Sentences with phrase «on films like young»

Not exact matches

On the other hand, will increasingly secular young Americans flock to see films that look and sound like sermons?

Just like young Scorsese in the streets of Little Italy, his films don't lead viewers to judgment or glorification of the imperfect players on screen.

I, on the other hand, went into the BBC newsroom the other day to find teams of young producers laughing at archive film reports from 17 years ago of a young political correspondent looking nothing like he does now.

The former star of Party of Five and films like I Know What You Did Last Summer is embarking on the fourth season of Ghost Whisperer, the creepy hit drama in which she plays Melinda, a young newlywed able to pass messages from the dead to the living.

Among other things, I ran the Great Wall of China Marathon; worked out on a pearl boat in the Kimberley; appeared semi-naked in a music video wrapped only in cling wrap; worked on a Norwegian reality TV show filmed in Malta; trained eagles in Mongolia; donned a wig and lived like Dolly Parton in her hometown in Tennessee for a month; rode a bicycle around Taiwan; sailed on a pirate ship from Seattle towards Mexico before hitting a storm and having to be rescued by theUS Coast Guard; and helped educate young girls in Kosovo who are banned from attending school because they wear headscarves.

Drawing inspiration from such pivotal usage of practical effects in films like E.T., The Empire Strikes Back, and The Thing, the team intends on building a practical robot puppet for the young actor playing Wei to interact with and get better performances from.

The story of a young girl (voiced by The BFG's Ruby Barnhill) who discovers that she has been born into a long traditional of witchcraft, the film — adapted by Yonebayashi and Riko Sakaguchi, with an English - language script by David Freedman and Lynda Freedman — is predicated on a sense of wonder, but so much of its world feels familiar, if comfortably so, like a favorite band playing their old hits.

Most of these films, however, focus on elderly people behaving like young people, little more than contemporary non sci - fi takes on «Cocoon».

Her feature - length debut, 2013's «It Felt Like Love,» focused on the bumpy trajectory of an introverted teenage woman exploring her urges with dangerous results; with the markedly similar «Beach Rats,» Hittman brings the same tropes to the plight of a young man in a film that has the precision of a great short story and the uneasiness of body horror.

Backstage chats with one of the film's stars, Ty Simpkins, about what scared him most on set, his advice for young actors, and what it was like working with Chris Pratt.

1 The whole film seems to be hovering — just like the young man on the bridge — between a world we tend to call «reality» and one we refer to as «dreams».

OUR TAKE: Fresh young faces starring in a movie about a board game that hinges on delusion - as directed by Stiles White, a special effects guru from the Stan Winston studio, who has written films like Knowing and The Possession, but is admittedly making his directorial debut with this movie.

Jeremy becomes the wingman tossed on the grenade of true love blossoming between John and Treasury Secretary William «The Next President» Cleary's (Christopher Walken) eldest daughter Claire (Rachel McAdams)-- the grenade in question being Cleary's younger daughter Gloria (Isla Fisher, effortlessly walking away with the film), some kind of nymphomaniac psycho who serves, Boomerang - like, as the counterpoint to Jeremy's voracious sexual predator.

director Mike Mendez — that, while it has a charming sense of humor about itself, leans too heavily on CGI blood; The Girl With All The Gifts (B), a well - shot British zombie film that attempts to inject new life into a tired genre, and almost succeeds thanks to young star Sennia Nanua; and the disappointing Phantasm: Ravager (C --RRB-, a low - budget labor of love which, while it plays like a Phantasm fan film, ultimately undercuts the emotional closure it attempts to bring to the franchise by failing to resolve the central conflict between good and evil.

He directed Mark Ruffalo in the latter's breakout role in «You Can Count on Me,» a movie over which death hangs like a fog, but it was young Rory Culkin whose presence amplifies both Ruffalo's and co-star Laura Linney's work in that film.

Even the films I like from this year I do nt have clear memories of (I saw Women in Love when I was way too young for it in the 1980s), don't truly love (big Altman fan but MASH, is more of a «like»), or I love them more for their historical value or genre personality than for actual quality (Boys in the Band, Aristocrats, Bloody Mama, On a Clear Day You Can See Forever).

Barely 18 months later, and the franchise now seems like the sole ray of light on the Young Adult horizon, as adaptation after adaptation has subsequently tried and failed to spin its on - the - page popularity into a film franchise (a look at our 2012 rundown of the YA hopefuls is retrospectively sobering).

