Sentences with phrase «old white film»

Not exact matches

Many years ago, flipping through the channels, I came across an old black - and - white film, made in German with English subtitles.

It's a creaky old black and white gem chiefly remarkable because of the several Arsenal players including Cliff Bastin and Eddie Hapgood who actually play in the film.

Penguins, nuns, crossword puzzles, Chanel boxes, old hitchcock films — these black - and - white bridesmaid looks are in good company.

Bob Odenkirk will play Forte's older brother, and Stacy Keach will also star in a film that Payne initially planned to shoot in black and white on a $ 13 million budget.

After all, the 71 - year - old French auteur, whose film Beau Travail remains one of the great works of the last few decades, has taken an especially grim turn as of late, with movies like Bastards, White Material and The Intruder exploring some of the darker sides of contemporary humanity.

But that «last customer» line plays like an old Schwarzenegger kiss - off, and the lawless killing is followed by equal - time commentary from black and white talk - radio hosts — the film's explicit attempt to defuse any racist overtones.

Director Canuel, who shot this in Canada where he, Plummer, and the play all originated, injects some cinematic flourishes unachievable on stage, having the film assume the look of an old black & white movie and editing together self - conversations.

In 2013, you don't expect a $ 200 million - budgeted family film to open in the narrow 1.33:1 aspect ratio and black & white, but Oz does that, windowboxing its square old - fashioned visuals within the 2.40:1 frame.

Sharing honors from the Society Dramatic Authors and Composers, given annually to a French film in Fortnight, were two very different tales of romantic possibility in Paris: Philippe Garrel's black - and - white «Lover for a Day» («L'Amant d'un Jour»), about a 23 - year - old woman who learns that her father is dating a girl her age, and Claire Denis» «Let the Sunshine In» («Un Beau Soleil Intérieur»), starring Juliette Binoche as a divorced artist looking for love in many of the wrong places.

But first you have to accept their limitations (they're mostly old white guys), accept the limitations of Hollywood overall (mostly run by white guys), accept the limitations of film criticism in 2015 (mostly white guys), accept the limitations of ticket buyers and the you can start to imagine what's possible.

Spoiler alert: this is an «old» (some would say ancient) black and white film with actors you've never heard of in a style that some might consider stagey and I consider -LSB-...]

Darkest Hour is a film of flummoxed old white men hollering at each other, a perfect foil to (and double - bill alongside) Christopher Nolan's Dunkirk, both because the two take place at about the same time during the early years of World War II — as Hitler's world domination began to take shape and an invasion of the UK imminent — and because they are entirely different experiences: Dunkirk is all action, while Joe Wright's film is all words.

The film is old white men in windowless rooms.

From director Ron Shelton (of Bull Durham, White Men Can't Jump, Tin Cup) the film is about an ex-FBI agent and an ex-mob lawyer in the witness protection program who have to get over their petty old folks» home rivalry in order to save themselves from a mob hit.

But the film never loses sight of the significance of Ali's command of the media, particularly in scenes between Ali and Cosell, the old «strange looking white man» who becomes the boxer's on - air verbal sparring partner and off - screen confidante.

A prequel to White's underwhelming film, the story begins in 1967, with widowed mother Alice Zander (Elizabeth Reaser) and her two daughters, 15 - year - old Lina (Annalise Basso of Oculus) and 9 - year - old Doris (Lulu Wilson, Scott Derrickson's Deliver Us from Evil), running a séance scam business in Los Angeles.

It took in a relatively small box office, probably due to being in good old scary black and white but the film is surprising on many levels.

To complain about that would be tantamount to lamenting than an old book lacks an «old book smell», but the completely sterile nature of the picture betrays the vintage roots of the film (moreso than past digital overhauls of older films like Snow White and Bambi might have), an aspect that the included bonus features do not quite satisfactorily convey either.

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening March 5, 2010 BIG BUDGET FILMS Alice in Wonderland (PG for fantasy, action, violence, scary images and smoking) Tim Burton directs this animated sequel to the Lewis Carroll children's classic revolving around now 19 year - old Alice's (Mia Wasikowska) return to the whimsical kingdom for a reunion with the White Rabbit (Michael Sheen) and other childhood friends, and to end the Red Queen's (Helena Bonham Carter) reign of terror.

Nick Offerman, a voice cast member in the animated film «White Fang,» holds an 8 - week - old Siberian husky at the premiere of the film at the 2018 Sundance Film Festival on Sunday, Jan. 21.

Older Hollywood films were even more white - dominated and male - dominated than they are currently.

I know it is a bit shocking for a film buff to have never seen those old black and white classics, nor have I watched that Matthew Broderick remake from 1998.

For my taste McQueen lingers too long on scenes of brutal floggings and assaults (though the sex is not tastelessly explicit), which may be what white viewers need to be reminded of — except excessively explicit violence is a staple of many modern films, where the old saying that «less is more» has long been forgotten.

Presenting five poor, black and white North Carolina preteens as they awaken to love and death, George Washington (2000) tells a common adolescent story, yet the film is distinguished by the poetic, ruminative style of its twenty - five - year - old...

