Sentences with phrase «other film centered»

This theologically confused but utterly entertaining tale of moral ambiguity, blood thirst, and eternity plays unlike any other film centered on an immortal.

Not exact matches

As in «Infernal Affairs,» the Andrew Lau film upon which «The Departed» is based, the action centers on the two cops» attempts to uncover each other's identities while protecting their own secrets.

«American Wedding» is more focused than the other films, centering mostly on the crowd favorites and leaving the other less notable characters in the dust.

For Shawn Levy and Real Steel, I felt like I had seen the film countless times before, just with other sports at the center of it all.

And, without doubt, viewers will feel this film's big ideas piling on top of each other, in the heavy events that thrust racial quandaries front and center, and in the zippy - academia dialogue that implies Dawson's Creek was also an inspiration.

Deon Taylor seems uncomfortable with the escalating relentlessness of a siege film, eventually splitting Traffik off into a variety of other tangents and genres, diluting the potent subtext at the film's center.

The film centers on two brothers — one (Joaquin Phoenix) a druggie and the manager of a shady nightclub, the other (Mark Wahlberg) a cop with a broomstick up his butt.

The film is split down the middle, with many elegant symmetries and curling plotlines bridging the two halves: one part is a bracing, funny, almost Keaton-esque comedy starring Harry as a deadpan center of disaster; the other is a brooding, brutal film noir, starring Sondra Locke as a vengeful femme fatale.

Sure, there are some academic and / or bureaucratic film publications that are read by few, and others that are commercially centered whose readership is small and reserved.

Orci continued a point articulated by director Gavin Hood and others associated with» «Ender's Game» that the message of the film — which includes themes of otherness and centers on an underdog character who finds vindication — is one that gay rights supporters should applaud.

Furthermore, why do we need to see Kennedy's death again in film, presented the same exact way stylistically as so many other pictures have done before this, in a movie that isn't even centered on the beloved Democrat?

Media Mikes own Mike Smith will join other Kansas City area film critics this Wednesday night, February 26, as they declare their choices for the upcoming Academy Awards at the Screenland Crown Center Theatre.

The personal drama between her lover (Andrea Riseborough) and her own husband Larry King (Austin Stowell) takes center stage for most of the film, without directly impacting the other events on screen.

We've seen it unfold on screen in many varieties, whether it's characters in the field of sport, music, film or many others, but they all share that single, universal center of someone who is desperate to reach a level of skill so prominent that their name is remembered as one of the best there ever was.

The film — Anderson's second animated feature, after Fantastic Mr. Fox — will star Bryan Cranston, Greta Gerwig, Bill Murray, and a number of Anderson's other favorites, and center on a young boy searching the titular island for his lost pooch.

The third film in director - producer - writer - every other film role you can hyphenate Wes Anderson's repertoire, The Royal Tenenbaums centers on the dysfunctional titular family and their equally off - kilter lives, loves and losses.

What makes Blockers standout in comparison to so many other films with a similar plot is that there are three females at the center of this story.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

The film seems to be about a bunch of different characters that have had different troubles with the law in the 1970s, centering on two brothers, one a convict and the other a cop.

But this year's slate also featured several films centered on relationships between older women and younger men: Hannah Fidel's A Teacher, which concerns an affair between a high school teacher and a student; Liz W. Garcia's The Lifeguard, in which Kristen Bell takes up with a teenage boy; and Two Mothers, in which Robin Wright and Naomi Watts are friends who each get with the other's teenage son.

In anticipation of next week's special preview of a new 4K restoration of Howards End at the Film Society of Lincoln Center, Digital Editor Violet Lucca discussed this artful, complex adaptation and other Merchant - Ivory classics with FSLC Editorial Director Michael Koresky and Farran Smith Nehme, FILM COMMENT columnist and regular contributor to the New York Post.

Most of the film is told in flashback mode, mostly centering on Augustin, his Tutsi wife (Carole Karemera), his two boys, and the Catholic school teacher, Martine (Nomvete), that looked after the welfare of his daughter and the other young girls at the school.

Beside Dorval, the best thing about the film is probably the cinematography, even though it sometimes calls a bit too much attention to itself, what with all the off - center close - ups, slow - motion tracking shots à la Wong Kar - Wai, B&W shots of Hubert talking to the camera, colourful fantasy cutaways... Still, you can tell that the kid has seen a lot of movies and instinctively knows how to recreate the things he likes in others» work through his own.

The other mom - com storylines fare only mildly better at centering their conflicts around parental relationships, which is like saying a Fast and Furious film includes a single car chase.

