Sentences with phrase «not film period»

Not exact matches

«This job is working with interesting people and interesting actors — I didn't feel like I needed to be in another period drama, but this was just a really interesting director who had done a really interesting film,» says actor @douglasbooth of the @tribeca Film Festival film «Mary Shelley.»

«We've seen so many films about the Holocaust — and rightly so — but not many films about this period of history,» he says.

So throw a towel down if you want to protect your sheets, but don't expect a scene from a horror film, because period sex can certainly get pretty erotic!

I like most music, the usual soaps period dramas and romantic / comedy films I do not like horror but will watch any.

If you subscribe, as I do, to the notion that the most «dated» films are often the ones that have the most to teach us about their respective periods, you shouldn't miss this singular work.

At the same time the film was not too fancy and stayed true to its period with typewriters, cassette tapes and Polaroid cameras.

Period trappings or no, this is not a historical film.

Sad to say, the rumored intensity of the play» «night Mother» is not on display in this filmed version that does not translate particularly well to the screen as it feels like just another made for television movie of the period.

Like most Coen movies, it isn't quite the way they used to make them, but is deeply in love not just with the films of the past, but all of popular culture, from product packaging (principally Dapper Dan hair pomade) through period pop music to modes of dress and politics.

Many people complain about sitting in a theatre for a long period of time, and while this film is not long in the slightest, it can feel it.

His next project (which, though it doesn't begin filming until next month, is currently slotted for an end - of - year release) is a New York - set period dramedy based on the stranger - than - fiction, real - life FBI sting operation (ABSCAM) that brought down numerous crime figures and corrupt government officials in 1980.

If this time period doesn't entice you, or you find it hard to relate to other cultures, you'll find the film thoroughly uninteresting.

He nails the time period, the locations are perfect, the young actors are amazing (not over or underplaying anything), the cadence is on the money, and the adults are much more genuine and sincere than they have been in other W.A. films.

The film is content to present itself as a self - enclosed period piece, a character study and not a polemic.

There's not an original idea rattling around in the empty - headed but gorgeous - to - behold period film.

The film is a rare case of a historical film not looking back on its source through the legacy it may have developed over time (usually peppered with winking irony), but is presented straight, immersed in the present of the period depicted where the prospect of Nixon resigning is all but preposterous.

I am not one of the biggest fans of it (there's a religion based around this movie), but you should still see it because of how it shows a representation of the period (the 1990's) and I could go on more, but just see this important film.

A kind of low - level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He's outfitted it with garish colors and costumes and set designs, some not - entirely - perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean - Claude Van Damme flick.

A piece of ham - handed kitsch at its most asinine, The Lovers, not in any way to be confused with Louis Malle's film by the same title, is a shamelessly derivative and preposterous would - be blockbuster that goofily fashions itself as a sweeping romance, time - travel sci - fi tale, and gallant period piece all at once.

Despite the film not seeming to be a period piece, the merits of Xbox's Kinect are spoken about early on and the Nintendo Wii is offered as an alternative.

His final film for Shaw, Come Drink With Me (66) revolutionized the industry, and gave Hong Kong not only one of its first period swordplay films shot in a new, modern style (inspired by Japanese swordplay films of the time), but also its first female action lead.

The film also goes a bit easy on its characters considering the time period (apart from Carol's custody battle, they don't experience any persecution), and while it looks gorgeous — like an oil painting of soft pastels — you don't feel the romance as much as you should; it's sensual, but emotionally distant.

The film looks good for the age, not amazing, but the photography was never meant to be crystal clear, so the soft focus stuff looks good, but doesn't crackle with the same authority as some films of the period.

Director Sam Mendes hasn't simply made an outstanding entry into the James Bond franchise, he's made an outstanding film, period.

One could argue that it's because he is «in love», but if you reflect back to the original Infernal Affairs you will see he still wasn't as jovial during that same period as he is in this film.

There's not a great amount of fine detail on display, but that could be a product of the lenses used or the film stock of the period.

Why did so many people bow at the feet of «The Babadook,» not just the most critically acclaimed horror film of the half - decade but one of the most critically acclaimed films, period, of any genre?

Weighty stuff for a supposed period comedy about film industry magic, and it gives this movie a serious edge it quite frankly didn't need.

