Sentences with phrase «only film in this genre»

Not exact matches

But as an exercise in style and genre, the film stands up - if only because Michael Bay's shameless, sweeping, dynamic style has been so influential in Hollywood since.

In contrast, the good films of any genre only benefit from file - sharing.

For that reason, many adults go to the movies to enjoy the latest animated film without children, not because they want to delight in «kid's stuff,» but because the genre offers poignant messages in a beautiful format that only these types of movies can really deliver.

The genre is arguably one of the riskier for filmmakers to tackle because the film must not only make the audience believe in a world or setting that is seemingly ambitious, but the filmmaker must also convey a contemporary message of some kind.

Whereas across earlier films Haneke's predilection for deceit served a high - minded, if still somewhat suspect, intellectual purpose (an interrogation of privilege and meaning in Caché, the deconstruction of genre in both versions of Funny Games, and so on), here his disingenuous approach is not only unwarranted, but is actually at odds with the tone and tenor of the drama.

By pulling in Brian De Palma to direct, having the legendary Robert Towne, join red - hot David Koepp and the ever - amazing Steven Zaillian to write the story, the film helped launch a revival of the genre like nothing since the Roger Moore trilogy of The Spy Who Loved Me, Moonraker and For Your Eyes Only.

I'm no expert on this genre, in fact I've only just strarted watching Vampire films in the last couple of months, however I feel this is one of the dullest I've seen so far.

This decade has seen a significant increase in what can only be described a «prestige genre,» a Sci - Fi or Fantasy film that is treated as serious drama and, usually, with a distinctly more artistic vision than traditional commercial fare.

However, underneath the high - concept themes of the film, Rumor Has It remains a routine romantic comedy with serious moments thrown in, and will likely only please viewers considered to be regulars of the genre.

Girlfriend's Day is a film that is occasionally funny, yet it tries to ambitiously blend multiple genres, in a way that only partly works.

Quentin Tarantino has dabbled in just about every genre at this point in his career, so it's only natural that he would try his hand at a Western, although «Django Unchained» is actually more of a genre mash - up between a spaghetti western and a blaxploitation film, with all the musical cues, whip pans and other stylistic flourishes that both genres are known for.

Despite devoting roughly half its running time to Ian and Sofi's relationship, I Origins is ultimately not a romance, or at least, not only a romance: As the plot advances, Cahill's film reveals new incarnations of itself in a variety of genre trappings — sci - fi parable, grisly medical drama, globe - trotting thriller, and even, in one bizarre and possibly genius scene, a Saw-esque horror flick.

by Walter Chaw The only genre that boasts more direct - to - video fare than horror is porn, and since we haven't quite reached the point of quiet desperation needed to begin reviewing porn, find here a smelted cheddar of four dtv horror features (actually, The Boogeyman got a theatrical release in 1980, though I can't understand why): the eighth film in Clive Barker's venerable horror octology, Hellraiser: Hellworld; The Boogeyman and its second sequel, the legitimately straight - to - video Return of the Boogeyman; and Kevin VanHook's The Fallen Ones.

There were several films this year about serial killers, yet only Kim Ji - Woon's entry in the genre possessed the kind of soul churning quality that hasn't been seen since David Fincher's Se7en.

Their films were so instantly recognizable that «Merchant Ivory» became not only a brand but also a description of an art film genre often identified in ads with ivy trellises.

It isn't an accident that Certain Women's closest brush with genre — when attorney Laura's (Laura Dern) enraged client, Fuller (Jared Harris), takes a night watchman hostage — is both the film's only portrait of male indignation, and the only vignette that's deflated in near - comic anticlimax as quickly as it reaches its apex.

There's also the mixed messages the film relies on, tearing down the superhero genre conventions in the first half only to indulge in them in the second.

Shot with a reverence for the kind of beauty only Michael Mann has ever captured from Los Angeles, the film is a breath of fresh air, a visionary take on a long - storied genre that is one of the most wholly satisfying viewing experiences in a long time.

Yet, doing so would also require that the industry (and critics) embrace the fact that most of such films would, at least initially, be rather underwhelming if not outright bad: after all, it is only through repeatedly practicing the craft of genre filmmaking that, over time, a film industry can elevate its game and make reliably solid films in any given genre — films that can hold their own when compared to those from other nations that excel at genre filmmaking, including Hollywood (the genre filmmaking tradition par excellence), France, South Korea, or Hong Kong.

This decade has seen a significant increase in what can only be described a «prestige genre,» a Sci - Fi or Fantasy film that is treated as serious drama and, usually, with a distinctly more artistic vision than...

With Barker's status as one of the most prominent openly gay figures in genre fiction at the back of the mind, that Candyman is something of an elegiac lament for the outcasts and the sexually humiliated only augments its status as one of the best of the end - of - the - eighties / start - of - the - nineties body mortification films.

And if Cut Bank is meant only as a pulpy genre exercise, Shakman's competence in various modes actually works to strip the film of any sense of coherent vision.

From its starkly arresting beginning, in which an act of violence is perpetrated against a housewife while her young daughter looks on, only for the daughter to become an active participant in the revenge taken on the assailant once Dad comes home, the film plots a highly original, beautifully shot course through a genre that often feels overgrown with familiarity.

She talked about how she feels about the impact of her character and whether she'd add onto her range as an actress by not only doing more award contender films but also maybe still playing with genre, specifically if she'd be open to playing in the Disney Marvel sandbox with the likes of Chris Pratt and Bradley Cooper:

This film gave birth to the car - chase film genre and stars Eleanor, the only Ford Mustang in history to receive starring credit in a movie!

