Sentences with phrase «only color film»

Not exact matches

Other cities on this list have only recently been washed in colors, thanks to social art projects and surprising film promotions (you have the Smurfs 3D movie to thank for the striking blue city of Júzcar, Spain).

A third film, The Law and the Prophets (McGraw - Hill Text Films, 1970; 51 min., 2 reels, color), not only offers a good summary of the Old Testament but also demonstrates the influence of the Bible on Western art, for, it shows great works of painting and sculpture inspired by the Bible.

Only the end of the film is in color, where Spielberg moves from the freeing of the Jews at the end of the war to a present day shot of many of the descendants of the Schindler Jews.

Filmed on location in Italy and Spain and shot in brilliant Todd - AO and Color and directed by the great British director Carol Reed, Charlton Heston and Rex Harrison (in their first and only film together) give two of the screen's best performances.

[/ color][/ font][font = Arial][color = darkred] «The Deep End» is directed, writen, and produced by David Siegel and Scott McGehee, with only one other film to their credit all the way back in 1993.

Stone frequently switches not only from color to black - and - white, but from one film stock to another.

The cast and crew's love for their material seethes through every frame, unlike in the only Scorsese film I would call work - for - hire (the bleary The Color of Money).

The film doesn't spend much time showing her stay at the hospital, lasting only as long as the opening credits, but cinematographer Sean Price Williams (The Color Wheel, Somebody Up There Likes Me) makes the most of it.

His brightly colored, eclectic style references not only Japanese animation but «Yellow Submarine» and the films of Tex Avery, Ladislas Starevich and Nick Park.

There is not one person of color among the nominated actors and films such as «Creed» and «Straight Outta Compton» earned nods only for their white contributors (Sylvester Stallone and the «Compton» screenwriters respectively).

It only makes last year's masterpiece Far from Heaven look that much better; writer / director Todd Haynes took another late 50s / early 60s film formula and used the colors and the feel of a Douglas Sirk movie to make a comment about films and about ourselves.

The rest of the film can be rejected, even at the intellectually contemptible level of disaster flicks, for such inept conceptions as a volcano that throws fireballs nowhere except straight at the hotel, and a tidal wave that must be only about one block wide, for all that the tranquil sea views from just up the beach indicate; and for trembly special effects the like of which hasn't been seen since the DeLuxe Color Allens at the turn of the Sixties.

And speaking of color, a couple highly praised films (Frances Ha and Nebraska) were shot only in black - and - white.

Ava DuVernay's adaptation of Madeleine L'Engle's kid - lit fantasy classic not only marks a step forward for diversity — with the film, DuVernay becomes the first woman of color to direct a $ 100 million blockbuster — but for DuVernay as an artist.

Half low - key, yet intense, theatrical melodrama, half outdoor adventure film, Wellman shot the whole thing in pseudo black and white: it's in color, but only a few key items are not black or white.

The goal is not only to provide a setting to watch the first African - American superhero lead a film in the Marvel cinematic universe, but also empower children of color to partipate in the arts and help change the fact that of the the 100 highest - grossing films of 2016, roughly a quarter lacked any black characters (stemming from a lack of representation amongst directors, actors and screenwriters).

Haynes» pastiche to film coloring of yesteryear will only be more exacerbated by the wonderful grainy, flickering charm of a 35 mm cut.

It has to be about Forrest Gump and Pulp Fiction and Chungking Express (a film many of us only saw because Quentin Tarantino forced Harvey Weinstein to release it uncut and in its original language, something Weinstein is loathe to do with his Hong Kong properties to this day), not to mention Sátántangó and Ed Wood and Pom Poko and Exotica and The Shawshank Redemption and He's a Woman, She's a Man and Three Colors: Red and Drunken Master II and I Can't Sleep and Hoop Dreams and Clerks and Speed and In the Mouth of Madness and and and.

It's also one of those rare films that passes the Bechdel test (passed only if a film shows women talking to each other about something other than men) with flying colors: Binoche is paired with rising starlet Kristen Stewart for the majority of the film, and believe me, their conversations are endlessly fascinating, with little help from men at all.

She Wore A Yellow Ribbon — The second film in John Ford's loosely grouped Cavalry Trilogy, and the only one in color.

The iconography most commonly associated with Jean Renoir's The River (1951) can be linked, in most cases, not only to the film's startling use of color, location, and exotic capability, but also to the immense difficulty of its production in the late forties.

Where Eagles Dare looks good in its high - def debut: it's a film - like transfer that's clean and sharp, marred only by the occasional distraction of wavering color (a symptom of the available film elements, I presume).

The comedy legends behind everything from «In Living Color» to «Scary Movie» surely could not make a film that's only marginally better than its recent counterparts, right?

After converting the actual trailer into an audio film, I used Final Cut Pro to edit it and really only needed to make a few simple color corrections before I was totally done.

The 1080p 1.66 X 1 digital High Definition image transfer on Virgin Suicides has stunning color grading (also a 4K scan from the original 35 mm camera negative), making the film look as great as it ever has and not only increases its smooth density, but its realism and naturalism, no matter how dream - like it gets.

