Sentences with phrase «other crime films»

What separates The Guard from other crime films, or comedies for that matter, is that it never tries to be more than it is.

«There are aesthetic similarities [to other crime films], but I think there's a lot more of an honest story told here in a sense where it's obvious in some of those movies who the «bad guys» are and who the «cool guys» are.

Not exact matches

He became a second fiddle to the film's other villain, Sandman, who proved to be more menacing than one of Spidey's most beloved adversaries, a crime that Spider - Man fans simply couldn't forgive.

As the Sony hack continues to prove, with cyber crime, more than money is at stake — besides the PR catastrophe, the threat to some jobs and leaks of unreleased films and other IP, employees and their families have had their medical data exposed and are receiving personal threats.

A new way of detecting and visualizing fingerprints from crime scenes using colour - changing fluorescent films could lead to higher confidence identifications from latent (hidden) fingerprints on knives, guns, bullet casings and other metal surfaces.

In other words, the popular conception of the term psychopathic, from crime fiction or slasher films, for example, doesn't always apply in clinical settings.

Overall, I think this film might have been innovative in 1950, paving the way for The French Connection and other crime dramas, but today it doesn't hold as much sway.

Reservoir Dogs: Bloody Days by Big Star Games is a third - person top - down shooter with few connections to Quentin Tarantino's film other than it being about gangsters with color - coded names; and yet Bloody Days partially succeeds in its aspiration to revive a classic for crime and gangster films, while offering a time - rewind mechanics that helps the game distinct itself from the pool of titles in the top - down shooter category.

Critic Consensus: Though this ambitious noir crime - drama captures the atmosphere of its era, it suffers from subpar performances, a convoluted story, and the inevitable comparisons to other, more successful films of its genre.

So says professional killer Jackie Cogan at one point in Killing Them Softly, the third film by New Zealander Andrew Dominik - and considering the filmmaker's efforts to establish a connection between the events in the movie and the economic crisis started in the late 2000s thanks to the greed and lack of scruples of Wall Street, it is easy to see Cogan as an ordinary employee of any company complaining about the lack of vision of his bosses and, on the other hand, the big bankers as Armani - dressing versions of the violent mobsters who inhabit the crime section of the newspapers.

To date he has starred in three Best Foreign Language Film nominees (Amores Perros, The Crime of Father Amaro, and No) and three other Oscar nominated films (Y Tu Mama Tambien, The Motorcycle Diaries, and Babel).

However, that film was a great deal like the other wise - cracking crime comedies that have come out since Tarantino's debut, often encroaching into Guy Ritchie territory, except without the skillful writing or wit required to make these eccentric oddball characters remotely appealing.

Others might remember him as a familiar face in Film Noir and numerous crime films made in America as well as Europe.

So no great surprise here that The Lincoln Lawyer turns out to be superior piece of crime storytelling with some characters clearly designed for recurring roles (in other novels and perhaps other films should this one do well) while others are designated for showy guest appearances as larger - than - life evildoers or tough - guy eccentrics.

The criss - crossed film narrative is in a state of overuse, but writer - director James DeMonaco's droll, modestly stylish crime gewgaw «Staten Island» wrings a few suspenseful and comic pleasures out of a time - bending format that has served the likes of Quentin Tarantino («Pulp Fiction») and Sidney Lumet («Before the Devil Knows You're Dead») among scores of others.

In an era where so many films are merely stealing elements from each other, The Mack emerges as one of the most unique, and even if it lacks the focus and jointed structure to call it a great film for mainstream viewers, it is well worth seeking out for fans of not only Blaxploitation films, but gritty crime dramas in general.

John can currently be seen in the revisionist thriller «The Raven» as American poet Edgar Allen Poe, and has a number of other projects in the works, including the black - ops thriller «The Numbers Station,» the Spanish - language comedy «No somos animales,» the true crime thriller «The Frozen Ground,» and two new films from director Lee Daniels: «The Paperboy» and as Richard Nixon in the star - studded «The Butler.»

