Sentences with phrase «original film worked»

Comedy sequels are tough, and they're even tougher when you don't know why the original film worked.

The original film worked as a dark take on the familiar «Snow White» fable, with breathtakingly beautiful, brutal imagery and a richly villainous turn from Charlize Theron as the wicked queen.

Not exact matches

The company works with major film studios to create original and marketing content ahead of movie releases.

Hulu will be the streaming home for future and past Dreamwork's Animations films, and the companies will work together to create original kids» and family series.

With news emerging that the siblings are back at work on their first original project since «The Matrix» — a gargantuan sci - fi film called «Jupiter Rising» — it's worth taking a look back at their work so far.

Two newsubscription streaming services are in the works: ESPN Plus, expected to launch this spring, and a service with Disney, Pixar, Lucasfilm and Marvel films and original TV series next year.

This system worked perfectly fine until last April, when Nakayama made her film debut on the Netflix original documentary series Chef's Table, alongside big - name chefs like Massimo Botura, Francis Mallmann, and Dan Barber.

In the original films, it was established that it works very much like a real - life particle collider, colliding high - energy positrons in order to generate a proton beam.

45 - minute Brain Rules film featuring John Medina Take a lively tour of the 12 original Brain Rules for home, work, and school — from «Exercise boosts brain power» to «Sleep well, think well.»

Once he was properly compensated and credited for his amazing work with the original series, New Line managed to get him to put out one more film.

Lara Croft: Tomb Raider, one of the most dumbed down action films of 2001 gets the sequel treatment (that everything is getting this year), turns out to be one of the few that actually works better than the original, if only slightly.

Phyllida Lloyd makes her feature film directorial debut an uneven one; she's a leading British theatre director who is noted for her work in opera and directed the original stage production.

Sea currently resides in New York City and is writing an original screenplay and working collaboratively on the performance, film, and music project, THE EXCITING CONCLUSION.

The production team on this film actually worked with Dr. Zimbardo and wanted to tell his story of the original experiment itself on Stanford grounds.

The trick for a movie of this type, at least one that is aspiring to be more than just a simple - minded exploitation film (such as the original Charles Bronson «Death Wish,» a far more complicated work than usually given credit for, especially in comparison to its tacky sequels), is to create a narrative that somehow justifies such actions without completely overdoing it.

It may not rise to the level of such a classic, but tonally it's reminiscent of Young Frankenstein, a work that at once parodied the Shelley story in broad comic terms while also being supremely in awe of the James Whale film, right down to using original set pieces and compositions to mirror without any form of irony the source material.

It is one of the great original works of cinema, maybe even the best; it is a film that is not even a bit dated as I view it once again in 1999 still awed by the spectacle, the accuracy of its scientific statements, and its mystery.

Speaking of which, there's also the matter of comparing the book to the film that adapts it, and here, I have to say that the film felt less engaging than Sestero's original work.

The original's commitment to tension and tone worked far better than the slackly - edited split personality of this film - a comparison almost directly invited by slavish repetition of many of the first film's story beats.

Yes, an English - language version of the film will be made available, but only the most subtitle - phobic moviegoers could feel justified in skipping the work of the film's original French - language cast.

It seems to me that this isn't an entirely original comic concept - Steve Martin did a very funny two - people - in - one - body film about twenty years ago - but it still works great.

I'm just so annoyed with both Scott and Crowe for talking shit about the original script's premise for a film told from the Sheriff of Nottingham's perspective, and how this wouldn't work because it played like a medieval police procedural.

They forget that the original film version of «The Haunting» (based on Shirley Jackson's truly terrifying «The Haunting of Hill House») worked so well because of what the audience didn't see.

It's by far the least controlled of Penn's films, but the pieces work wonderfully well, propelled by what was then a very original acting style.

The result is a work that — like a whole sub-species of French films of the recent decades — fetishizes its own hyper - naturalistic visual style and performances (all but one by non-actors) while offering no original or striking insights into the world it portrays.

The lenser hasn't worked with Stone since 1997's «U Turn,» but he gave the original film a palpable energy (as he does any film he shoots, whether it's for Stone, Scorsese or Tarantino).

It is also rumored that Dan Aykroyd and the original Ghostbusters director Ivan Reitman will be involved with the new film, but expect them to only work as producers.

This original film takes place prior to events of the Clancy's book series and is not based on any of the Cold War novel plots despite a young Ryan, who is stock broker working for a billionaire in Moscow, finding himself recruited by the CIA to foil his employer's terrorist plot to collapse the US economy.

