Sentences with phrase «often moving film»

It's better than pretty good: it's a vital, suspenseful, often moving film with an uncannily accurate (and scary) sense of place.

This big, bruising, viscerally violent yet also often moving film should be judged on its merits.

Rumor has it that Rob Reiner used to make really funny, often moving films.

Not exact matches

New technology that combines old ones often makes such things possible, much like film blended record music with moving images to create an entirely new medium.

This two - hour long film is slow - moving and often drags.

It's not often you encounter a film that's simultaneously as tedious and moving as The Deserted Station.

These films, and Tolkien's entire oeuvre, are most affecting in their depictions of friendship, and the performances here represent plutonic male intimacy in convincing, often moving ways.

It still humbles me to think that people care enough to spend their money and time watching our film - But to see people of all backgrounds wearing clothing that celebrates their heritage, taking pictures next to our posters with their friends and family, and sometimes dancing in the lobbies of theaters — often moved me and my wife to tears...»

One part war film, one part Smokey (1966), the film is an often deeply moving study of the depth of emotion a boyu can have for an animal.

The movie often looks more like a watercolor painting than a film, especially as characters move in and out of the moonlight or the fog.»

Moving characters from computer screens to film screens often has big risks and minimal rewards.

After all, underground cinema is less in thrall to the establishment of a name (filmmakers may often either move on to independent film or into other areas of activity), and much more likely to be a scene of greater experimentation.

But this film, despite the excellent lead performance of Michael Fassbender (with a decent American accent — I'm American), moves too slickly between the technical, and often incomprehensible, history of Apple early computing and Jobs» seemingly autistic behaviour in terms of his personal relationships.

«The goalposts are moved as the story or contents of the film change, and having several layers of approval — often from people who neither understand nor care about the game adaptation — means that schedules can be thrown off by no fault of of the developers, and all the time they're facing down an unchanging release day.

Roger praised Kore - eda's film often in context of Ozu, like when he talks about the similar beauty to its simple camera work: «the camera does not move, but regards.»

As she struggles to find balance between finishing her film, attending to her mother, and raising her own teenaged daughter, Margherita is aided by her brother while she is forced to learn how to let go in this moving, often hilarious meditation on modern life.

«The Orchard releases foreign films as often as we see ones that move us passionately and excite us about exposing audiences to them.

When: December 11th Why: It's not very often that you see a film's release date moved to a more competitive time of year, but Warner Bros.» decision to push «In the Heart of the Sea» from last March to December (one week before the release of «The Force Awakens») speaks volumes of the studio's confidence in the Ron Howard - directed historical epic.

However, Maddin's films are not themselves examples of silent cinema, and are, rather, akin to how Peter Greenaway's films often become moving tapestries of visual innovations, telling stories with enhanced detail that lends the material a «handcrafted» sort of feel.

Elle (Eva Green)-- whose name, as is often commented on in the film, literally translates to «Her» — is a supposed super-fan who ingratiates herself into Delphine's life as a «good listener» before gradually moving into the author's flat and taking over her work, deleting slanderous Facebook posts, responding to emails, and even attending a face - to - face gig in her place.

But Focus will need to make some nifty marketing moves to reach them; despite the age and appeal of the cast, the dialogue is often expressed in a kind of stylized formality, while art house touches like a scene backdropped by «Ave Maria» and an upper - crust manor setting can belie the film's quicker, looser rhythms.

With a hand - held approach, we are never looking at the subjects of the film, but more looking beside them — the camera moves frantically with young Pio on his Vespa, often irrespective of where the viewer is.

Though U.S. audiences likely weren't able to appreciate the movie on the same level as native Chinese speakers because of the way that the film plays around with the language, it's still an amusing and wildly madcap spaghetti western that's anchored by a trio of fantastic performances by director / star Wen, Chow Yun - Fat and Ge You, who have such great comedic timing between them that the subtitles often move too quickly to read.

Clint Eastwood has made some very fine films as director, often attracting more in the way of critical praise than good box office because of their slow - moving, highly - considered nature.

Despite the films bleak subject matter and flashback structure that — although handled well, does — at times, break the momentum of the here and now, Away (trailer) remains a thrilling and often extremely moving character drama, that is anchored by two exceptional central performances.

Even disappointments can often have that one scene that catches you off guard or moves you unexpectedly, a hallmark of film's power as an artistic medium.

The erotic fascination underlying all this is constantly visible in the way that Piñeiro and DP Fernando Lockett film faces, often in long gliding takes that move seamlessly from wide shot to close - up — see the radio studio scenes in The Princess of France and the extended scene in Viola in which the camera hunkers down between three characters talking in a car at very close quarters.

Co-written by Marc Norman (Cutthroat Island) and Tom Stoppard (Rosencranz and Guildenstern Are Dead, Brazil)-- who, on this evidence, doesn't work in films often enough — the script moves quickly, making it a pleasure just to keep up.

