightclub days, but with Perrine recreating the early career of Honey Bruce, a.k.a. stripper Honey Harlow.

Another of the film's many novelties is its foregrounding of female characters: from tech - whiz Shuri to the Okoye - led all - female royal bodyguards, the Dora Milaje, to Lupita Nyong» o's warrior - superspy Nakia, the women of Wakanda drive the narrative from the get - go.

Crowley guides us through the narrative with precision but it's a performance - driven film and the ensemble cast, especially the chemistry between Ronan and Cohen, deserve any and all accolade.

He's not just any getaway driver, he drives too a killer soundtrack that features BellBottoms, Let's Go Away For Awhile by The Beach Boys, Easy by The Commodores, Brighton Rock by Queen and 26 other songs built into the film's narrative.

Though it's flecked with deadpan humor, the sketchy psychologization of the deterioriating Marina and her family is overshadowed by the film's ruthless narrative drive and violence.

If you like the Planet of the Apes reboot films then this game should be on your list of games to experience, for everyone else, if you like cover - based shooters or narrative - driven games then be sure to check it out!

While the films often scrap narrative coherence, the viewing experience itself feels particularly focused around driving the content of each film forward.