In fact, it so desperately wants to capture that beatnik - y place and tone where crime films and swinging London met that it just seems to try too hard, slathering the movie with music, trippy visuals and other elements that just can't make up for the deficit of a weak and blandly told story about a ex-con (Colin Farrell) hired to look after a reclusive young actress (Keira Knightley) who finds himself falling in love, which of course puts himself in direct confrontation with one of London's most vicious gangsters.

I had no idea who Sacha Gervasi was before watching this film the other night, but I had previously seen two movies on which he had collaborated as a writer: The Terminal and Henry's Crime.

In «Dark Crimes» Tadek becomes a crusader over a dead businessman for no reason other than he is a detective in need of a crime to solve, so the film may have purpose.

Godless was just one of two Bulgarian films about modern - day crime and corruption in the post-Soviet state, with the other, Slava (Glory), from Kristina Grozeva and Petar Valchanov, who had impressed with Urok (The Lesson, 2014).

Indeed the film slows down to a crawl midway through as Joe, Old Joe, and Abe are all chasing each other, hiding, or looking for a child who is destined to become «the Rainmaker», who is single - handedly taking over the 2072 crime syndicate.

With its network narrative that blends crime and social commentary, La Granja echoes other Latin American films like «Amores Perros» and «Cidade de Deus.»

It feels a bit familiar, combining elements from several other films — particularly Crimes and Misdemeanors — but it's also incredibly assured and one of the most exquisitely shot entries in his oeuvre.

Scholars in Europe began to embrace the term in 1955, when Raymond Borde and Étienne Chaumeton, in their book Panorama du film noir américain, used it more broadly to describe the wave of American crime films after World War II that, among many other attributes, featured insulted, beaten heroes driven by desperation to acts of violence.

Dial M for Murder premiered at the Westminster Theatre in London in 1952, only for it to be made into an expert crime mystery thriller by Alfred Hitchcock two years later, while Wait Until Dark, another complex and dark play in the vein of Hitchcock's interests directed by Arthur Penn (who would helm Bonnie and Clyde the very next year), saw the light of day in early 1966 on Broadway, where it instantly attracted the attention of both the audience and Warner Brothers, determined to turn it into a feature film starring none other than Hollywood's sweetheart Audrey Hepburn in a much darker, insidious story than her filmography had ever witnessed.

Rourke's next trip, on the other hand, was to Chinatown (or the soundstage equivalent thereof) in the epic crime saga Year Of The Dragon, his second film for director Michael Cimino after playing a small role in Heaven's Gate.

The film sets true crime writer Ellison Oswalt (Ethan Hawke) in the house of a murdered family where he begins to unravel the mystery surround their deaths and other related murders.

The jury, of course, is too busy watching the 17 films in the main competition to follow some of the other sections such as «New Directors,» a complete retrospective of that whimsical purveyor of modern fairy tales, Jacques Demy, and «The American Way of Death,» a vast program of 40 crime movies from 1990 to 2011.

Everything else about the film is lifted from other true crime stories, especially Martin Scorsese's seminal dramas.

Tonally it owes more to Rowan Woods's excellent drama The Boys rather than other Australian crime films like The Square, Gettin» Square or The Hard Word and yet it still follows the conventions of a crime drama to result in a complex and gripping piece of cinema.

This is the set - up for a crime saga unlike any other, McDonagh's film a foul - mouthed mystery brimming with colorful characters, its jet - black tone and surprising emotionality capable of causing fits of laughter and bouts of urgent somberness in what is one of the best films of 2017.

Back then, you would not only get a feature film, but possibly a cartoon, a newsreel and a short subject, which could be something dramatic such as MGM's «Crime Doesn't Pay» or «Passing Parade» series or a comedy featuring Laurel & Hardy, The Three Stooges, Our Gang or some other comedian.

Adapted from the novel of the same name by crime - fiction writer Michael Connelly (this is the first of four books in the Haller series), Lawyer struggles to find its footing within a cliché storyline reworked by screenwriter John Romano (Nights in Rodanthe) and helmed by novice director Brad Furman, whose only other film is the straight - to - DVD armored - truck thriller The Take.