Planet Terror's not nearly as smart as it thinks it is; Death Proof's smarts are so edged and complicated that they could only be the product, unintentional, of an auteur who's assimilated the undertow of his favourite films and, rarest of the rare, is able to reproduce those undertows in works that, however familiar, are completely original.

Additionally, in no particular order, there were vocal supporters of the Ralph Jones «incongruously great score to «Slumber Party Massacre ``; «Phantasm» «s heavily «Exorcist «- indebted score from Fred Myrow and Malcom Seagrave; Danny Elfman «s channelling of Bernard Herrmann for «Nightbreed ``; Wojciech Kilar «s bombastic, often recycled music for «Bram Stoker's Dracula ``; John Harrison's score for Romero's anthology film «Creepshow ``; Richard Band «s better - than - deserved compositions for the terrible «Troll ``; the great Lalo Schifrin «s score for the original «The Amityville Horror ``; a more recent example in Climax Golden Twins» music for Brad Anderson «s now cultish «Session 9 ``; Pino Donaggio's terrific work with de Palma's «Dressed to Kill ``; Gene Moore's classic church organ scares in «Carnival of Souls ``; and while we've featured Bava fils above, we could easily have found room for his father Mario Bava, probably with the funky original music by Libra for his final film «Shock.»

We could be getting a Director's Cut according to Scream Factory: «We are working on putting together a version that will be close to Blatty's original script using a mixture of various film and video tape sources that we have been provided with.

When it works, it works well enough, but it's doubtful that the many hardcore fans of the original Mike Nichols film will out this quasi-sequel next the their copy of The Graduate in their video libraries.

If the original film were not so well - known, if every shot and plot device hadn't already been stolen by countless films, this may have worked.

This is a brave, inventive and original piece of film - making, but it doesn't quite work.

Echoes of the earlier films and their original source abound: the sexual triangle, the working - girl protagonist, the social settings, and so on.

Although many of the plot devices are similar in Scorsese's film and the Hong Kong «original,» this is Scorsese's film all the way because of his understanding of the central subject of so much of his work: guilt.

Key's work is a tiny blip in a film that is so devoid of originality you could cut 110 minutes from the running time of 111 minutes and still not have a product that generates one original laugh - provoking idea.

BRAZEN is heavily inspired by the work of stop - motion animator, Ray Harryhausen, responsible for films such as Sinbad, Jason and the Argonauts, and the original Clash of the Titans

And while there are admittedly a few nifty twists within the third act - all of which, naturally, were present within the original film - Shutter's place as an absolutely redundant piece of work is undeniable virtually from start to finish (which is a shame, really, given how infrequently Jackson is afforded the opportunity to take on leading man roles within theatrical releases).

There are many moments when the true demeanor of the original and other blaxploitation films come in — that is when the film works.

«Full of charm and wit, with a little mystery thrown in for good measure, APPLESAUCE is a rare and very original take on the relationship drama and mystery genres, excelling quite well in both... It's a film that keeps its viewer wondering what will happen next, from the very opening of the film, to the moment the credits roll, and is by far Tukel's best work yet.»

I was unprepared, though, for just how much it didn't work, somehow still holding naively to the belief that if someone chooses to remake a film, they must have an affection for the original.

They weren't catching the wave of excitement Selma's mere presence brought to audiences — not because history was about to be made with the first black female director in the Oscar race, but because Selma was such a very good film, such a moving film, such a sensual, breathtaking, wholly original work that no one really knew what to do with it.

I know that may be stating the obvious with a Blu - ray release, but keep in mind that commonly some blu - ray releases can look worse than their dvd counterpart due to over saturation or abuse of DNR or just lack of a quality transfer or original quality film to work with.

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.

Much more of a paranoid thriller than a black comedy, The Manchurian Candidate will probably never be heralded as a great film, even if it were a wholly original work.

Sean Anders, best known for his work on Hot Tub Time Machine, replaced the original film's director Seth Gordon on the sequel to the 2011 hit.

This year will honor Steve Buscemi, known most recently for his work on «Park Bench With Steve Buscemi» and «Boardwalk Empire,» but who has played memorable character parts since the»80s in films including the Coen Brothers» original iteration of «Fargo,» their «The Big Lebowski,» and Quentin Tarantino's «Reservoir Dogs.»

Through John Logan's sharp - as - a-razor script filled with hilarious run - on sentences and oddball sensibilities, the film is at once a reverential tribute to a genre and a wholly original piece of work.

The film's ultimately not quite up to «The Wages Of Fear,» on which it's based, lacking the original's minimalist tension, but its pleasures are found elsewhere, with Friedkin's abstracted take on the terror of nature, Roy Scheider «s stoic leading turn (perhaps second only to «All That Jazz» as the actor's best work), and Tangerine Dream «s phenomenal score.