Sentences with phrase «other arty»

I am also a big fan of Steam games and indie games, but should I get back into my console games I'm sure I'll re-visit some of my favourites such as the Fatal Frame (Project Zero) series, Kingdom Hearts, Shadow Of The Colossus, Ico, Journey and any other arty - farty or horror games that get my interest.

My fantasy would be a co-operative with a couple of other arty / crafty friends — a bit like Made In Hastings.

Not exact matches

That's a trend that's spreading to other, less «arty» areas of work.

White jeans look fabulous with cream, ivory, pale tans, stone, and other like shades for an arty monochromatic look.

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

Other highlights included a pair of arty horror films, It Follows and Goodnight Mommy.

Other horror films this season have ranged from arty to schlocky, but the scales tip to the latter — and that seems to be what the majority of horror fans like; they consider films such as Clive Barker's «Lord of Illusions» and even a work such as «Species» as essentially «party movies.»

Other significant personal preems, in order of original release, included: Buster Keaton's Go West (1925) and College (directed by James V. Horne, 1927); Howard Hughes's and James Whale's Hell's Angels (1928 - 30), featuring (sorry, other Howard) the most awesome aerial scenes I've ever witnessed; John Ford's Up the River (1930) and Airmail (1932); Michael Curtiz's The Kennel Murder Case (1933), utterly silly but quite beguiling as an empty exercise in directorial pizzazz; Gordon Wiles's — and Daniel Fuchs's — The Gangster (1947), an archetypal arty film noir; Val Lewton's Apache Drums; (directed by Hugo Fregonese, 1951); Richard Fleischer's The Narrow Margin (1952); Robert Bresson's Quâtre Nuits d'un rêveur (1971); Tobe Hooper's The Texas Chainsaw Massacre (1974); Phil Karlson's Framed (1975); Clint Eastwood's The Gauntlet (1977); and Robert Mulligan's Bloodbrothers (1978), which returned to Seattle (after a five - day first run in» 78) only via ShowOther significant personal preems, in order of original release, included: Buster Keaton's Go West (1925) and College (directed by James V. Horne, 1927); Howard Hughes's and James Whale's Hell's Angels (1928 - 30), featuring (sorry, other Howard) the most awesome aerial scenes I've ever witnessed; John Ford's Up the River (1930) and Airmail (1932); Michael Curtiz's The Kennel Murder Case (1933), utterly silly but quite beguiling as an empty exercise in directorial pizzazz; Gordon Wiles's — and Daniel Fuchs's — The Gangster (1947), an archetypal arty film noir; Val Lewton's Apache Drums; (directed by Hugo Fregonese, 1951); Richard Fleischer's The Narrow Margin (1952); Robert Bresson's Quâtre Nuits d'un rêveur (1971); Tobe Hooper's The Texas Chainsaw Massacre (1974); Phil Karlson's Framed (1975); Clint Eastwood's The Gauntlet (1977); and Robert Mulligan's Bloodbrothers (1978), which returned to Seattle (after a five - day first run in» 78) only via Showother Howard) the most awesome aerial scenes I've ever witnessed; John Ford's Up the River (1930) and Airmail (1932); Michael Curtiz's The Kennel Murder Case (1933), utterly silly but quite beguiling as an empty exercise in directorial pizzazz; Gordon Wiles's — and Daniel Fuchs's — The Gangster (1947), an archetypal arty film noir; Val Lewton's Apache Drums; (directed by Hugo Fregonese, 1951); Richard Fleischer's The Narrow Margin (1952); Robert Bresson's Quâtre Nuits d'un rêveur (1971); Tobe Hooper's The Texas Chainsaw Massacre (1974); Phil Karlson's Framed (1975); Clint Eastwood's The Gauntlet (1977); and Robert Mulligan's Bloodbrothers (1978), which returned to Seattle (after a five - day first run in» 78) only via Showtime.

The results for similarly unconventional, artier fare produced at other studios weren't much better.

Other important and positive trends at this year's FEFF and that I will consider further in this report included a very welcome sprinkling of surprisingly arty films, some of them from Southeast Asia truly excellent.

Some say it's a lock for a best - picture nomination; others say it's too small or arty or whatever.

Extras include: international and U.S. theatrical trailers for Zombie (surprisingly, the American one is much artier); a pair of TV spots and a quartet of radio spots for the film; a Zombie - centric gallery of lobby cards, soundtrack covers, video covers, publicity stills (sub-divided into three categories), and the contents of the German press book; credits for the DVD (whose worm - eye menus are actually more skin - crawling than much of Zombie); and the biased, if thorough, biography of Fulci by Tracy Taylor that graces Blue Underground's other Fulci titles.

On the other hand, the almost wall - to - wall techno music (reminiscent of Run Lola Run in its quieter moments), the arty slow - motion and slow - burn pacing of much of the film, and the enigmatic characterization of the main character, known only as «The Driver,» lend a surreal feel to the city I know.

I took a year out to «wait» as you say, took on some work, met some great people and realised that I really wanted to write: so I'm now studying linguistics, scientific enough for me to get my kick, and arty enough for me to explore concepts other than facts and figures (though that's still what things come back to!).

Art, craft and other mess making inspired by the magic, make - believe, faeries and nonsense at Pixie Hill, home and studio of arty gal Nichola Battilana.

But it does make me laugh and laugh to look at this photo of them voicing their protests — via placards they painted themselves — in this awesome interactive arty thing (especially when I hear other kiddies were writing «no more palm oil» on theirs)...

It was a media event, featuring a Q&A with the artist and lots of arty farty journalists trying to outdo each other with wanky questions like: «There is a growing reliance on psychic biography in society, which is incredibly oppressive, how can the artist avoid this stifling his work...» or some such ridiculous shite.