Sentences with phrase «original style of film»

Not exact matches

I loved the look of the film and it really has a very noir style about it which the original doesn't.

Cinematographer Ryan Samul (2014's «Cold in July») holds a shot for maximum dread, whether it's on the smiley face spray - painted on a mailbox or the swing of a swing set, but also pleasingly employs technical flourishes, like zooms, that help differentiate it from the jittery style and often subtle framing in Bryan Bertino's original film.

The Strangers» pared - down style makes it particularly unsuited for the sequel treatment: Absent some Aliens - style conceptual twist, the best a 10 - years - later follow - up could hope to do is ably copy the original, and it doesn't take long for the new film to indicate it's incapable of doing even that.

While its style deserves to be called stunningly original and rapturously beautiful, the film is boldest in its artistic and philosophical implications, which pointedly go against many dominant trends of the last half - century.

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.

Said Focus World touting the feature:» Focus World acquired writer / director Julia Ducournau's Raw out of Cannes where we fell in love with her bold and original voice and the genre - bending style; Raw is a film that both hard - core genre fans and art - house audiences will absolutely love.»

A protégé of Dario Argento who matured to develop a unique style of his own while at once carrying the tradition of such Italian horror icons as Mario Bava and Riccardo Freda, Michele Soavi almost single - handedly kept the slumping Italian horror / fantasy tradition afloat in the 1990s with his strikingly original philosophical zombie film Dellamorte, Dellamore (1994).

Having said that, Kronk's New Groove does boast several top - notch voice performances and an animation style that's just as bright and colorful as the original, so (at the very least) the film doesn't have the feel of something haphazardly slapped together.

Jackman has clearly been dying to make an original film musical for years (his yearning spills over to the semi-musical Pan and the carnie - barker stylings of Real Steel), and seems excited to return to the genre after Les Misérables.

Pennebaker's style is electric without ever being intrusive, and Criterion has REALLY loaded the box set release with hours of special features, including over a dozen performances cut from the original film.

Early viewers claim the original's inventive streak is missing and that the comic stylings of a pair of ghost hunters (Whannel and Angus Sampson) dissipate any tension the film manages to build.

He wrote the original story for the film Underworld (2003), which was the start of a terribly mediocre series that was Gothic in style and heavy on demonic imagery.

The movie does a terrific job of mimicking the sound and styles of the folk music era, attesting to the talent of the art directors, makeup artists, and songwriters / cast - members who created all of the original tunes featured in the film.

The original script by «Mortal Kombat» creator John Tobias and the first movie's producer, Lawrence Kasanoff (along with Joshua Wexler), was ditched in favor of a barebones one by b - movie horror scribe Brent V. Friedman and TV writer Bryce Zabel, who mostly ignore the video game's style in order to make the film a standalone horror - action fantasy.

Though the film uses the pop - styled first half of Hancock's «Main Titles» for the original English language mono mix, Antonioni, or perhaps an executive, chose to substitute Hancock's livelier «End Title» music in place of the more subdued variation, which was slightly edited and placed over the film's End Credits.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

On this disc, there's a sci - fi - style window superimposed over the edges of the original image that is moderately irritating — it wrecks the film's on - screen graphics, which are partially blocked by the overlay.

His irreverent combinations of musical styles soon earned him a reputation as a wholly original composer and he became the favorite of iconoclastic film - makers.

John Frankenheimer (who replaced the film's original helmer, Arthur Penn, at Lancaster's request) directs with a muscular style that puts the themes into action and the crisp black and white photography captures the busy industrial detail of the train yard and the gritty war - torn atmosphere of France in the final days of the German occupation.

Director Tim Pope, making his big screen debut, does little more than ape the quick - edit style Alex Proyas used in the original film; his idea of a fresh touch is lingering on S&M kinks which, quite frankly, are boring.

While MI: 3 is, of course, a continuation of situations and characters introduced in the first two films and, to a more tangential extent, the original television series, Abrams» style is much more reminiscent of James Cameron in his approach to giving us early moments of character development, channeling that into the unfolding upturn of tension, and then finally, letting things rip in the action scenes with relentless intensity.

Howard was only brought in when the original directors, Phil Lord and Christopher Miller of 21 Jump Street and Lego Movie fame, were dropped from the film after Lucasfilm took issue with the tandem's freewheeling style, which included lots of improvisation.

