Sentences with phrase «of film critique»

The IFCS is designed to stimulate awareness of the internet as a respectable and professional source of film critique and studies.

A friend and colleague, critic and teacher Nicole Brenez, says that the best film criticism consists of films critiquing one another.

Not exact matches

So, at the recommendation of the company, Ahrendts traveled to Minneapolis to meet with a coach, where she would be filmed and critiqued.

My critique of Disney is not so much concerned with the content of its films and other media, though the content is certainly open to criticism.

It's difficult to critique this in a spoiler - free way, but to use the example of A New Hope, while the Death Star was a looming, terrifying presence throughout, the big threat to our heroes in this film seems to appear quite late in the day, and seems more important as a plot device to bring key characters together than a genuinely gripping menace.

However, this is a De Palma flick, and the second half of the film, with a fine Pino Donaggio soundtrack, upsets any such easy feminist critique of sexism.

The gray area I'm searching for here is hard to articulate, but the film gets it just right: yes, it celebrates the importance of original creation and play, and yes it is a powerful critique of the age of quantification in schools.

Interview of Tigers» Director Danis Tanovic by Rajiv Masand, film critique from a main stream TV news channel in India: CNN — IBN.

Invisible Children wants to save the world through military intervention in a conflict that they do not (seem to) understand (although they claim this is not the case, see their reaction to critiques of the film).

Given this promising setup, the Detroit filming locations, and the populist pride that's fuel - injected into the film, I'd like to report that Real Steel is a stealth critique of the alienation of labor.

Also, some of your critiques of the film are a little logically off.

Obviously, the film is critical of the FBI's counterterrorism techniques involving informants, and it's never more effective a critique than when we see and hear Khalifah, who — without any prompting from the filmmakers — knows exactly what's happening here.

Acclaimed filmmaker Ben Wheatley (Kill List, High Rise) propels the audience head - on into quite possibly the most epic shootout ever seen on film as he crafts a spectacular parody — and biting critique — of the insanity of gun violence.

There are several jabs at «hoseheads» and the business of movie - making, including an epilogue that critiques the film itself.

But there are others who know that such big films can also have substance; that either overtly or covertly, then can be a reflection of the times we live in, present critiques of prevailing ideologies and attitudes both thematically and in their presentation.

The extremely complex equilibrium at display in this film is pleasantly surprising as it balances the critique of certain aspects of Holy Week with presenting a respectful view at its religious and cultural essence.

Your assumption that the critique of the film is by a black hating white person is juvenile and insulting.

I am not interested to see the film (based on the general trend of mashing multiple stories into an incoherent mush than a single engaging story) but the critique here seems to miss a lot of reasons why this film fails as a Batman or Superman film.

Is there something new you would like to add to this discussion such as an actual critique of the film or perhaps a comparison to another comic book film you prefer to this one?

But it seems to me that these historical dramas that you have recently made are simultaneously critiques of the sort of historical films that have recently been produced in Germany.

The trailer indicates that Ridley's film is as much a work of Impressionism about Hendrix's experience performing as part of the 1960s London music scene as anything else - a sentiment backed up by the early reviews, with the Seattle Times» Moira Macdonald calling the movie «a mood piece, not a biopic» in her overall positive critique.

(36) But however personal the film, Santa Sangre still bears a smattering of political critique, whether in the American stars - and - stripes splashed around the gringo circus, the emblematic eagle symbolising American currency instead of Mexican national identity (as on the Mexican flag), starving slum dwellers feeding off the waste (a dead elephant symbolising Christ) of the gringo circus, the syncretic Santa Sangre church being destroyed by Catholic officials and greedy developers, etc..

For those of us who watch and critique these films all year long, there's year - end «best of» lists to publish and people to argue with on Twitter, about why La La... [Read more...]

A Borgesian palimpsest, a movie in search of a genre, a lament for film when it was film, a bittersweet critique of the deadening of moviegoers» sensibilities by their immersion in digital graphics — Leos Carax's barmy Holy Motors is all this and more.

With his first film Home for Life (1966) Gordon established the direction he would take for the next five decades, making cinéma vérité films that investigate and critique society via the unfolding lives of real people.

Each film has a significant social critique that might be worth the watch if you have the patience to find it, but it definitely takes a special kind of filmgoer to really appreciate these types of films.

The Congress serves as an interesting counter-example to this rule as while the film is undoubtedly cynical and manipulative, it is self - aware about these characteristics and uses them as part of Folman's critique of contemporary Hollywood.