David Mackenzie — «Starred Up» Scottish helmer David Mackenzie is easily the most experienced name on this list: his latest is actually his eighth film as director, and his previous work has included major movie stars like Ewan McGregor, Tilda Swinton, Jamie Bell and Ashton Kutcher in films like «Young Adam,» «Hallam Foe,» «Spread» and «Perfect Sense,» some of which were decent, some of which weren't.

But its surface - level riffs on fairy - tale setpieces suggest an inhibited cousin of recent genre films exploring young women's social repression, like Joachim Trier's Bergman - indebted Thelma, or Julia Ducournau's vet - school cannibal horror film Raw.

Like the 2014 film, Tom Clancy's Jack Ryan will focus on the younger version of the CIA analyst, with the big difference being that the series will have eight hours to help develop the character and get a better look as to why readers have embraced Ryan in Clancy's 24 novels that feature the character.

Although the film will primarily appeal to younger, more impressionable viewers, adults that enjoy stories of imagination and marvel will also find that Zathura, like the game itself, holds far more adventure inside than the picture on the box would initially indicate.

Having just wrapped his eighth feature film (The Front Runner) last week, this Diablo Cody scripted dramedy on being a mom started filming in September of 2016 in Vancouver, and once again sees Young Adult «s Charlize Theron (she appears to have added some Monster like pounds for the part) in the fold.

Coming on the heels of While We're Young (the other new Baumbach, which hasn't even hit U.S. theaters yet), the film is further evidence that the caustic comedic visionary behind downers like Greenberg and Margot At The Wedding has officially revived the gentler sensibilities of his early work.

6:00 pm — TCM — The Heiress Olivia de Havilland's second Academy Award was for this film, based on Henry James» novel Washington Square, about an aging woman (in those days, aging meant like «older than 25») forbidden by her father from loving an earnest but non-socially-equal young man.

If Francis Ha was Baumbach's ode to French New Wave and While We're Young his comment on hipster culture, Mistress America feels somewhat like the 80s throwback to the comedy of manners revival of films from the 30s.

«Stealing Beauty» is the new film by Bernardo Bertolucci («Last Tango in Paris,» «The Last Emperor»), who like many a middle - aged man before him has been struck dumb by the beauty of a nubile young girl, and has made the mistake of trying to approach her on what he thinks is her level.

«Morlando draws great performances out of his two young leads, Quebec's [Sophie] Nélisse and America's [Josh] Wiggins, who are like fugitives out of a French New Wave film, discovering love while also hatching a plan on the run.They've had to suddenly leave their rural homes, in the mythical U.S. state of Great Lakes (according to car licence plates), because Jonas has grabbed a big bag of cash from Casey's abusive bad - cop dad Wayne -LRB-[Bill] Paxton), after furtively witnessing a criminal betrayal that turns into a bloodbath.The two teens take off, with Casey's dog in tow, but Wayne isn't far behind.

After collecting some celebrity testimonials on The Room from the likes of Kristen Bell, J.J. Abrams, Lizzy Caplan, and Adam Scott, the film opens in 1998 at a San Francisco acting class where Sestero (Dave Franco, the director's younger brother) meets Wiseau (James Franco), a bizarrely - fashioned, curiously - accented loner who disarms the class by writhing around on stage and shouting «Stella» in a performance inspired by Tennessee Williams» A Streetcar Named Desire.

I don't think there are many younger film composers who could write an action score quite like Goldsmith on an OK day, to be honest.

In this slow - moving film, two young women would like nothing better to run into their father, missing for years when he was pulled away from his home in the Ottoman Empire during World War I when the Turks fought on the «wrong side» and drafted into the army to break rocks like members of a chain gang.

Of the many thrills that come from interviewing creative people — variously, unknown, ascendant and at the top of their game — there's also the under - discussed flipside: talking with, 1) vapid young «actors» (line - reciters is more like it) who have neither a sense of film history nor an appreciation for their occupational good fortune and, 2) perfectly genial writers and directors who are nonetheless so relentlessly on script — occasionally reciting entire career - checking passages verbatim from press notes no doubt spit - polished into significance by some friendly faction in the dark wings — that you realize they actually have less summary insight or thoughts about several months or years of their own work than you do after 90 to 120 minutes with it.

It's the little notes that he hits that are more memorable than the broad ones like the look on his face when he sees Peppy's new film opening in a much bigger venue than his own or the way he can't move past the young lady as they try to shoot a dance number (in easily one of my favorite scenes of the year).

Loosely based on actual events, this stark Australian import may sound wildly familiar to those who appreciate crime fiction, but this film manages to hook you early and suck you in like quicksand, thanks in large part to some great actors, but also because of Mr. Young's gradual, persistent escalation of tension.

