Sentences with phrase «of genre tradition»

Part of the show's success lies in its absolute mastery of genre tradition and form.

As the struggle with Voldemort suggests, the premise of the story is allegorical — good / light against evil / dark — with obvious revivals of the genre traditions of British heroic legend and medieval romance, even though the films have modern elements.

Kudos, then, to producer / star Natalie Portman and director Gavin O'Connor (Pride and Glory, Warrior) for keeping their sights steady and delivering a handsome post-Civil War western that's enamoured of genre traditions even as it offers a revisionist riff.

Not exact matches

Higher criticism includes an analysis of the literary genre of the text, its historical background, the history of the oral tradition behind the text, and the cultural and psychological factors at work on the author and editor (or editors) of the text.

The genre has a rich tradition of presenting polarizing ideas in a fresh way, slipping them past the presuppositions of the audience.

He was a master of the fantastic tale, a critical theorist ahead of his time, who discarded old genres in order to create his own, which challenge and enrich our literary traditions.

It is in the tradition of Mark's messianic secret and John's «signs,» not in the tradition of the gospel genre, the direct, discursive kerygma.

(The notion of a German bounty hunter in the Old West only makes sense, I think, in relation to the several spaghetti western roles played by German actor Klaus Kinski; the surname of Django's wife pays homage to blaxploitation hero John Shaft, a rather brilliant means of bridging the gap between the far - reaching genre traditions that Tarantino loves).

The Last Story is not the last classic japanese RPG, as it diverges deeply from the tradition of the genre, lacking some of its core elements and borrowing something from others.

Writer - director Ari Aster's first feature culls from a tradition of slick, elegant genre filmmaking, making up what it lacks in originality with an impressive volume of atmospheric dread.

In the great tradition of the superhero genre, Black Panther suffers from too interesting an antagonist.

It flouts convention in a number of ways in service of its genre - mash - up agenda while still contributing something original to the tradition of the zombie film.

Films detailing «lost weekends» spent in Sin City are becoming a genre unto themselves, as the town is noted for a touch of Bacchanalian excess, with tradition extending before Hunter Thompsons» landmark novel Fear and Loathing in Las Vegas.

Harold continues this new tradition of modern platformers, recasting the gameplay in an unexpected way while maintaining the other conventions of the genre.

What's worse, the game ignores the traditions of the arcade genre.

In fact, the film draws on a long tradition of deadly video game movies (encompassing the likes of Tron and eXistenZ), although it ultimately fails to add anything new to the genre, despite its apparent potential.

There's a long tradition in film of comedic actors transitioning into dramatic roles with indies that gravitate towards a grey area in between the two genres, particularly in movies that make sure to hit the Sundance Film Festival before their wide release.

The twist in Lakeview Terrace is that the bigot front and centre is a black man (named after Biblical Abel, no less) and that it's all been genre - mixed in the cop - gone - rogue, Internal Affairs / Unlawful Entry tradition, speaking ultimately to the distinct»70s feeling of paranoia towards authority that's resurfaced in films of the last eight Bush years while trying, with some success, to refocus racism into generalized rage, confusion, frustration, and intolerance.

Yet, doing so would also require that the industry (and critics) embrace the fact that most of such films would, at least initially, be rather underwhelming if not outright bad: after all, it is only through repeatedly practicing the craft of genre filmmaking that, over time, a film industry can elevate its game and make reliably solid films in any given genre — films that can hold their own when compared to those from other nations that excel at genre filmmaking, including Hollywood (the genre filmmaking tradition par excellence), France, South Korea, or Hong Kong.

Based on a cult favorite 2010 Mexican film of the same name, We Are What We Are is a brooding genre film from co - writer / director Jim Mickle about family traditions.

The less that is said about Roland Emmerich's disaster of a disaster film the better, but the entire genre of giant monster movies in the tradition of Godzilla from areas beyond Japan is hit or miss at best.

But it is certain that the film is less tied to the conventions of some film genre, as, for example, Miller's Crossing is, belonging as it does completely to the tradition of the gangster film.

This falls within the genre of «alternate history» that has a strong literary tradition but only rarely appears on screen.

It's the only viable approach to the Captain John Smith / Pocahontas story in a minefield of debris strewn by not only our Western genre tradition, but also our newer guilt at how American Indians have been (and continue to be) portrayed in our culture: the most bestial, savage notions of the Natural have come around to their personification as an unsullied, Edenic embodiment of an impossibly harmonious nature.

ichael Schultz's powerful melodrama «Woman, Thou Art Loosed» renews an important tradition of African - American filmmaking: the movie as revivalist sermon, a genre epitomized by Spencer Williams's magnificent «Blood of Jesus» of 1941.