If the experience of reading Collins's novel is one of being inside a horrifyingly brutal reality television show, the experience the film adaptation offers is one more akin to watching one, and its success depends on our awareness of this relatively new medium as well as our willingness to critique it.

Clearly we saw the same film, your critique is good, yet I wonder what you may have thought of those movies in the thirties, Capra & co.The level of satire seemed higher to me.

Ruby is literally a construct of Calvin's tortured sensitive imagination, which allows the film to flirt with the potential of critiquing male wish fulfilment in the form of the Manic Pixie Dream Girl, which Ruby conforms to wholeheartedly.

District 9 is not only an action thriller, but a thought provoking critique on our own culture that can't be ignored as the Aliens or Prawns (derogetory term given to them by the humans) play a much larger emotional and dynamic role in the film than the trailer or bits of viral marketing let on.

Said review must be original content and the use of editing press releases, sampling or interpolating other film reviews, or providing mere plot synopsis or studio - provided summaries, without actual critique, will not qualify as a completed review.

This isn't a young white coed trying to solve a mystery and save herself, it's a young man of color, challenging the audience to enjoy the ride but understand why switching these roles in a horror film is a social critique in itself.

We have all see MST3K and we know that the films that they critique are not the highest quality of cinema.

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.

Considered one of the greatest films ever made, The Rules of the Game (La règle du jeu), by Jean Renoir, is a scathing critique of corrupt French society cloaked in a comedy of manners in which a weekend at a marquis» country château lays bare some ugly truths about a group of haut bourgeois acquaintances.

Clint Eastwood has directed a sly war film that, on the surface, is a laudatory biography of Navy SEAL Chris Kyle, the most lethal sniper in American history, but is, in fact, a shrewd critique of the warrior mentality.

But it is Muriel's deft combination of high modernism and leftist critique — bearing out Gilles Deleuze's comment that Resnais and Straub - Huillet are the most political filmmakers — that has influenced so many subsequent films, including Michael Haneke's Caché and, most extensively, Jean - Luc Godard's 2 or 3 Things I Know About Her, which JLG called a «partner» to the Resnais, and which features a poster of Muriel as homage, also condemns a criminal war (Vietnam), and similarly parallels a portrait of a woman with that of a city under urban renovation.

If Geoff Andrew in Time Out criticised the film for its schematic confrontation between right and wrong, alongside Wall Street, Oliver Stone's hectoring 1987 critique of contemporary moral decay, also starring Charlie Sheen, Eight Men Out remains a modest nicely scripted account.

Or rather, more accurately, the whole film is a critique, but one in which we're put in the above - it - all position of the two Satan figures, looking down at these pitiful specimens and laughing at them.

But, fascinatingly, Catch Me If You Can resembles Hitchcock's pictures in general in its self - mocking self - awareness: Spielberg's film is a canny satire of American culture and cinema, and, shockingly, a sly auto - critique of his decades - long pandering to the lowest common denominator; to the blinding flash of materialism; and to his almost pathological desire to restore nuclear order at the cost of any faithfulness to theme and mood.

The next thing you know you are discussing, debating, and critiquing film with someone from an entirely different corner of the world with a totally different outlook on cinema.

Well, Scott Foundas is first out of the gate with an extremely early critique of the film, and it's all thumbs up from Brett Ratner's best bud.

That backdrop makes his latest film all the more extraordinary, because Manuscripts Don't Burn is the most explicit critique of Iran's theocracy I've seen.

However / whatever the fates aligned that allowed Dan Gilroy to make the film — a thrilling, blackly funny character study - cum - success story in the vein of «King of Comedy» with hints of «Taxi Driver,» all under the guise of a «Network» - style harsh media critique — is moot at this point, because the film should be a lasting work that should find even greater appreciation with time.

For Western audiences, the film also documents — without overtly critiquing — the role of religion, and the power dynamics between men and women, in contemporary Iranian society.

From the moment Dogtooth barreled onto the film festival circuit in 2009, Greek auteur Yorgos Lanthimos has been on the radars of cinephiles hankering for absurdism and social critique.

And though there's an implicit critique in the film's depiction of so much financial hardship happening on the outskirts of a booming tourist industry, it stays unspoken, with nary a boo - and - hiss - worthy capitalist villain in sight.

An author that thinks THAT was the most note worthy part of the film needs to stop critiquing movies.

Movies based on true stories are already hard enough to critique on a plot or character level, but when you're dealing with such a harrowing, difficult story as the one about what happened on New Year's Day of 2009 in a BART Station by Oakland, California, there are a lot of things that need to be acknowledged, regardless of your overall feelings for the film as a whole.