Whereas the earlier films, mostly shot by Dietrich Lohmann, often framed the groups or members of the group in static tableaux in order to highlight their solidarity and opposition to a lone outsider, this film (Fassbinder's ultimate collaboration with Michael Ballhaus) uses an almost constantly moving camera and a remarkable succession of framing and fracturing devices within the camera frame to underscore the shifting alliances, individual isolation, and internal struggles of the characters.

Not told in a linear fashion, and more conjecture about the behavior of Jackie than documentary storytelling, the film meditatively moves back and forth between her days in the White House, often lingering on a TV special in which her lavish spending on decorating the White House was the focus, that fateful Dallas car ride and the ensuing plane ride home, the planning of her husband's funeral and burial and the sit down interview.

This is a bold move for a superhero movie, because such films are often defined by their villains (the more daunting, the better).

Oliver Tate — the 15 - year - old protagonist played by Craig Roberts in Richard Ayoade's feature - length directorial debut «Submarine» — expresses one of his desires to the audience early on in the film through voice - over narration: «I suppose it's a bit of an affectation, but I often wish there was a film crew following my every move.»

Writer director Mond leaves it up to the audience to judge the redemption of the lad (or not) in a slow - moving film filled with regular outbursts from a young man of privilege who has been sponging on the family far too often.

Claiming the reaction to the film «still humbles» him, the director went on to state that fans» wholehearted embrace of his movie «often moved me and my wife to tears».

It still humbles me to think that people care enough to spend their money and time watching our film — but to see people of all backgrounds wearing clothing that celebrates their heritage, taking pictures next to our posters with their friends and family, and sometimes dancing in the lobbies of theaters — often moved me and my wife to tears.

Although its origins often show, the film transcends and becomes one of the more moving in recent memory.

The real star of the film, though, is Bava's fluid and often balletic camera work: long takes frequently incorporate mercurial compositions, moving from extreme close - ups to wide, tracking, and variable zooms; and with the exception of three moments, Five Dolls is less zoom - happy than the ludicrous indulgences found in Planet of the Vampires («watch out for the bubbling LAVA - LAVA - LAVA!»)

Apatow's films have often focused on male slackers forced to grow up or move out of a rut — think of Steve Carell's hermetically sealed middle - aged virgin in «The 40 - Year - Old Virgin,» or Seth Rogen's pothead confronted with the terrifying reality of fatherhood in «Knocked Up.»

But these films, and Tolkien's entire oeuvre, are most affecting in their depictions of friendship, and the performances here represent platonic male intimacy in convincing, often moving ways.

But instead it manages to be a shot in the arm for the often stale sports genre (look no further than the often stale Southpaw from earlier this year, a film that is forgotten within twenty minutes of its credits rolling), and a hell of a calling card for Coogler moving forward.

These films are often as slow - moving as Robert Bresson, tortuously plotted, and shot through with moral ambiguity as well as displays of anti-heroism tainted by betrayal and duplicity.

Chilean - born Ruiz is a director whose love of storytelling and narrative play is often more engaging than the films themselves but with Mysteries of Lisbon, an epic based on a classic Portuguese novel (one yet untranslated into English), his engagement with the characters and their defining stories guides his direction, and his graceful camerawork and unerring eye for images both classical (like paintings in a cinematic frame) and fluid (his camera moves with purpose and grace) are in the service of the trajectories of the characters.

Often slow moving but beautifully captured on screen, this film makes an admirable debut for director Kent and proves Vikander a worthy leading lady.

It's a fascinating film — often ridiculous, but just as often genuinely moving.

British director Kim Longinotto has made her name with a number of intensely powerful, quietly observed films often focusing on the plight of women, like «Divorce Iranian Style» or «Rough Aunties,» but «Dreamcatcher» might be one of her most moving pictures yet.

The director and his DP, Harris Savides, shot the movie largely on digital, but the film so often favours steady, patiently held compositions that allow its actors to move around within the frame and interact with each other, showing spatial relations in much the same way that Fincher is drawing connections between the facts of the case.

The film depicted puppy mill dogs living or existing in filthy deplorable conditions, almost all in crowded cages too small for them to move around much, if at all. The cages often had chicken wire for flooring. The dogs were covered in waste, matted and starving with open wounds and other injuries.

His work often abandons traditional methods of filmmaking and film crews, moving deep into experiment outside conventional classification.

His films, often described as «visual essays», move from rhetorical questions to factual scientific statements, presenting concepts and ideas that emerge through philosophical texts and research.

Although social progress moves in fits and starts (and often retreats), the movement towards inclusivity does coincide with a broader enthusiasm for women's voices and stories, visible in other cultural fields including television, film, literature, and music.