Brooks, who is the subject of a new American Masters documentary, Make a Noise from filmmaker Robert Trachtenberg, that premieres May 20 on PBS, says his penchant for spoofing genres was firmly in the tradition of poking fun out of love.

Great Directors on TCM: Akira Kurosawa Between his flawless translations of American genre films (especially crime films and westerns) to Japanese settings both contemporary and medieval, his groundbreaking experiments with cinematic point of view and narrative reliability, and his brilliant juxtapositions of Shakespeare with Japanese tradition, Akira Kurosawa can easily claim to be one of the greatest and most influential directors of all time.

I'm rooting for Our Time Will Come, a nearly perfect WWII spy film that is very much in keeping with the HKFA's tradition of honoring extremely well - done genre fare (past winners include Police Story, A Better Tomorrow, Beast Cops, Shaolin Soccer, Infernal Affairs, Running on Karma, Election, Gallants, The Grandmaster and Trivisa).

Fukua is a palette swap of an existing character and a throwback to a familiar, time - honored fighting genre tradition.

Sanaa Lathan stars as a political lobbyist who rebounds from a bad breakup by getting involved with a handsome and seemingly super-cool new guy (Michael Ealy), who — per the traditions of the genre — turns out to be a violent creep.

But there's also something almost defiantly old - fashioned about Warrior, which sits squarely in the tradition of the «inspirational sports» film genre.

The genre also has a fine tradition of performing uncanny box office jujitsu, transforming bargain - basement shockers into hits with enviable profit multipliers.

The art of mask - making is a prehistoric tradition that dates back at least as far as the Upper Paleolithic era, but it took 30,000 years and the invention of the slasher genre for it to really come into its own.

The pop - cultural consensus on horror director Tobe Hooper would seem to be that, with The Texas Chainsaw Massacre, he somehow made one of the genre's defining masterpieces right out of the gate only to squander a promising career on a string of strange mediocrities that ultimately marked him more as a hack - for - hire than an auteur in the tradition of more respected contemporaries such as John Carpenter, Wes Craven, or George A. Romero.

It is to Lynne Ramsay's credit that it is difficult, if not impossible, to slot her debut feature into any existing British genre or tradition, though there are echoes here of Ken Loach's early poetic social realism, of Bill Douglas's stark, painterly style, and of Robert Bresson's «pure» cinema, stripped down and sensual.

A throwback to the grand tradition of horror anthologies, this British compendium of genre staples manages a few frightening moments within its tedious episodic structure.

While the American tradition of the romantic comedy has waned in recent years, Justine Triet's portrait of a woman at a crossroads in the courtroom and bedroom proves the beloved genre is alive and well in France.

And «The Weather Man» upholds the fine and scarcely populated tradition of the genre.

One of the Toronto International Film Festival's proudest traditions is their Midnight Madness program, which honors genre films in all their guts and glory.

In a Valley of Violence finds West trading the horror genre in for the western, mixing a portion of its iconography, by collective way of John Ford, Samuel Fuller, and Sergio Leone, with comic flakiness that informs narrative tradition with behavioral quirk.

Enter Indecisive Emma, an off - putting variation of Emma who is gung - ho to be unhappy and necessary, in the grandly obnoxious genre tradition, to keep the two of them apart.

Every year they program the best upcoming genre and Asian films, and this year it looks like they are keeping up with their long - standing tradition of kicking ass.

In keeping with Marvel's tradition of exploring different genres with each new movie, «Ant - Man» is primarily a heist film that strikes a nice balance between comedy, action and drama.

As has become a tradition, Warner Bros Television are using the opportunity to showcase some of their big genre hopes for the upcoming TV season.

Both of them followed certain traditions of the spy genre while adding to it.

Some shots will never be rid of their overexposed softness, but others look as good as any classic western, with detail so fine you can see the contrast of real dirt caked over fake blood, or the excessive bronzer applied to white actors playing Native Americans (a sadly ubiquitous sight in the genre and a compromise to standards in the otherwise full - throated subversion of racist Hollywood tradition).

Why, the film noir, one of the richest veins in our movie mines, bears a French moniker; and French cinéastes have emulated that particular tradition time and again, from the commercial likes of Borsalino to the more personal genre work of the recently deceased Jean - Pierre Melville to the radically stylized, self - aware poetry of Godard's Breathless, Band of Outsiders, Alphaville, and Pierrot le fou.

The inversion of expectations and traditions of a genre comes up aces here — but you really need to know what you're sitting down for here.

continues the recent tradition of Marvel taking genre pictures and molding them into the established Marvel Studios formula.

Going out with a bang It's become customary to talk about Sam Peckinpah's classic as the tombstone of the Western genre, the moment when Hollywood's already - tired tradition of white - hat heroics was plunged irrevocably into nihilism, apocalypse and zero - sum catharsis.