Sentences with phrase «of classic films like»

Fans know Dan Aykroyd as the star of classic films like «Ghostbusters,» «Coneheads» and «The Blues Brothers,» but he's also among the ranks of celebrity entrepreneurs — and celebrities who own vodka brands.

Not exact matches

If you want to wear a sterling silver bracelet like a classic film star from decades and decades ago, you need to have a sense of confidence that's hard to replicate.

On paper you may look like a perfect match, enjoy the same hobbies, love classic films, and dream of traveling across the country in an RV, kids in tow.

Even though Bloody Days tries to walk the walk and talk the talk, ultimately it feels less like a creative homage to a cult film classic and more like a shallow imitation with a hint of Tarantino flair.

And while the film definitely has a silly side to it (McConaughey's character even has a nasty run of bad luck with animals biting him), it's hardly comparable to a genre classic like «There's Something About Mary.»

The first half of the film builds suspense by putting the group through a number of classic hunting situations — from the perspective of the prey — being flushed out by dogs [though these alien «dogs» have all kinds of horns, spine razors and bad attitudes]; a booby - trapped companion; wandering into deadfalls, and the like.

The Social Network shares creative DNA with a handful of classic, zeitgeist - savvy films like Network and All the President's Men, as well as more recent fare such as The Insider and Michael Clayton.

Got ta love that classic film poster though huh, just like «The Rocketeer» they really capture the essence of the old style crime caper and dare devil hero aspect.

Like I said, I did enjoy the current retelling of The Great Gatsby, and I do believe it's a bit underrated; however, this is the film version to watch of F. Scott Fitzgerald's literary classic.

Some of the banter between Ruth and the jaded cop named Det. William Bendix (Gary Anthony Williams, TMNT: Out of the Shadows — yes, William Bendix, like the classic film actor) on the case offer some insights on where the film could have found its comedic spark, but even those scenes lose flavor when we see that cop break down in anguish because of his own personal relationship issues bubbling up to the surface.

Much like Cameron Crowe's Almost Famous, Pirate Radio stacks classic rock song upon classic rock song in a party of a film.

Is Gemini on the level of classic L.A. films like Heat or The Player?

It is hard sometimes to shake the feeling that this live - action Disney adaptation is relying too much on the 1991 animation, to the point that it almost feels like an extended version of that film; but even so, it offers a fresh and modern look at the classic story that makes it worth it.

In Turner Classic Movies: Must - See Sci - Fi, fifty unforgettable films are profiled, including beloved favorites like The Day the Earth Stood Still (1951) and Fantastic Voyage (1966), groundbreaking shockers like Planet of the Apes (1968) and Alien (1979), and lesser - known landmarks like Things to Come (1936) and Solaris (1972).

In all honesty this film feels more like an adaptation (to a degree) of the Gary Cooper classic, but either way you look at it, there isn't too much originality going on here Mr Hyams.

It's obvious that this film isn't meant to compare to some of the classic like Raiders of the Lost Ark, but I did like it's more «down home» approach to the adventure formula.

It would be great if you could do something like post a section listing classic directors and their films, and perhaps point out how these films have influenced or directly inspired films your readers are fans of.

it reminded me of classic mean girl films like heathers mixed with 80s italian horror.

-- The film's U.S. theatrical trailer, along with a handful of other previews for Sony Classics releases like the unmissable Before Midnight.

It's not that it revitalizes a dead genre, but it does give a bit of new life and twist to the zombie genre, while also paying tribute to the classic cult films like Dawn of the Dead, Evil Dead, Mad Max, among others.

The lab is one of those classic Brutalist - fortress - looking monstrosities; it seems to be located deep in the bowels of the earth but is revealed in helicopter shots to be within biking distance of the U.S. Capitol (seems like a bad idea, but this isn't a film that puts a high price on real - world plausibility, so whatever).

Paul is a director who, like many of the movie brats, has a reputation that precedes him — whether it be writing American cinema classics like Taxi Driver or Raging Bull, directing the popular and canonized films American Gigolo and Mishima: A Life in Four Chapters, or the lore surrounding the era, popularized by Peter Biskind's book Easy Riders, Raging Bulls.

This film feels like the musical genre's missing link, bridging the gap between the classic MGM musicals of the Freed Unit, and the more modern, less sanitised genre it eventually became.

Every October for most of the last two decades, director Adam Green and his production company Ariescope have released a new Halloween - themed short film, resulting in classics like Jack Chop (2009) and the hilarious Halloween «deleted scene» Driving Lessons (2012), and this year's 18th annual film, Don't Do It, has just arrived.

Genre classics like Ocean's 11, The Italian Job, and The Great Train Robbery ensured that heist films were a viable box office endeavor, and they've been part of the zeitgeist ever since.

He's a passionate filmmaker who, like many of us, absolutely adores Argento's classic, a film that he wants to pay homage to, so I'm rooting for the guy.

My biggest problem is that the film was obviously trying to set up a trilogy-esque story, like many of the fantasy classics out there, with the characters of Soren and Kludd.