Junge, detained in Russia for a period at the end of World War II before finding work as a magazine editor, treats the unseen Heller like a priest; one might say that her regret drives the piece, resulting in not a lurid film about Hitler (which has disappointed those critics out for something pulpier), but a deathbed confession.

It's actually a pretty straightforward film, albeit one filled with eccentric choices: quirky Tarantino-esque monologues delivered in formal period speech; slow, rambling scenes punctuated with extreme gore; antagonists that could be read as racist caricatures, except the movie bends over backward to assure you they're not; and, to cap it all off, an operatic theme song that lays out the plot, Gilligan's Island - style.

Match Point, made during Woody Allen's extended fallow period, wisely takes the precaution of having its protagonist retire from the game before the film opens, so we don't get to see if Jonathan Rhys Meyers (pictured right with Scarlett Johansson) is as good a sportsman as he is a swordsman in this roman - à - quatre.

The film takes place primarily in 1932, but the main story is framed — as if inside a Russian nesting doll — within three later time periods: the present (or something later than 1985), 1985, and 1968.

Set in 1959, the period piece directly deals with the integration of suburbs in the era of the civil rights movement, although whether or not the film deals with it well is up for you to decide.

There's something both creakily and comfortingly naff about films such as Suite Française (Entertainment One, 15), polite period melodramas that wear their history like plush epaulettes and remain intractably set in Britain even when they're not.

The satire comes in the early post-war period when Americans were still not that aware of how they were being manipulated by hucksters to hawk their products on the radio and films were just getting ready to deal with that subject after a number of books and magazine articles were written tearing into advertisers.

Long before the Noir period started, sound on film ushered in several great series of detective movie series where the lead was usually a bright crime solver, but the gumshoe, gritty detective was not far behind and Noir kicked in just in time for that kind of investigator as the classical detectives (Charlie Cahn, Mr. Moto, Sherlock Holmes, The Thin Man) were on a roll that even defied studio expectations.

The story is worth considering and if the approach (period authenticity meets CGI - fueled filmmaking techniques) isn't the wisest, the film can't be faulted for being entirely trite and utterly boring.

Add in a few cool cameos (George C. Scott, Anne Bancroft, Peter Gallagher, Gwyneth Paltrow) and you've got a film that captures a time period, delivers one hell of a messed up story, may not get every detail perfect, but always feels morbidly fun; a movie worth revisiting.

Basterds Nine Bright Star An Education (The Queen was nominated and the film will be a major player so...) The Young Victoria (this category is just not complete without some period porn)

Loving, however, should not be dismissed as one of 2016's most important films, especially now that we're about to enter the darkest period of recent American history.

Penned by «I'm Not There» screenwriter Oren Moverman, the film bounces between two periods in Wilson's life: the creation of his masterpiece «Pet Sounds», and his later run - ins with controversial psychotherapist Dr Eugene Landy.

They don't need to be period pieces or intimate dramas (although that won't hurt), but they have to be in films that hit creative peaks such as «Room» or «The Revenant» («Beasts of No Nation» should have been one of those films, but more on that in a minute).

This CD was released in 2004 by Varese Sarabande, featuring a small amount of music not on the original (very rare) CD release on Memoir Records, and absolutely stunning sound - it's easily the best - sounding film score from the period I've heard.

Obviously, this is not a film for everyone, as there is a large segment of society who have little tolerance for Shakespeare, or even costumed period pieces in general.

At least it can deliver on that (and in spades), as the time period of the film essentially serves as its own character, and one that does not disappoint in the slightest — Michael Wilkinson's costume designs, Judy Becker's overall production design, and the entire coterie of hair stylists and make - up artists are all near - revelatory and exceedingly well - executed.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

Together, they have tried to create a soul - searching tale of a woman finally coming to find that she likes herself, and though it isn't entirely successful in that mode, there are periods where the film works well.

The director Todd Haynes not only tells stories set in the past, notably in America between the Thirties and Fifties, but he also makes films that feel as though they've been beamed directly from that period, in the best sense.

Of all the perverse gags — of which there are plenty, including but not limited to demon penises, vomit, bodily fluids (There's a long argument about one that only a group of men stuck together for a period of time could have), all manners of grotesque death, cannibalism, etc. — in the film, this sudden departure of so many characters is perhaps the most shocking.

«What I wrote would not have been written or performed during that period, yet the instrumentation is in keeping with what you would've had in a film at that time,» Burwell added.