Sentences with phrase «oddball story»

A contemporary America - set adaptation of the novella by Fyodor Dostoevsky, co-written by Ayoade with Harmony Korine «s brother Avi, the film features a promising cast — Jesse Eisenberg, Noah Taylor, Mia Wasikowska, Yasmin Page and more — in a decidedly oddball story.

Kelly's oddball story gets away with much.

This oddball story, written and directed by Anders Thomas Jen sen, whom Dogme followers might remember from his screenplay for the 1999 hit «Mifune,» is more than a one - joke concept.

While it's hard to know just what to make of it, there's just something inherently endearing in seeing a movie with so many oddball story developments and a crazy sense of atmosphere.

But with Monsters, Inc. and Up director Pete Docter back in the chair, we don't know how this oddball story of a little girl with voices in her head can fail.

Since it's an oddball story to begin with, Michael produces an equally oddball score, with elements of ragtime, old - fashioned jazz, and a touch of the recently rediscovered Klezmer style of music.

But with «Monsters, Inc.» and «Up» director Pete Docter back in the chair, we're not sure how this oddball story of a little girl with voices in her head can fail.

Critic Consensus: Frankenweenie is an energetic stop - motion horror movie spoof with lovingly crafted visuals and a heartfelt, oddball story.

Critics Consensus: Frankenweenie is an energetic stop - motion horror movie spoof with lovingly crafted visuals and a heartfelt, oddball story.

Not exact matches

The show follows the story of «an oddball athlete who drives family, friends and strangers crazy after he's unexpectedly cut from his pro football team.»

It has a very fun story, great acting and characters, and enough early oddball cgi to keep anyone entertained and intrigued.

Our story shifts into «road trip» mode soon enough, as Dodge and Penny meet all sorts of oddballs with different outlooks on life during their final days.

Watching it amble along is enough of a treat, since the Coens populate this story with oddballs and bowling balls of such comic variety.

It helps enormously in the suspension of disbelief that the story is set in Vegas, a place where oddball types are as common as cacti and the unlikeliest things are far more likely to happen.

But when it emerged that «Monster House» creator Gil Kenan was set to take charge, The prospects of «Poltergeist» improved immeasurably: his films have precisely the right blend of spooky thrills, oddball invention and emotional heft to suit this story of a young girl abducted by vengeful ghosts.

Once you get through the story, the game really opens up because you're not worrying as much about trying to complete the game, and you can concentrate on things like saving all of those oddball survivors, taking out the wonderfully erratic psychos in the game or having a friend drop in to help you cut and shoot your way through the unbelievable number of zombies that Blue Castle manage to pack into a single space.

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.

The Bronze then changes from an oddball black comedy full of crass humour and filthy language into a sort - of redemption story (with crass humour and filthy language), although neither choice ever really works.

James Franco directed and stars in this hilarious oddball comedy that tells the true story of Tommy Wiseau, a talentless actor and director who made «The Room,» regarded as one of the worst movies ever made.

In rich black and white, it's the story of an aspiring young New York filmmaker (Steve Buscemi) in the throes of his creative struggle, his beautiful neighbor and muse (Jennifer Beals), and a lovable con man (Seymour Cassel), chasing their dreams in quintessential 1990s NYC amidst a cast of oddball characters played by Stanley Tucci, Sam Rockwell, Will Patton, Jim Jarmusch, Debi Mazar, Carol Kane, and others.

Nick's story — as well as the cast of nutcases he has to deal with — works for Dead Rising's oddball mix of comedy, social commentary, and outright gore, but it never really gels into something deeper than your average B - movie plot.

Kenan's films have precisely the right blend of spooky thrills, oddball invention and emotional heft to suit this story of a young girl abducted by vengeful ghosts.

Even beyond an intriguing story and an appealingly oddball visual style, though, I Kill Giants would stand out on the big screen because it has the taut emotional drama of a great cinematic story.

The story follows a screenwriter (Colin Farrell) struggling for inspiration for his script, Seven Psychopaths, who gets drawn into the dog kidnapping schemes of his oddball friends (Sam Rockwell and Christopher Walken).

In typical Wiseau fashion, though, the oddball filmmaker was not merely satisfied having his story recreated for mass audiences by well - known actors — he demanded, in his contract, to act opposite James at some point in the film.

Wallace arrives to find that the kid has killed himself, but not wanting to waste the trip, he starts hunting for other oddballs with a story to tell.

The story probably sounds stranger on paper than it does in the actual film: an aspiring musician in London named John (Domhall Gleeson) ends up roped into helping a strange band full of oddballs record an album, led by the enigmatic Frank (Michael Fassbender), a man who wears a giant papier - mâché head to hide his true face.