For my money, I think there's only a handful of truly great horror films in any given decade, but our own Tim Buel sees many more films in that genre than I do each year.

And it offers up what has to be the last word in fan - service mid-credits stinger, in which our hero borrows Cable's time - travel gizmo to not only undo most of the plot of the film, but also all of Reynolds» previous forays into the superhero genre.

M. Night Shyamalan has taken a genre that has gotten old very, very quickly, and has given us a film that not only revitalizes the enjoyment of seeing a horror movie in the theater; it has definitely revitalized his career.

In 1968, George A. Romero not only invented the modern zombie genre, but revolutionized horror with this incredible film that merges social commentary and scares.

However, that isn't the only film that made use of the date, as here is Gangster Squad, the Gatorade and sleeping - in of award season hype hyperdrive hoopla bonanza, a mindless genre movie made to be as thoroughly a piece of Hollywood as possible, while gleefully having no chance of winning any type of award.

Phantasm is unlike any film of the genre; not only in subject, but artistically as well.

An ultra lo - fi take on the detective genre, following a forensic science drop - out who returns to Portland, only to end up in a real - life mystery when his ex-girlfriend mysteriously disappears, the film takes a genuinely intriguing, tightly scripted mystery (albeit one that doesn't get started until 40 minutes in), and populates it with characters etched from life.

Chances are you would only rent this film if you're a romantic comedy regular, already seeing all of the major releases in the genre, yet still looking for that movie to watch as a couple on an evening where there's not much else to do but cuddle on the couch.

Not only is Nicolas Winding Refn currently gearing up for the summer release of his supermodel horror film The Neon Demon, but he has already lined up a couple of uncanny projects to remake as a producer — in other words, this is some great news for fans of the genre.

It's not long before they encounter Mud (Matthew McConaughey, sporting a large snake tattoo and a chipped front tooth a la Jim Carrey in «Dumb & Dumber «-RRB-, who's not only the namesake of Jeff Nichols «brilliantly constructed, emotionally satisfying genre deconstruction, but also the film's hero and anti-hero.

And of course one has to mention Jeff Goldblum, who as The Grandmaster not only steals every scene he is in, he proves that no matter the film, no matter the genre, he delivers.

Any genre you want is used to tell the story — from film noir to romance, action thrillers to comedy — the only thing that remains absolutely consistent is that they are all set in the City by the Bay.

It's not only in performances that the film feels stuck between genres; discounting a handful of choice scenes, by the film's end we're left with many unexplored emotional avenues that serve only to reinforce the film's stuntedness in that regard.3

His next two are a sequel and a remake of two cult classic films in the hard sci - fi genre that will only continue to stretch your minds and cinematic intelligence with the upcoming Blade Runner 2049 starring Ryan Gosling, Harrison Ford, and a crap ton of other people while his next project is the Watchmen of sci - fi movies where people fear that a faithful adaptation and remake of Dune feels near impossible, but if there was somebody to do it, it's Denis.

After dabbling in just about every genre at this point in his career, it was only natural that he would eventually try his hand at making a Western, even if «Django Unchained» is more of a genre mash - up between a spaghetti western and a blaxploitation film, complete with all the musical cues, whip pans and other stylistic flourishes.

Before directing the highest grossing South Korean genre film thus far, Bong Joon - ho had only tested his horror mettle in short format.

, and a Political - Romantic - Comedy - Rockumentary (Kurt's new favourite «genre» (in big air - quotes), consisting of only one indie Japanese film!)

This is what makes his first and only feature, Martha Marcy May Marlene, such a brilliant exercise in psychological terror, and despite the fact that it's neither a horror film nor much of a thriller, it generates a more foreboding sense of dread than a majority of the most recent entries in either of those genres.

: For all of the body parts that Stephen King has torn asunder in his numerous books and film adaptations, it's ironic that two of the most beloved movies ever about male bonding come from his book «Different Seasons» — a «Body» that spawned the CSI Our Gang of «Stand By Me,» and the prison breakout that lay behind «Rita Hayworth and the Shawshank Redemption,» Wisely shortened to the last three titles by writer - filmmaker Frank Darabont, this 1994 classic of an unbreakable man slowly chiseling his way out of a Maine hellhole over the course of decades stands as not only the most soulful film in an understandably macho prison break genre, but also as a film that many rightfully consider to be one of the best movies ever made.

Though the film follows a pretty standard cops - and - robbers formula, it does so with such razor - sharp proficiency and well - drawn characters that it succeeds not only as a terrific genre flick but a modern American classic in the same vein as «No Country for Old Men.»

He is a rebel who never played the Hollywood game to begin with, making his films his way, most often without studio support, doing more with a $ 300,000 budget in 1978 than most directors could pull off with ten times that amount, only to create new standards that have come to define each of the genres he has entered.

The small miracle of it, then, is that in both its absolute glee in finding the line of how much gore to show and then crossing it (a pair of glasses stop a hypodermic needle... but only for a moment) and its surprising efforts at locating a deeper thread in a frayed brother / sister relationship and the impact of drug addiction, Alvarez's film is a solid, even affecting genre piece that allows for an abundance of memorable money shots.

His startlingly realized prologue not only sets you on edge for one of the strongest new genre films in a decade, but it announces that Mitchell, like many of us, is a very big John Carpenter fan.

The film starts off quite unremarkable, story-wise, and once it hits the genre - mandated snag in the kidnappers» «full - proof» scheme, it seems like there's only a couple of possible directions it can really go.

«Most genre films drop in the second weekend by at least 60 percent,» Deadline notes — but Get Out has only suffered slight dips at the box office, indicating that it has some serious staying power.