Sentences with phrase «of shotgun stories»

Loving is written & directed by American filmmakers Jeff Nichols, of Shotgun Stories, Take Shelter, Mud and Midnight Special previously.

AVC: Here's something funny: I delivered the 35 mm print of Shotgun Stories to its first screening in Chicago.

Gone is the Shakespearean tragedy of Shotgun Stories and the parable of Mud and in its place we experience the otherworldly and supernatural elements that he attempted with Take Shelter.

Not exact matches

Editor's note: An icon of a rifle accompanying the gun trace data in this story was revised on May 13, 2016, to disambiguate it from a shotgun.

As with «Shotgun Stories,» Nichols assembles a tense portrait of blue - collar life, while deepening his thematic interests and working on a bigger scale.

Both Violet and her sister Suzie (Alison Brie) are funny, flawed, believable characters, even if the subplot of Suzie's shotgun marriage to Tom's best friend Alex (Chris Pratt) feels like an underwritten foil for the main couple's story.

For me, there were no major discoveries or revelations this year — like, say, Jeff Nichols» «Shotgun Stories» or Yôjirô Takita's «Departures» or the astounding, mind - blowing 70 mm print of Jacques Tati's «PlayTime» in past Ebertfests — but that almost seemed beside the point.

Whether you're in the competitive Crucible or blasting aliens in story missions, your pulse rifles and shotguns will have the same damage, perks, and rates of fire.

One of the last major premieres at the Cannes Film Festival was Jeff Nichols» third film following Shotgun Stories and Take Shelter, titled simply Mud.

Jeff Nichols, the talented director of «Shotgun Stories» and «Take Shelter» is back at Cannes with his third film, «MUD.»

At the Critics» Week — where, in the interest of full disclosure, I served on a competition jury comprised of three other critics and the South Korean director Lee Chang - dong — the highlight of an unusually strong lineup was Take Shelter, the second feature by Shotgun Stories director Jeff Nichols, an acknowledged Malick acolyte whose new film shares a producer with The Tree of Life as well as a leading lady, Jessica Chastain (reportedly at Malick's personal recommendation).

Blue Ruin is all about escalation, and while its sensibility is Coen, its plot is very much like Shotgun Stories (which is still my favorite film directed by Jeff Nichols), twisting about in the absurdity of a feud.

Shannon reteams with Shotgun Stories writer - director Nichols for another exploration of one man's wobbling mental state.

In Take Shelter, writer / director Jeff Nichols (Shotgun Stories, also with Michael Shannon) makes that threat — this 21st century fear of losing everything you have — and makes it physical.

In some ways, Perfect Dark has been bested - if you want a shooter that feels real, from the kick of its shotgun to its gritty - dark war story, there are better, newer, prettier options out there where you don't have to avoid locking eyes with the world's creepiest MacBook.

A kind of subversive take on the traditional Noah story, Take Shelter made good on the promises of writer / director Jeff Nichols» first feature Shotgun Stories, establishing him as a powerful new voice in the film community.

Jeff Nicols» follow - up to his debut feature Shotgun Stories is a powerful piece of metaphorical storytelling headlined by an incredible performance by Michael Shannon.

Yet, even with an Oscar nomination for his turn in Revolutionary Road, and a Screen Actors Guild award as part of the ensemble cast for HBO's Boardwalk Empire, one of Shannon's most memorable roles on his diverse resume came in 2007, in Jeff Nichols» family drama Shotgun Stories.

We've been in full admiration of this American indie filmmaker ever since he broke out with Shotgun Stories...

He's accumulated fans and critical plaudits with each of the films he's written and directed to date — «Shotgun Stories» (2007), «Take Shelter» (2011), «Mud» (2012)-- each of them calling upon the formidable presence of Nichols» towering thespian totem Michael Shannon; each of them set in the American south and paying close attention to the area's natural landscapes; each of them dealing with masculinity in the context of father - son relationships of biological and non-biological types.

We've been in full admiration of this American indie filmmaker ever since he broke out with Shotgun Stories (Berlin Film Fest) in 2007, and confirmed his prowess in 2011's Take Shelter (Sundance & Cannes Film Fest Critics» Week) in 2011.

But, as with Nichols» acclaimed earlier films Shotgun Stories, Take Shelter, Mud, and Midnight Special, Loving is sensitive to the particulars of its location, and refreshingly non-sensationalistic.

Watching Nichols grow out of his indie roots (Shotgun Stories, Take Shelter) and tackle an all - too common motif with his lyrical script and silky - smooth direction has us pumped and giddy.

With his initial output, from moody drama Shotgun Stories to coming - of - age tale Mud, director Jeff Nichols didn't initially appear like he belonged in this category.

After the terse, teasing ambiguities of «Shotgun Stories» and «Take Shelter,» however, it's disappointing just how conventional the director's latest is, its Hollywood sensibility building throughout the narrative to a ludicrous climactic shootout.