Based on the book by Ransom Riggs, and starring Eva Green, Asa Butterfield, Chris O'Dowd, Ella Purnell, Allison Janney, Rupert Everett, Terence Stamp, Judi Dench and Samuel L. Jackson, the story follows a teenager who finds himself protecting the oddball orphaned children who live on a mysterious island.

The pitch: Oscar nominee Rinko Kikuchi headlines an oddball love story as a lonely young woman who works by day as a contract killer and by night in a Tokyo fish market.

And because the script is based on real - life events, the film's story has that oddball progression that can only come from reality.

Where Ed Wood was a valentine to artistic oddballs and eccentrics on the fringes told with an optimism that was certainly not mirrored in Wood's real life, this is a story about the pain behind the façade of happiness and success.

An interesting companion piece to «Mud,» the film tells the story of two best friends (future megastar Nick Robinson, «Super 8» actor Gabriel Basso) who, fed up with their overbearing parents (including Nick Offerman, in his best non «Parks and Rec» performance to date), and with the help of show - stealing oddball Biaggio (Moises Arias), build a house in the woods where they can act like grown - ups.

Fortunately, director Spike Jonze (creator of oddball favourites Being John Malkovich and Adaptation) has made a science - fiction film that is partly a glimpse into the future of advanced computer software, a current day look at our overreliance on technology and also the unlikeliest of love stories.

Annette Bening and Jamie Bell share a sweetly oddball love story in «Film Stars Don't Die in Liverpool»

Inherent Vice — based on the 2009 novel by Thomas Pynchon — is the latest from American writer - director Paul Thomas Anderson, this time brining his masterful skills to a 1970s - based fictional crime story filled with twisty turns, oddball characters, and lots of drug use.

Eccentric with a humorless intensity, this curlicued story of an oddball family features Toni Collette doing her familiar overexpressive thing as an unconventional feminist single mom; old - soul kid actor Jason Spevack as her genius son, Henry, who's a miracle of artificial insemination; and Michael Sheen as an emotionally impacted academic with a bad memory.

YOUTH JURY AWARD FOR BEST FILMS4FAMILIES FEATURE Oddball (Australia 2015), directed by Stuart McDonald JURY STATEMENT: For its entertaining, emotional telling of an amazing true story that combines mystery, comedy, and adventure.

But underneath it was a very universal story, basically a love story or bro - mance, between these two friends,» says Franco, dressed in a plaid button - down shirt and flashing that mischievous grin that encapsulates his oddball prankster persona.

Best known for his star turn in Australian comedy classic «Kenny», Shane Jacobson is back for «Oddball», a true story about an eccentric...

For a writer who primarily wants traditional, who among us doesn't have a beloved stack of short stories, or an oddball book that we know will never find a home among traditional publishers?

I did finally catch up on the story of Z via Extreme Butoden on 3DS (although that's really the worst way to tell a story, and I am thinking of getting the Budokai collection / playing more of Xenoverse 1 for that very reason) and plan to get the OG DB series when I finish GT, but Super is just an oddball that I'm unsure about.