Among other things, this gritty and sometimes acerbic film from director Guan Hu («Cow») is a crime - genre satire about the fallout of new wealth on narcissistic sons of China's modern capitalists.

But The Infiltrator never comes close to sizzling the way that Martin Scorsese's crime dramas and other flavorful films of that kind (David O. Russell's American Hustle, JC Chandor's A Most Violent Year) have.

Other potential awards - worthy films in this year's crop include the Nightcrawler director Dan Gilroy's crime drama Roman J Israel, Esq, starring Denzel Washington and Colin Farrell, and Kings, a film about the Los Angeles riots of 1992 that stars Daniel Craig and Halle Berry.

Octavia Spencer and John Hawkes star as brother and sister in the upcoming film Small Town Crime, due out in theaters January 19, but at SXSW, they were happy to talk about other roles that might suit them.

The list of icons making appearances was truly unprecedented: Superman soars twice — once in the «return» and the other as Ben Affleck; Crockett and Tubbs exude cool; Ethan Hunt falls short; Captain Jack Sparrow sets the stage for the finale; Jack Black sometimes wears stretchy pants; Huey Long is resurrected and somehow over-played by Sean Penn; the mass appeal of the DaVinci Code novel fizzled onscreen; Robert Altman's amazing career ended with an excellent adaptation of a radio series starring Garrison Keillor's made for radio face; Johnny Depp tried to untrack his career with The Libertine; Nicolas Cage was front and center in the disastrous remake of The Wicker Man, but if the preview is any indication, his sleep - walk was merely a tune - up for this year's Ghost Rider; Woody Allen (with Scarlett Johansson as his muse) re-emerged with his best comedy since Crimes and Misdemeanors; amazingly, Jen and Vince's real life break - up was more entertaining than the film version; and while on - set hook - ups seem to the norm, how could the dreadful You, Me and Dupree have been an aphrodisiac for Kate and Owen?

While some may argue that Scorsese has done better crime films, I tried to find a movie where it evenly shows both sides working towards each other (the cops and the robbers, just like the PNP and JLP in Ghett» A Life just not as well executed).

If you have older teens begging for an action film, unfortunately they don't come much tamer than this, even though it includes some action violence, two unneeded sexual expletives and other profanities, along with the overall theme of glamorizing a life of crime.

A trailer has just been released for the film, and it looks like a good period cops and robbers story, bolstered by that cast into a level of quality that might let it sit alongside other period LA crime tales such as L.A. Confidential.

One that might include making films in other cities with organized crime problems.

Penned by Eric Singer, the film will tell the true story of a famed financial con artist (Bale) and his mistress / partner in crime (Adams) who were forced to work with an out of control federal agent (Cooper) to turn the tables on other con artists, mobsters and politicians.

As other weaker films picked up prizes, notably Olivier Assayas» Personal Shopper and Andrea Arnold's American Honey, many were struck, if not shocked, by the hot tips that were forgotten, notably Maren Ade's Toni Erdmann, Kleber Mendonça Filho's Aquarius, Jim Jarmusch's Paterson and even the last day's black - comedy crime cum social satire, Elle, by Paul Verhoeven, which turned into a perfectly boisterous way to conclude a selection that, inevitably, contained principally grim fare.

For undisclosed reasons, Focus Features pulled the plug on the film, which would've brought back Viggo Mortensen, Vincent Cassel, and other actors from the excellent 2007 crime movie.

Di Nunzio's crime film influences are obvious — with lines and situations alluding to «The Godfather Part 2» and «Reservoir Dogs,» among others — yet they are organically integrated into his story.

The film combines elements of crime drama, prison drama, and courtroom drama, without any one of them overwhelming the others.

Despite it being the duos first feature film, their astute direction assures this gritty Texan crime thriller simmers with all the right tones, atmosphere, stand - out performances and beautiful artistic flourishes, to make this little indie picture stand tall amongst the other great crime thrillers of recent years, while firmly planting the Hawkins brothers as two incredibly talented, visual and character driven filmmakers.

While the film is, on the one hand, effectively portraying the appeal of a life of crime, on the other, it is also unflinching in its portrayal of the consequences of such actions.