Sentences with phrase «other dramatic film»

Not exact matches

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.

Sudeikis, in particular, shines in this unusually dramatic role and exhibits a depth he touched on in films like «Sleeping with Other People» and «Colossal» but that he really gets to live in here.

There is a certain intimacy to Hibbs» efforts, though not as much as there is to the efforts of a cast full of dated performances, some of which are dated to the point of mediocrity, while other hold up well enough to be rich with charisma, if not a little dramatic weight, with Audie Murphy himself, as himself, all but carrying the film with his particularly grounded charisma, and charming chemistry with his peers.

On the other hand, writer / director Rachel Lang's film lacks cumulative dramatic punch, its appeal rooted mainly in its easy humour.

I found this film to be one of the better reconstructions of the trials, one that felt more subtle than other films, which for me anyway, felt less over dramatic, which is necessary in order to make a great film.

As a character study, the film generates a lot of dramatic mileage out of the tension between Jessica's hilariously frank demeanor toward others and her professional and personal doubts.

1987's other Allen film was the strenuously dramatic September, and the question of influence versus the merely derivative arose again: «Chekhovian» was how Richard Schickel described the «humourlessness,» echoed pejoratively by Vincent Canby at The New York Times («neo-Chekhovian») and all the way down to Premiere magazine journalist Marcelle Clements, who predicted this fixation on a single adjective before the movie was released — «You can bet your boots that the word «Chekhovian» will be uttered at least once by everyone at the table».

Johnson and Heyman have a script here that deserves Best Original Screenplay consideration, almost simply for how well they've created a quartet of characters (Burrell and Wilson's supporting players don't behave as these sorts of characters would in other films), though the balance of both comedic and dramatic emotion is tremendously done as well.

While the films marks Olsen's screen debut and is certainly the most anticipated of her upcoming features, it's hardly the only place she'll appear: The 22 - year - old has already shot four other films, including the dramatic comedy «Peace, Love and Misunderstanding» opposite Jane Fonda and Catherine Keener, and she plays Josh Radnor's younger friend and love interest in the college - set «Liberal Arts.»

«This a fresh and original film from Gianni Zanasi about accepting yourself and others — dramatic, amusing and entertaining with a twist of mystery,» said a jury of four European exhibitors, adjudicating the award.

Only films that are world premieres are eligible for our U.S. Dramatic Competition program, but U.S. narrative feature films that have previously screened at up to two other festivals anywhere in the world are still eligible for our out - of - competition programs.

With the film's other characters casting yearning, middle - aged glances in her direction, Ms. Tyler carries a heavy dramatic burden here and acquits herself with grace.

The categories includes novels, short stories, graphic novels, film and TV, among others, and I was a little bit surprised to learn that the winner for the past year in «Best Dramatic Presentation, Long Form» was Pixar's animated film Wall - E.

Though Christian Bale and Robert Duvall are capable dramatic actors, the one can not be expected to be a magician, and the other can not be expected to carry a film in a cameo capacity.

McDonagh devises such a superb dramatic scenario — two people with a begrudging mutual respect, on opposite sides of an impossible situation, headed straight at each other like cars playing chicken — that it's almost a disappointment when the film ends up subverting its own trajectory, then squiggling off in other directions.

The creator (as God is called throughout the film) doesn't speak in the dramatic voice so familiar to other films.

His exclusion isn't as dramatic as in the years where there were only five BP nominees; after all, the directors of five of this year's BP nominees weren't nominated, but Nolan, whose film won eight other nominations, seems to qualify.

Other examples of historical characters in biographies in the 1930 - 40s included Norman Taurog's children's dramatic film Young Tom Edison (1940) about the famed inventor (Mickey Rooney), The Story of Alexander Graham Bell (1939), the historical drama Marie Antoinette (1938) about the famous Austrian princess who married future King Louis XVI, Michael Curtiz» costume drama The Private Lives of Elizabeth and Essex (1939), and Mervyn LeRoy's oft - nominated Madame Curie (1943) with Greer Garson as the title character researching radioactivity with her husband Pierre (Walter Pidgeon).