Starting things off, there's an audio commentary from director Mark Hartley, joined by «Ozploitation Auteurs» Brian Trenchard - Smith, Antony I. Ginnane, John D. Lamond, David Hannay, Richard Brennan, Alan Finney, Vincent Monton, Grant Page, and Roger Ward; a set of 26 deleted and extended scenes, now with optional audio commentary from Hartley and editors Sara Edwards and Jamie Blanks; The Lost NQH Interview: Chris Lofven, the director of the film Oz; A Word with Bob Ellis (which was formerly an Easter Egg on DVD); a Quentin Tarantino and Brian Trenchard - Smith interview outtake; a Melbourne International Film Festival Ozploitation Panel discussion; Melbourne International Film Festival Red Carpet footage; 34 minutes of low tech behind the scenes moments which were shot mostly by Hartley; a UK interview with Hartley; The Bazura Project interview with Hartley; The Monthly Conversation interview with Hartley; The Business audio interview with Hartley; an extended Ozploitation trailer reel (3 hours worth), with an opening title card telling us that Brian Trenchard - Smith cut together most of the trailers (Outback, Walkabout, The Naked Bunyip, Stork, The Adventures of Barry McKenzie, three for Barry McKenzie Holds His Own, Libido, Alvin Purple, Alvin Rides Again, Petersen, The Box, The True Story of Eskimo Nell, Plugg, The Love Epidemic, The Great MacArthy, Don's Party, Oz, Eliza Fraser, Fantasm, Fantasm Comes Again, The FJ Holden, High Rolling, The ABC of Love and Sex: Australia Style, Felicity, Dimboola, The Last of the Knucklemen, Pacific Banana, Centrespread, Breakfast in Paris, Melvin, Son of Alvin, Night of Fear, The Cars That Ate Paris, Inn of the Damned, End Play, The Last Wave, Summerfield, Long Weekend, Patrick, The Night, The Prowler, Snapshot, Thirst, Harlequin, Nightmares (aka Stage Fright), The Survivor, Road Games, Dead Kids (aka Strange Behavior), Strange Behavior, A Dangerous Summer, Next of Kin, Heatwave, Razorback, Frog Dreaming, Dark Age, Howling III: The Marsupials, Bloodmoon, Stone, The Man from Hong Kong, Mad Dog Morgan, Raw Deal, Journey Among Women, Money Movers, Stunt Rock, Mad Max, The Chain Reaction, Race for the Yankee Zephyr, Attack Force Z, Freedom, Turkey Shoot, Midnite Spares, The Return of Captain Invincible, Fair Game, Sky Pirates, Dead End Drive - In, The Time Guardian, Danger Freaks); Confession of an R - Rated Movie Maker, an interview with director John D. Lamond; an interview with director Richard Franklin on the set of Patrick; Terry Bourke's Noon Sunday Reel; the Barry McKenzie: Ogre or Ocker vintage documentary; the Inside Alvin Purple vintage documentary; the To Shoot a Mad Dog vintage documentary; an Ozploitation stills and poster gallery; a production gallery; funding pitches; and the documentary's original theatrical trailer.

* This release is limited to 1000 copies only * Road to Perdition, B - Movie Style: An extensive interview with «Hellgate» director William A. Levey (HD, 35 mins) * Alien Invasion, Blaxploitation and Ghost - Busting Mayhem: Scholar, Filmmaker and fan Howard S. Berger reflects on the intriguing film career of William A. Levey (HD, 12 mins) * Video Nasty: Kenneth Hall, writer of the Puppet Master series, speaks about the direct - to - video horror boom that allowed «Hellgate» to become a classic of the cassette rental era (HD, 8 mins) * Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys * Collector's booklet featuring writing on the film by Lee Gambin, illustrated with original artwork and stills * A DVD of the film is also included alongside the Blu - ray disc

I'm thinking, in particular, of handsome young hero David (Shiloh Fernandez) getting thrown around a wet cellar in high Raimi smash - zoom style, which only underscores how much the original films drew their tone from Bruce Campbell — and how much this new one misses him.

Many of the plot twists and visual devices are familiar from previous films and TV shows, from the opening split - screen montage of a heist in progress (a gimmick perfected in the original 1968 «Thomas Crown Affair») to the Zen pulp atmospherics (a Mann act), to the «Godfather» - style, business - vs.

A remake of a 1979 film by the same name, Going In Style can't even lay claim to the original idea of three elderly men, on their last legs and pennies, planning a bank heist.

Leigh is a perennial nominee in the Best Original Screenplay category, which should be one of the film's strongest chances for a nomination, as well as technical categories such as cinematography, where DP Dick Pope's work is said to imitate the landscape painting style of Turner, which should be highly appealing to the cinematographers branch.

It's part of DePalma's «style» to ripoff shots and scenes from other scenes and insert them willy - nilly into his own films, and the OOTP guys go into detail on how this radical decontextualization creates an incoherent mess of a film that can't possibly contain any actual meaning, at best, and at worst perverts the original meanings to DePalma's vaguely fascist (or misogynistic, if you like) purposes, as in the famous appropriation of the tumbling baby cart sequence in The Untouchables.

Noir, of course, began as a film style, but it has definitely, like Pulp, outgrown its original stable.

The original game led to one of the most successful video game film adaptations in history, with the 2013 reboot inspiring a new blockbuster film that embodies the game's signature survival action style.

The visual style seamlessly integrates the spirits of both the original games and the later N64 ones with hints of stylistic touches more common to a Disney film.

Emphasizing the effort its put into capturing the feel of the original Top Gun film in its upcoming PC / PS3 video game adaptation, developer Doublesix made sure to include footage that looks like it's taken right from the movie and a pretty good cover of the iconic «Danger Zone» theme in this trailer for the arcade - style aerial dogfighting game.

Creative Assembly went to great lengths to depict Alien: Isolation in the low - sci - fi style of the original film.