His debut, the Green - produced Shotgun Stories, marked the start of a creative collaboration with actor Michael Shannon, who would go on to star in Nichols» breakthrough film, the acclaimed Take Shelter, and has appeared in all of his films since.

Alternately terse and elegiac, Shotgun Stories works best when it observes the lives of its main characters, three lower - class brothers from southeast Arkansas.

Instead of being too aware of the vertical horizon of the IMAX image, I was completely swallowed into the story world as the infuriated Bank Manager (William Fichtner) attempts to thwart the clowns» plans with a hidden shotgun.

Writer - director Jeff Nichols (Shotgun Stories, Take Shelter) continues his clean record of outstanding cinema with another southern tale dense in its display of romantic ideals, youthful ignorance, emotional transference and the wisdom contained in broken adults.

It's not far removed from Shannon's first part for Nichols, in his debut Shotgun Stories (which sits with Mud as the Nichols film most akin to the work of fellow indie Southerner David Gordon Green, who also produced Shotgun).

While we wait for the release of this film, get caught up with all of Nichols» previous films: Shotgun Stories, Take Shelter and Mud.

But those in the know have been keeping tabs on Nichols since his breakout sophomore effort, the provocative apocalypse tale Take Shelter, and over these three films (also including his debut, Shotgun Stories, and the moderately successful and excellent Mud), he has established himself as a strong Southern voice on the independent scene, the sort of director who makes you sit up and take notice whenever he announces a new project.

Unfolding like a Nicholas Winding Refn - directed remake of «Shotgun Stories,» Gary Michael Schultz's «Vincent N Roxxy» is a nasty little thriller that moves at the pace of a southern drawl before going absolutely berserk in its final minutes.

Blue Ruin has a grubby, low - life mood that — especially with its theme of unresolved inter-family tensions — reminded me of Jeff Nichols's debut Shotgun Stories.

However unlike those previous efforts (along with the underseen Shotgun Stories), the screenplay rarely cracks the surface of the world he provides for us.

Nichols» directorial follow - up to Indie Spirit - winning Mud, the Cannes - winning Take Shelter and Shotgun Stories, Midnight Special is also one of the year's best Specialty debuts, grossing $ 185K in five theaters, averaging $ 37K.

Shotgun Stories was made around the same time as World Trade Center, but Shannon's eyes have a weariness in the former that's quieter than the zeal powering his work in the latter and some of his other, showier parts.

Midnight Special may be the weakest of Nichols» films to date, but with the track record that includes Mud, Shotgun Stories and Take Shelter, there is still quite a bit of room for quality even if it does flirt with disappointment.

I have enjoyed all of his films since Shotgun Stories.

Since his 2007 debut with Shotgun Stories, starring Michael Shannon, Jeff Nichols from Little Rock, Arkansas, still only 38, has made a whole series of stunningly good indie films set in the American South.

There's an indisputable universality to what Jeff Nichols explores in Shotgun Stories and Take Shelter, but it may just be that what propels his own recurring thematic behavior and fixation is less about the histories of his character than it is perhaps about his own.

«This started a long time ago,» Son (Michael Shannon) says in Jeff Nichols» Shotgun Stories, evoking one of the many thematic through - lines in the director's first two films.

Nichols has made a career out of penning and directing intelligent, effective human dramas, from his 2007 debut Shotgun Stories through 2011's psychological masterpiece Take Shelter (also starring Shannon) and 2012's Mud, which featured a stunning turn from Matthew McConaughey.

Nichols is one of the most exciting voices in American cinema today («Shotgun Stories» is a must see) and it once again looks like he's creating something wholly unique and original.

Craig Gillespie's rollicking retelling of infamous figure skater Tonya Harding's rise and fall might take several dramatic liberties (peep the new trailer for a bloody - faced Margot Robbie mugging for the camera in one shot while brandishing a shotgun in pursuit of Harding's ex-husband, Jeff Gillooly, in another), but, at its core, I, Tonya is a film rooted in the rich, real - life story of a deeply troubled athlete fighting for her place in the world.

Familial strife played out under a rural Middle - American sky in Nichols» Shotgun Stories, setting the scene for the director's half - decade of rich drama dipped in religious myth.

In his first four films (Shotgun Stories, Take Shelter, Mud, Midnight Special), writer / director Jeff Nichols created a series of strong, brave characters, most notable for their quiet restraint as they deal with momentous events in their lives.

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.

i LOVED shotgun stories, i love michael shannon and shea whigam, jeff nichols is very talented, i just do nt trust you're opinions alex. you seem to love a lot of crap movies and filmmakers.

Take Shelter is both written and directed by American filmmaker Jeff Nichols, also director of that other Michael Shannon indie Shotgun Stories, previously.