Just the other day, via Deadline, the Sundance Institute unveiled the films set to compete in the U.S. and World Cinema Dramatic and Documentary competition from January 19th to the 29th.

Notably, this time the bounty of material is handled with lightness and confidence, minimizing the sense of overload and hectoring that has hampered his other densely populated features — epitomized by the rhetorical uses of an American flag toward the end of Nashville, the pretentious or mock - pretentious uses of music in A Wedding, and an overreliance on 11th - hour violence to goose the dramatic effects of these and many other films, including The Long Goodbye and Short Cuts.

The movie gets a little lost trying to justify his being the only bad guy and the final dramatic showdown suffers from this confusion in a way the film's other action sequences do not.

Chappaquiddick is, at its best, a reminder of what a unique, and largely unexplored, character Ted Kennedy can be on film; to compare him to our scandal - riddled president, or any other politician, does a disservice to what are hopefully many more dramatic stories about Kennedy to come.

Other than branching out to the darker side of comedy (think Inherent Vice or maybe Marley & Me), Owen Wilson rarely leaves his comfortable broad and quirky comedies for more dramatic films.

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.

Based on the setting alone, the film trips over every obvious German stereotype in the book - from the uninhibited cultural attitudes, to the kinky sexual indulgences, to the peculiar artistic tastes, smaller automobiles, penchant for beer and Euro - trashy nightclubs, etc., etc., etc.... Beyond that, the lineup of comedic gags and sequences feels like mishmash of ideas that never seem to balance out tonally with other jokes, not the entire dramatic side of the film.

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

It's when the film reaches Candie's plantation that it drops off considerably, largely due to less dramatic tension as well as an unconvincing performance by Samuel L. Jackson as Candie's trusted house slave (while the other actors at least make some attempt at period verisimilitude, Jackson sounds as contempo as he did in Jackie Brown and Pulp Fiction).

The films beat out a number of other worthy contenders like Gregory La Cava's Stage Door, Frank Capra's dramatic fantasy Lost Horizon, the Darryl F. Zanuck - produced drama In Old Chicago, and the Cary Grant - Irene Dunne screwball comedy The Awful Truth.

This is McKay's first dramatic turn after directing broad comedies like Anchorman, and The Other Guys, and he handles the change well, infusing the film with much needed levity when needed.

The performances are excellent throughout (Spacey and Irons are great, and Quinto continues to impress as a dramatic big - screen actor) and the film looks great, but almost all the other choices are nearly disastrous.

What makes the film unique is its triangulated plotline which keeps its three strands fairly insulated from each other until the dramatic conclusion when the protagonists» paths finally cross.

Having propped up an array of other people's films, this is perhaps his first dramatic lead role since 2004's Dead Man's Shoes, and a salutary reminder that he is one of our finest, most versatile talents.

The Soloist is not the exaggeratedly dramatic film others of its kin have shamelessly become.

The Lives of Others finds a surprising amount of humour in such dark times, and this perhaps lessens the film's dramatic impact.

While critiquing and questioning the work against very traditional ideas of dramatic tension, structure, character, dialogue, and so on, other questions are continually asked: What do you want this film to say?

Sumich and others had hoped J.J. would break the surface of the ocean close to the ship to grab a breath of air, and thus provide a final bit of dramatic film footage of this one - of - a-kind event.

Other events will include a film series (March 7 - 9), dramatic readings of two of Drexler's plays (March 24) and a collage workshop inspired by her practice (March 27).

Other ongoing programs include a free printmaking workshop that provides artists and amateurs 10 weeks of instruction in basic printmaking techniques; an educational services program offering tours and discussions, led by local work - study students, for school, college and community groups visiting the museum; and poetry readings, film programs, music, dance and dramatic presentations, lectures, workshops and slide discussions on Afro - American art.

Copyright exists in «works» (ie original literary, dramatic, musical or artistic works) and «other than works» (ie sound recordings, cinematograph films, television and sound broadcasts and published editions of works).