Some of these will be lost on younger viewers, but that's OK, as adults certainly need something to like in these films.

The players include Tatum O'Neal (who was already the youngest - ever winner of a competitive Academy Award) and Jackie Earle Haley, who would grow up to star in films like Little Children (2006), Watchmen (2009), Shutter Island (2010), and the remake of A Nightmare on Elm Street (2010).

«The Boys of D - Tent» is a good featurette (10:40) which details what making the film was like, with the focus on the young, untrained cast.

«I would like to thank my mother and my father, who 30 years ago, they took me to a little cinema in our little town, and I was so young and didn't know what it was on the screen,» said Weerasethakul on Sunday, who previously won the third - place jury prize at Cannes with his 2004 film «Tropical Malady.»

This was a best picture like no other — a lyrical yet unflinching coming - of - age story focused on a poor, black, gay young man, complete with a hopeful ending unusual for a gay - themed Oscar film.

Actor David Krumholtz — who's probably best known for his work as a young actor in movies like Addams Family Values and the Santa Clause films, as well as more recent regular roles on network fare like Numb3rs, Mom, and The Good Wife — went on Twitter yesterday to make a public apology for one of his recent films.

Sony Pictures has set its young cast for the upcoming Goosebumps sequel, with Madison Iseman (Jumanji: Welcome to the Jungle), Ben O'Brien (Manchester By the Sea), Caleel Harris (Think Like a Man), and Jeremy Ray Taylor (It) signing on for roles in the film.

The tale of the young girls is certainly interesting, and different than others due to the locale and era, although at its core it's a survival tale like many films based on true stories.

Much like Aaron Sorkins» Steve Jobs, the film is split but this time between two specific eras in Wilson's life with his younger years and build up to the recording of Pet Sounds being portrayed by Paul Dano, and then John Cusack takes on Wilson's later life during his turbulent relationship with Dr Eugene Landy (Paul Giamatti) and the meeting of Melinda Ledbetter, played by Elizabeth Banks.

When your main cast includes the formidable trio of Retta (priceless on «Parks and Recreation»), Christina Hendricks (timeless on «Mad Men») and Mae Whitman (pitch perfect from a young age in films and shows like «Arrested Development» to «Parenthood») and your tagline is «They're done playing nice,» you could probably just point and shoot and score.

Pixar's latest film Coco, based on the Mexican holiday of Día de Muertos, followed a young boy named Miguel who, while pursuing his dream of becoming a musician like his idol, Ernesto de la Cruz, finds himself in the Land of the Dead, where he will unlock a family secret and learn the meaning behind this celebration.

On working with Reitman again, Theron says, «Working with him again felt like picking up on the last day of shooting Young Adult, just with a different film and character this time around... Our relationship has been so solid and consistent all these yearOn working with Reitman again, Theron says, «Working with him again felt like picking up on the last day of shooting Young Adult, just with a different film and character this time around... Our relationship has been so solid and consistent all these yearon the last day of shooting Young Adult, just with a different film and character this time around... Our relationship has been so solid and consistent all these years.

Whilst that I can acknowledge that it did take the film in a slightly different direction, and tried to do something a little different than the original (for example letting Murphy retain his memory whereas in the original Murphy was wiped or delving more into the family life of Murphy both as a human and as RoboCop), but for me it missed out on having the main villain, it cashed in on using the original them tune (which to be honest I did kinda like), the shoe - horning in of some of the original one liners that really felt out of place, there was tonnes of CGI which unfortunately is to be expected these days and I felt it was considerably toned down to appeal more to the younger audience, losing the over gratuitous violence and blood that the original had which in my opinion gave it some of the charm that it still has today.

As the film begins, young, sun - kissed Simon (Gabin Verdet) enjoys an early morning surfing expedition with his friends; on their way home, a car accident strikes like a rogue wave, leaving the teenager brain - dead and on life support.

Wilder was a longtime collaborator with Mel Brooks, working together on films like «Blazing Saddles,» «Young Frankenstein,» and «The Producers,» the last of which earned Wilder a Supporting Actor Oscar nomination for his performance as the antsy accountant Leo Bloom.

What's especially fun is just how much ground in entertainment history these guest stars cover, from aging legends like ventriloquist Edgar Bergen (who died before release and has the film dedicated to him), Milton Berle, and the great Orson Welles to young comedic talents on the rise like Steve Martin and Richard Pryor to Big Bird himself.

Cinematic adaptations of young adult novels focusing on a dystopian future are nothing new but there are thoughtful films that truly stand out in the crowd (like The Hunger Games series and The Giver) and then there are movies like Insurgent.