Lovers in a Dangerous Spacetime (Asteroid Base)-- $ 13.25 until 3/5, normally $ 19.95 Sparkle 3 Genesis (Forever Entertainment)-- $ 5.02 until 10/5, normally $ 7.50 Tactical Mind (QubicGames)-- $ 3.60 until 13/5, normally $ 4.50 Robonauts (QubicGames)-- $ 4.50 until 6/5, normally $ 22.50 Nine Parchments (Frozenbyte)-- $ 18.00 until 1/5, normally $ 30.00 Super Toy Cars (Eclipse Games)-- $ 11.99 until 6/5, normally $ 14.99 Astro Bears Party (QubicGames)-- $ 4.50 until 6/5, normally $ 7.50 Aces of the Luftwaffe Squadron (HandyGames)-- $ 15.00, normally $ 22.50 Maria The Witch (Naps Team)-- $ 3.75 until 3/5, normally $ 7.50 Bulb Boy (Bulbware)-- $ 6.24 until 28/4, normally $ 10.40 Revenant Saga (KEMCO)-- $ 13.65 until 9/5, normally $ 19.50 Subsurface Circular (Ant Workshop)-- $ 7.19 until 3/5, normally $ 8.99 Mad Carnage (QubicGames)-- $ 6.00 until 13/5, normally $ 7.50 King Oddball (10tons)-- $ 2.09 until 2/5, normally $ 6.99 Twin Robots: Ultimate Edition (Ratalaika Games)-- $ 9.00 until 29/4, normally $ 12.00 Qbics Paint (Abylight)-- $ 4.86 until 3/5, normally $ 6.49 Brave Dungeon + Dark Witch's Story: COMBAT (INSIDE SYSTEM)-- $ 9.45 until 10/5, normally $ 13.50 Shadow Bug (Muro Studios)-- $ 10.12 until 10/5, normally $ 13.50 Millie (Forever Entertainment)-- $ 3.75 until 10/5, normally $ 7.50 Semispheres (Vivid Helix)-- $ 8.99 until 3/5, normally $ 14.99 Squareboy vs Bullies: Arena Edition (Ratalaika Games)-- $ 6.00 until 29/4, normally $ 7.50 Star Ghost (Rainy Frog)-- $ 9.45 until 10/5, normally $ 13.50 Violett (Forever Entertainment)-- $ 4.50 until 3/5, normally $ 15.00 Grand Prix Rock «N Racing — $ 9.60 until 30/4, normally $ 12.00 Sparkle 2 Evo (Forever Entertainment)-- $ 1.87 until 3/5, normally $ 7.50 Tumblestone (QuantumAstroGuild)-- $ 7.99 until 17/5, normally $ 19.99 AeternoBlade (CORECELL)-- $ 20.25 until 3/5, normally $ 22.50 Frederic 2: Evil Strikes Back (Forever Entertainment)-- $ 1.87 until 3/5, normally $ 7.50 Frederic: Resurrection of Music (Forever Entertainment)-- $ 2.24 until 3/5, normally $ 8/99 Qbik (Forever Entertainment)-- $ 3.75 until 3/5, normally $ 7.50

