Sentences with phrase «on slow cinema»

Not exact matches

Temperatures may be dipping but the crop top trend shows no signs of slowing down, as proved by Katie Aselton on the red carpet at ArcLight Cinemas in Hollywood, California for the «Drinking Buddies» screening yesterday evening.

Your first feature film Slow West gets its UK cinema release on 26 June; can you tell us what we can expect and where the inspiration for the film came from?

Recently John was kind enough to grant Movie Review World the opportunity to interview him about his glorious début feature: SLOW WEST (hitting UK cinemas on 26th June 2015).

Though it has a lot of fun playing with slasher tropes and cinema in general (showing the way Max and her friends are affected by elements like musical cues, monochromatic flashback sequences and slow motion within the fictional movie), the film isn't funny or scary enough, ultimately becoming a victim of its own satire due to its insistence on preserving the genre's traditionally bad acting and writing.

After a slow first few days wheeled out a platter of surprisingly mediocre films given this is the most prestigious film festival on Earth and can cherry - pick from the cream of world cinema, Festival de Cannes clicked into gear.

The visual splendor of Zack Snyder is on full display, and what a magnificent looking piece of cinema it is, as the director does well playing somber and slow during the first hour - plus of build - up, only to finally get a chance to let it all rip in grand fashion for a lengthy showdown between godlike beings battling it out on Earth for the fate of two separate races.

Continuing on from yesterday where great British comedy sat alongside Turkish slow cinema in our countdown of the best films from 13 - 6, here are our top five films of 2014.

Speedsters on screen have been well - established through ultra slow motion since the breakout Quicksilver scene in X-Men: Days of Future Past, and Zack Snyder's introduction of The Flash into cinema follows the same template.

Given how older crowds make their way to the cinema slower, the hope with these films is the leg - out factor, and that boils down to how long a distributor can convince a multiplex to keep a title on screens.

Indeed, movies and the wonder they inspire, «like seeing dreams in the middle of the day,» are central to the story, and Selznick expresses an obvious passion for cinema in ways both visual (successive pictures, set against black frames as if projected on a darkened screen, mimic slow zooms and dramatic cuts) and thematic (the convoluted plot involves director Georges Méliès, particularly his fanciful 1902 masterpiece, A Trip to the Moon.)