Tellingly, one of the most moving — and visually dazzling — moments in the film is an image of an ageing, blind filmmaker fondling a giant display of old, pixellated black and white celluloid.

Also starring Stacy Keach and Bob Odenkirk, «Nebraska» was once envisioned as black - and - white drama, but Payne seemingly dropped the black - and - white approach and has been recently calling the film an old - fashioned comedy.

He was supposed to be receiving the script for a CGI children's film Mike White had written but instead was sent the story of a man coming to terms with his life as he takes his high school - age son on a tour of potential colleges while also grappling with the outsize successes of his own old college buddies.

Although not quite as sharp and clever as the aforementioned Heckerling vehicle, Clueless, I Could Never Be Your Woman (its rather odd choice for a title is derived from a lyric to the 1997 White Town song, «Your Woman», covered by Tyler James in 2005, the same year this was filmed), is actually quite inventive in its own fashion, with Heckerling drawing upon her own experience in being an older woman working in a youth - oriented industry, making entertainment meant to appeal to people about 30 years her junior.

The color footage used in the film is primarily of Auschwitz in 1955, coming off as a ghost town of ghastliness; the older, black - and - white scenes are the ones inspiring anger and revulsion, showing in rapid succession the rise of the Third Reich, the building of the camps, and the atrocities committed therein.

The title is the name of the church in the film, a modest but stately structure in upstate New York that's older than the United States, but you'd hardly know that it's nearing its 250th anniversary with the bright white walls and well - preserved pews.

While some Academy voters are still clearly showing reluctance to embrace films that don't feature exclusively old white men puffing cigars, if last year's Moonlight victory taught us anything, it's that change is on the horizon, bitch.

They are older, mostly white, fairly well - off, liberal - ish, and they love films.

It just shows how cooped up the film is within its bubble of old, privileged white people.

In A Quiet Passion, it's the way the white light streams through the windows and onto Emily Dickinson (Cynthia Nixon), who became more and more of a recluse as she grew older, never experiencing that light except through a window (windows, after all, are key images in all of Davies» films).

Give The Green Hornet this, though: it's the first mainstream American film to even flirt with the idea of Yellow / White miscegenation since maybe the 18 - year - old Dragon: The Bruce Lee Story, Rob Cohen's biopic about Chou's hero and the true antecedent to the Kato role.

The action in «Wild Card» is markedly more adept, thanks to the work of Hong Kong choreographer Cory Yuen, who put Statham through his paces on the «Transporter» films and who has a grand old time here staging an epic casino brawl scored to the Drifters» cover version of «White Christmas.»

The old guys getting confused for terrorists; going on an excursion to buy something mysterious called a cell phone; breaking down Eminem's «Without Me,» which Sal is stunned to learn is sung by a white guy — these are all regrettable diversions from the truth of the film because they all feel so completely like a writer's contrivances.

THE ONION had a brilliant headline proclaiming «Eddie Murphy fucks self for $ 20M,» which serves as succinct commentary on the film — or it would've had the headline included the rest of us being fucked simultaneously, lest we forget the trio of Italian restaurateur / mob stereotypes, a late scene in a Mexican strip club, an old white lady who busts out the mojo, and a reference to Benny Hill.

These selections are people that have distinguished themselves by their contributions to the world of film, and those lambasting the Academy for being full of old white men will be happy to see it's a pleasantly diverse list.

The smudgy, dark lighting and the look of hand - painted black and white photographs gives the film a retro feel reminiscent of old Hollywood classics.

A lovely trifle, «The Artist» is a film lover's film, presented in black and white in Academy ratio (i.e. squarish like your old TV) and with (almost) no dialogue.

Deakins uses the overtly stylish surroundings to sheer perfection using every possible smoke - filmed frame to recall the good old days when black and white photography in Hollywood films was an art in itself.

It's strangely reminiscent of those old black - and - white silent films:).

One of the favorite standout animal films at the Cannes and Sundance Film Festivals in 2015 was «White God», a Hungarian film centered on the story of a 13 - year old girl whose father sets her dog free into the streets, where he must learn to live among the packs of wild dogs who roam the city, as he tries to find his way back to his best friend.

While filming Kingdom of Heaven in Africa in 2004, the 38 - year - old Orlando rescued and adopted Sidi — which translates from a Morrocan dialect to «Lord» in English — a Saluki cross with a white mark on his chest.

Cataracts in Dogs: What You Need to Know: Owners of older dogs often notice begin to notice a bluish white film start...

Color blind siblings only see the world in black and white, while nostalgic kin view their environment through a dusty brown tone one might find in an old silent film.

I am reminded of some of those old black & white surrealist films but can't quite recall a specific one, and action painting, abstract expressionism, neo Dada, are all in here too, as are art - historical / art critical ideas of constructivism, all overness, and Leo Steinberg's «flatbed picture plane», in other words modernism, post modernism, and I want to say post-post modernism (Metamodernism even).

This year's film pieces, incorporating many scraps of older films and documentaries, blurred images of black and white photographs, jerky animations and shaky sequences filmed under water, add up to almost two hours of screen time.

The black and white film exposes both the poor and the rich, the young and the old, getting right to the heart of both cities and American history.