David Walsh, Elizabeth Pearce, Jane Clark 2013 ISBN 9780980805888 Lindsay Seers, George Barber, Frieze, January 2013 One of Many, Adrian Dannatt, Artist Comes First, Jean - Marc Bustamante (ed), Toulouse International Art Festival (exhibition catalogue), June 2013 All the World's a Camera: Notes on non-human photography, Joanna Zylinska, Drone ISBN 978 -2-9808020-5-8 (pg 168 - 172) 2013 Lindsay Seers, Artangel at the Tin Tabernacle - Jo Applin, ArtForum, December 2012 Lindsay Seers, Martin Herbert, Art Monthly, October 2012 Exhibition, Ben Luke, Evening Standard, (pg 60 - 61) 20 September 2012 Lindsay Seers @ The Tin Tabernacle, Sophie Risner, Whitehot Magazine, September 2012 Artist Profile: Lindsay Seers, Beverly Knowles, this is tomorrow, 12 September 2012 Dream Voyage on a Ghost Ship, Richard Cork, Financial Times, (pg 15) 11 September 2012 Nowhere Less Now, Amy Dawson, Metro (pg 56) 7 September 2012 Voyage of Discovery, Helen Sumpter, Time Out, (pg 42) 6 - 12 September 2012 Nowhere Less Now, Rachel Cooke, The Observer, (pg 33) 2 September 2012 Divine Interventions, Georgia Dehn, Telegraph Magazine, 25 August 2012 Eine Buhne fur das Ich, Annette Hoffmann, Der Sonntag, 25 March 2012 Das Identitätsvakuum - Dietrich Roeschmann, Badische Zeitung, 27 March 2012 Ich ist ein anderer - Kunstverein Freiburg - Badische Zeitung, 21 March 2012 Action Painting - Jacob Lundström, FLM NR.16, March 2012 Dröm - fabriken - Peter Cornell, Kultur, 21 February 2012 Vita duken lockar Konstnärer - Fredrik Söderling, Dagens Nyheter (pg 4 - 5) 15 February 2012 Personligen Präglad - Clemens Poellinger, SvD söndag, (pg 4 - 5) 12 February 2012 Uppshippna hyllningar till - Helena Lindblad, Dagens Nyheter (pg 8 - 9) 9 February 2012 Bonniers Konsthall - Sara Schedin, Scan Magazine, (pg 48 - 9) Febuary 2012 Ausstellungen - Monopol, (pg 120) February 2012 Modeprovokatörer plockas up par museerna - Susanna Strömquist, Dagens Nyheter (pg 8 - 9) January 2012 Promosing in Kabelvåg - Seers» «Cyclops [Monocular] at LIAF, Kjetil Røed, Aftenposten, 10 September 2011 Reconstructing the Past - Lindsay Seers» Photographic Narrative, Lee Halpin, Novel ², May / June 2011 Lindsay Seers, Oliver Basciano, Art Review, May 2011 Lindsay Seers, Jen Hutton, ArtForum Picks (online), April 2011 Lindsay Seers: an impossibly oddball autobiography, Murray Whyte, The Toronto Star, 13 April 2011 The Projectionist, David Balzer, Eye Weekly, 6 April 2011 dis - covery, exhibition catalogue, 2011 Lindsay Seers: It has to be this way ², Paul Usherwood, Art Monthly, April 2011 Lindsay Seers: Gateshead, Robert Clark, Guardian: The Guide, February 2011 It has to be this way ², 2011, novella published by Matt's Gallery, London Neo-Narration: stories of art, Mike Brennan, modernedition.com, 2010 Steps into the Arcane, ISBN 978 -3-869841-105-2, published 2010 It has to be this way1.5, novella 2010, published by Matt's Gallery, London Jarman Award, Laura McLean - Ferris, The Guardian, September 2009 Top Ten, ArtForum, Summer 2009 Reel to Real - On the material pleasure of film, Colin Perry, Art Monthly, July / August 2009 Remember Me, Tom Morton, Frieze, June / July / August 2009 It has to be this way, 2009, published by Matt's Gallery, London Lindsay Seers at Matt's Gallery, Gilda Williams, ArtForum, May 2009 Lindsay Seers: It has to be this way — Matt's Gallery, Chris Fite - Wassilak, Frieze, April 2009 Lindsay Seers: it has to be this way, Rebecca Geldard, Art Review, April 2009 Review of Altermodern - Tate Triennial 2009, Jorg Heiser, Frieze, April 2009 Tate Triennial: «Altermodern» — Tate Britain Feb 3 — April 26, 2009, Colin Perry, Art Monthly, March 2009 Lindsay Seers: It has to be this way (Matt's Gallery, London), Jennifer Thatcher, Art Monthly, March 2009 No sharks here, but plenty to bite on, Tom Lubbock, The Independent, 6 February 2009 Lindsay Seers: Tate Triennial 2009: Altermodern, Nicolas Bourriaud, Tate Channel, 2009 «Altermodern» review: «The richest and most generous Tate Triennial yet», Adrian Searle, The Guardian, Feb 2009 Critics» Choice for exhibition at Matt's Gallery, Time Out London, January 29 — February 4 2009 In the studio, Time Out London, January 22 — 28 2009 Lindsay Seers Swallowing Black Maria at SMART Project Space Amsterdam, Michael Gibbs, Art Monthly, Oct 2007 Human Camera, June 2007, Monograph book Published by Article Press Lindsay Seers, Gasworks, London, Pil and Galia Kollectiv, Art Papers (USA), February 2006 Review of Wandering Rocks, Time Out London, February 1 — 8, 2006 Aften Posten, Norway, Front cover and pages 6 + 7 for show at UKS Artistic sleight of hand — «Eyes of Others» at the Gallery of Photography, Cristin Leach, Irish Times, 25 Nov 2005 There is Always an Alternative, Catalogue (Dave Beech / Mark Hutchinson) 2005 Wunderkammer, Catalogue, The Collection, October 2005 Lindsay Seers» «We Saw You Coming»;» 20,000 Leagues Under the Sea»; «Apollo 13»; «2001», Lisa Panting, Sphere Catalogue (pg 46 - 50), Presentation House Gallery, 2004 Haunted Media (Site Gallery, Sheffield), Art Monthly, April 2004 Miser and Now, essays in issues 1, 2 + 3 Expressive Recal l - «You said that without moving you lips», Limerick City Gallery of Art, Dougal McKenzie, Source 37, Winter 2003 Braziers International Artists Workshop Catalogue, 2002 Review of Lost Collection of an Invisible Man, Art Monthly, April 2003 Slade - Hannah Collins, Chris Muller, Lindsay Seers, Elisa Sighicelli, Catherine Yass, (A journal on photography, essay by John Hilliard), June 2002 Radical Philosophy, 113, Cover and pages 26/30, June 2002 Elle magazine, June 2002, page 92 - 93 Review, Dave Beech, Art Monthly, June 2002 Nausea: encounters with ugliness, Catalogue Lindsay Seers, Artists Eye, BBC Programme by Rory Logsdail The Fire Station, a film by William Raban and a catalogue by Acme The Double, Catalogue from the Lowry, Lowry Press, July 2000 Contemporary Visual Arts, Roy Exley, June 1999 Hot Shoe, Chris Townsend.