Get Out was the only film centering on a person of color to score a Best Picture nomination but it showed up big in the major categories, with three additional nominations: Director, Lead Actor, and Original Screenplay.

January's horror film The Forest was only the latest example of Hollywood's long history of mediating Asian stories and characters through a white lens (a trend that certainly extends to other people of color).

It's an exciting moment in a film that needs more of them, a film that otherwise only feels like a Tim Burton film due to its pastel - heavy color palette (which is admittedly gorgeously shot by cinematographer Bruno Delbonnel, working with Burton for the second time).

This describes not only the story told in «Blue Is the Warmest Color» but also in many ways the tempestuous, topsy - turvy saga the French film's director and two lead actresses have themselves faced since...

It's the only film currently handicapped for a best - picture nomination with a protagonist who's a person of color.

Keeping the film afloat are fine performances by Travolta (A Civil Action, Primary Colors) and Stowe (Twelve Monkeys, Short Cuts), who not only work well together but are also quite funny in their bantering relationship.

The bright colors used in the film look fantastic, and there is only some minor oversaturation of the darker tones.

With no tie to the spirit or mission of the festival, several gruesome deaths, and more than a few off - color jokes (I am sorry, but midget jokes only go so far), its nice to know that festival as large as Sundance struggles with finding the right film for its opening night slot.

Colorful being not only the vast racial differences in the southern elements of the film, but the costuming and production design switching to a vibrant color scheme is wonderful to see.

Cagney's a great actor, of course, but both he and Day seemed totally lacking in energy, as did the direction by Charles Vidor — I swear there were only two camera setups through the first 30 + minutes of he film: Day on stage in a flat composition in front of musicians and a solid color backdrop with neither camera nor actors moving much at all and Day and Cagney in her dressing room arguing about something.

In fact, while most of the supporting actors are consigned to only a few scenes each, it's in these moments where the film shines the brightest; and that's quite a feat considering just how dark this movie is, both visually (the colors are so washed out that it's like watching with sunglasses on at times) and thematically.

(One additional note on Best Supporting Actress to segue into surprises: Mary J. Blige is not only the first person ever nominated for Best Supporting Actress and Best Original Song in the same year, but the first actor Oscar - nominated for a film directed by a woman of color, Mudbound's Dee Rees.)

Everyone knows that the only acceptable exterior color for a Bullitt Mustang is Highland Green — the same color as worn by the original 1968 Ford Mustang GT in the film — and while that color is again available this time around, so is Shadow Black.

However, unlike traditional E Ink films that use only black and white pigments, Prism includes color pigments in larger size films and include fully programmable, fully reflective, low power consumption and rugged.

The capacitive TFT screen can display 16 million colors and a resolution of 480 x 1024 pixels, good only for feature films, browse lists of contacts, text messages and articles from your favorite websites.

Equally important, it will be a great color touch tablet that will not only work almost as well as a laptop for many purposes and serve as an exquisite delivery system for Amazon's fast - growing MP3 and Instant Video services for music, audiobooks, films, and television programs.

An interim solution was found in the three - color - ink display which operates similarly to the monochrome one, the only difference being that a third pigment is added to the black and white particles of the EPD film.

Martin Parr is an English photographer best known for capturing brilliant hues back in the earliest days of color film, so it's only proper to celebrate the iconic images with a coloring book.

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.

Not only were the detailed yet comfortable colors and textures drawing me in, but the entire presentation also felt like a film I almost needed to let wash over me to experience fully.

Up until that time he had worked only in black and white, but the jewel - like tones possible with Polaroid film led him to make his first of many color pictures, a black - coated Man Ray against a black background wearing bright red Revlon nail polish.

Shot with color slide film — and more evocative in their artifice than your average Cindy Sherman — they're the work of Josef Albers; I assume their evocative red - and - brown tonality is a result of deterioration of the original Kodachrome slides (the cyan dye would have faded at a faster rate than the magenta), but it only adds to the pictures» atmosphere.

Writing on the series a year after its inauguration, Albers described the range of effects he was able to achieve with such restricted means: «The appearance of translucency or intermixture or film - like overlapping are achieved by the proper juxtaposition of pure color only.»

The broad range of vision engages one with its formal and narrative authority — from elegant self - contained cerebral works like On Kawara's «Today» series, in which the artist paints only a date of the year against a background of color, and Roni Horn's wall - sized photographic series composed of 36 progressive clown portraits of perceptual ambiguity, both artists neatly isolating individual permutations of life's sequential narrative, to Peter Fischli and David Weiss» collaborative film, «Der Lauf der Dinge (The Way Things Go),» in which the unconstructed imagery is punctuated by bursts of random narrative that addresses life's impermanence.

In 1962, when he began, his first rolls of film were Kodachrome, and only after the first year of working in color did he realize that black and white prints enabled him to hold images in his hands rather seeing them on a screen.