Sentences with phrase «original film choices»

Not exact matches

Holly's outfit choices in the original film included the famous little black dress.

The Blu - ray includes a booklet containing Blixen's original story and a short but informative essay by frequent Criterion film commentator Mark Le Fanu, discussing the film's choice of language and locale, and contextualizing it among Scandinavian films of the era, and via Axel's personal history.

Nothing in this film is as daring as those choices — as played by Harrison Ford, Solo was a borderline antihero and the only major character in the original trilogy who had a dangerous edge, albeit one that Lucas and company immediately began sanding down — and as young Solo, Alden Ehrenriech doesn't convince as a cocky young pilot and smuggler who's been prematurely soured by a hard - knock life.

But Gosling's most effective bit of borrowing comes in bringing on musician Johnny Jewel, the original choice to score Gosling and Refn's first collaboration «Drive,» and whose music permeates that film despite much of his work being dumped.

I myself am a huge fan of the original two films and am not sure about this casting choice.

She was the original lead on MTV's Scream, for which she was nominated for a 2015 Teen Choice Award, and she also recently wrapped the feature film Blood Money, starring alongside John Cusack.

Original starring choice Jack Nicholson was now well beyond the budget of the film, so Polanski attained the 64 - year - old Walter Matthau in the peg - legged lead.

From the look of this second, considerably revamped trailer — which is set to the film's score rather than the first trailer's original music choice of the Beastie Boys» «Sabotage» — I think this one is going to make more fans a lot happier.

Seizing some choice opportunities to enforce a connection to the original film but largely blazing its own trails, this sequel arrests with refreshing creativity regardless of its war and post-apocalyptic movie overtones.

The original music is too heroic and unconflicted for a 21st - century Western, which Antoine Fuqua's new film certainly is: Multicultural in its casting and pointedly political in its choice of bad guy, The Magnificent Seven is a 2016 movie all the way.

Musically, the challenge for composer John Debney was (being serious now) following in the footsteps of Alan Silvestri's genuinely beloved music for John McTiernen's revered 1987 film; he has (and I'm not sure whether this is a compliment or not, really) proved on numerous occasions that he is able to do very good impressions of other film composers, so he was an ideal choice here — and there are times when it's hard to believe this music wasn't written by Silvestri himself, even when not directly quoting the original themes.

While the story of the successful man hitting his low point and having to turn his life around isn't original, the film is able to avoid cliche by making some interesting choices in how those themes are explored, which help them feel a little more unique.

However, he isn't so funny as to make the character come off as goofy and buffoonish, and Peoples» eventual turn to more serious villainy is seamless and believable (which probably would not have been the case had he been played by original casting choice John Leguizamo, who bowed out before filming).

I'm a big fan of Mike White, he's a talented original voice, and this looks amusing and also like the kind of film that will make me question my own life choices * gulp *.

On the other hand, given the Luke we know and love from the original trilogy's story... he simply would never make the choices he makes in this film.

This may have something to do with its success as adaptation — it may be the most obvious choice among Pynchon's novels for silver - screen immortalization given that it's riffing so hard on one of cinema's favorite genres (and those riffs are themselves on the original noir novels as refracted through half a century or so of films of the same), but this simpatico quality presents possibilities and pitfalls in equal order.

Bava's choice of music (and composer) has sometimes been very uneven: Carlo Rustichelli's romanticized and treacly music for Whip and the Body detracted from the film's pinched, sadistic sequences; Libra's prog - rock score for Shock felt at times like an effects - ridden mimic of Goblin's supernatural score for Dario Argento's Suspiria; and Stelvio Cipriani's muzak for the original Italian version of Baron Blood deserved to be replaced by Les Baxter's more eerie, orchestral score when AIP initially released that film in North America.

Craig Brewer was a perfect choice for the remake of this 1984 classic what with his previous film, the soulful Black Snake Moan, tackling all the same themes as the original — exclusion, social change, the small town mentality and royidin!

To which director Ridley Scott said a hearty «watch me» — then went about re-casting the role with Christopher Plummer (said to be Scott's original choice) and re-assembling the cast for a rush of last - minute re-shoots, promising to get the film in as close to the original release date as possible.

Taylor's original choice of composer was Carter Burwell who didn't seem the most natural of choices, so it wasn't entirely a surprise when he departed the project (seemingly not the director's choice, but the studio's); a very capable replacement was hired in the form of Brian Tyler, who also scored the previous film in the franchise, Iron Man 3, and just maybe he will become the «house composer» for this series, which has so far failed to establish any kind of distinctive musical identity.

Liz Hannah BFA Film» 07, screenplay writer for Stephen Spielberg's film The Post, was nominated for a Golden Globe Award for «Best Screenplay / Motion Picture,» and a Critics» Choice Award for «Best Original Screenplay.»

There were familiar names and design choices, but the sense of wonder, hope, and optimism that permeated the original films was swapped out for a strange combination of kid - friendly antics, dull political conversations, and an off - putting digital look and feel.