From its idyllic, adventurous setting to the selection of music and Alexandre Desplat «s tremendous score, it somehow felt like a classic kids» film (arguably more so than «Fox») airing on TV on a Sunday afternoon, while also featuring some of the most exciting filmmaking of 2012 so far.

It features actors who showed up in the third cycle of Star Wars films that began in 2015 with «The Force Awakens,» in which classic characters like Han Solo, Chewbacca and Leia were mixed in with new ones played by Daisy Ridley, Adam Driver and John Boyega.

In the film's instant - classic opening, Spielberg uses little dialogue as he follows Rudolf Abel (Mark Rylance) through what looks like a routine but also includes a tiny, crucial bit of spy - craft as he picks up a coin containing a coded message on a park bench.

I never really liked the idea of Levy directing one of the most classic monster movies of all time; especially when you consider his body of work includes films like Real Steel, Date Night, and Night at the Museum.

To be honest, I also look at films that I grew up with like Dark Crystal and Labyrinth and for Jim Henson at the time they were flops in terms of their theatrical release, but they went on to become classics that people still buy to this day.

Like David Lean's classic Lawrence of Arabia, the film offers a dashing hero, played by Charlie Hunnam, and the powerful theme of British culture colliding with a brutal world it only dimly understands.

In his eloquent fulmination on «the De Palma Conundrum,» The New Yorker's Richard Brody says, «De Palma's peculiar fealty to the history of cinema — his overt dependence upon the films of Alfred Hitchcock and his plethora of references to other classic filmmakers... results in zombie - like movies.»

In this sense, the film feels like a drolly amusing riff on David Fincher's 2007 classic, Zodiac, itself about the folly of searching for finite truth.

It's an instant cult classic that I can see a lot of people discovering on the home video front and not so much theatrically, which is a shame, because films like this need audiences support to help fund future projects for talented filmmakers like Martin McDonagh.

The key visual precursor here is Mamoru Oshii's 1995 animation Ghost in the Shell, and Mann's film often feels like a live - action reimagining of that classic of cerebral melancholy.

by Walter Chaw Steven Soderbergh's best film since sex, lies, and videotape (and the film most like it in theme and execution), Solaris is a moving, hypnotic adaptation of the classic Stanislaw Lem novel, which was first made into a film in 1972 by Andrei Tarkovsky.

Jason and Brandon Trost's intentionally campy homage to classic underdog sports movies like «Rocky» and «The Karate Kid» (as well as other films ranging from «The Warriors» to John Carpenter's 80s oeuvre) is one of the strangest movies you'll ever see.

Some of the films are familiar to movie buffs, including classics like «Laura» and «The Maltese Falcon.»

He was in The Shimmer, of course, and it's here that sci - fi fans may start to recognize the phantom impression of Andrei Tarkovsky's deep - think genre classics, films like Solaris or Stalker, the latter similarly concerned with the traversing of a mysterious realm.

Remaking a time - honored classic film seems like a useless task, as part of the reason why the original is considered classic is due to the ability to endure over time and speak to different generations.

The following short excerpt from this supplement is particularly remarkable for being in color (much of the footage is in black and white, like the film itself), which lends an entirely new perspective on some classic images.

-- or go all but unnoticed at the Oscars and become something of a cult classic, like his first film, A Single Man.

Refn clearly has a love for the likes of Walter Hill and John Carpenter, as well as cult classics like Silent Running and Logan's Run, a film he was looking to remake for some time; von Trier has grander aspirations as a filmmaker, a compulsive need to make the audience feel something, anything, at the end of his works.

The fact that «Scary Movie 4,» like its predecessor, is directed by David Zucker is rather depressing, given that Zucker helmed classics in the parody genre, including «Top Secret,» two of the three «Naked Gun» films, and the granddaddy of them all, «Airplane!»

But his career definitely got tripped up by his directorial debut «London Boulevard,» a film in the would - be mold of the classic British gangster films from the «60s and early «70s like «Get Carter,» Nicolas Roeg's «Performance,» and even Antonioni's «Blow Up.»

His cinematography and camera orchestrations are as sumptuous as ever, almost worth watching without dialogue, and yet, he doesn't exactly offer anything new here — it occasionally seems like he is trying to remake his cult classic, Chungking Express, for a Western audience, with some of the more interesting bits of his other films tossed in for good measure.

The choice of basic film - making gives the film a classic feel, like films about WWII made in the 1950s.

Of the more than 40 films he's directed this century, I've only seen a handful, but Yakuza Apocalypse is firmly in the tradition of earlier films like Sukiyaki Western Django, 13 Assassins and his remake of the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narrativeOf the more than 40 films he's directed this century, I've only seen a handful, but Yakuza Apocalypse is firmly in the tradition of earlier films like Sukiyaki Western Django, 13 Assassins and his remake of the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narrativeof earlier films like Sukiyaki Western Django, 13 Assassins and his remake of the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narrativeof the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narrativeof the psychotic masculinity that underlies the ideology of Japanese action narrativeof Japanese action narratives.