Strike Back gives the pair their long - due turn on center stage, and in an added bonus for the fandom, resurfacing especially for this occasion are other popular characters from those four films.

Other standouts include the always - good Mark Rylance, as the sweet, kind - hearted, geeky moral center of the film.

INDEPENDENT & FOREIGN FILMS Beeswax (Unrated) Quirky ensemble comedy, set in Austin, Texas, centering on a couple of identical twins, one, a wheelchair - bound paraplegic (Maggie Hatcher), the other, a clothing store owner (Tilly Hatcher) who rekindles a romance with an ex-lover (Alex Karpovsky) in order to get legal help with a lawsuit filed against her by her business partner (Anne Dodge).

Sexual Content: The theme of this film is centered on a woman who leaves her husband to pursue her own desires, which include a sexual affair (the clothed couple are seen kissing and in bed together) while she is still married and a second relationship with another man (again kissing is shown but no other details) after her divorce.

Though it centers on people of Greek extract, little, if any, of the film actually takes place on the country's soil; instead, part two of his projected trilogy, which began with 2004's The Weeping Meadow, is set in Rome, New York, Berlin, the former Soviet Union, and various other locales around the globe.

The film centers around Jessie (Elle Fanning), an exceptionally beautiful yet shy girl that's new to LA and, much like every other fresh young face, has dreams of becoming something extraordinary.

This kind of episodic romantic comedy practically writes itself, with a loser at the center of the film going back to meet all the wildly eccentric women of his past, one after the other, until he finally matures through the experience and can make the leap to find true love.

For this film, starring «American Horror Story» actor Denis O'Hare alongside Ashley Hinshaw, James Buckley, and others, centers on an excavation team who discover a strange three - sided pyramid in the Egyptian desert and find themselves in the midst of a sinister presence when they decide to go inside.

The latest Tarantino film takes place a decade or so after the Civil War, and centers around a bounty hunter (Russell) and his fugitive (Leigh) who get holed up with six other strangers after a blizzard cuts them off from the town of Red Rock.

4 Still others see Marge as the moral center of the film, suggesting that it is her very morality that gives her the ability to love and empathise, but also the capacity for shame — something sorely lacking in most of characters.5 The thing that Marge «just can't understand,» in her brief conversation with Grimsrud, is this: «There's more to life than a little money.

Other films that we admire, but didn't quite make the cut included Alison Mclean «s «Jesus» Son» featuring awesome performances by Billy Crudup and Samatha Morton as drug - addict adult - lescents in the 1970s, Stephen Daldry «s celebratory boyhood - meets - ballet drama, «Billy Elliot,» Lars Von Trier's comedic docu - like dogme film «Idioterne» («The Idiots,» made in 1998 but only released in the U.S. in 2000), Steven Soderbergh «s economic and no - nonsense «Erin Brockovich,» Stephen Frears «manchild, record store - centered love story, «High Fidelity,» Terence Davies ««The House of Mirth» featuring an excellent Gillian Anderson turn, and perhaps Neil LaBute «s best film, tellingly one he didn't write, the dreamy and odd, «Nurse Betty.»

The film focuses on a handful of the city's musicians, including Micha Biton, whose music is heavily influenced by Moroccan sounds; singer Hagit Yaso, whose parents emigrated from Ethiopia and who sings in Hebrew, English and Arabic, among other languages; Teapacs, a band whose members have Tunisian, Moroccan, Romanian, Syrian, Polish, Russian and Yemenite heritage and whose album sales exceed 300,000; and Avi Vaknin, a singer, composer and music producer who for many years managed Sderock, a music club and educational center for teenagers.

What follows is another slapstick dose of hard - R ridiculosity with a soft - nougat center, but it also passes the Bechdel test maybe better than any other film this year, and its older generation of stars are too smart not to go to town on their stock roles.

The other issue is that the last two times films explicitly centered around the world of fashion have competed in the costume design category that should've been a cakewalk for them, both ended up losing to regal frocks and fancy frills.

While the film centered around Korean resistance fighters looking to overthrow Japanese forces successfully plays out as a period piece — the stylization of the entire era from costumes to scenery hits the mark a million times over — the film is quite safe among the other releases of 2016.

A smart, sophisticated comedy about the challenges of love and marriage amongst modern day New Yorkers, Freundlich's fourth feature film centers on the romantic escapades of two couples: a successful actress (Freundlich's real - life significant other, Julianne Moore) and her stay - at - home husband (David Duchovny), and said actress» slacker younger brother (Billy Crudup) and his aspiring novelist girlfriend (Maggie Gyllenhaal).

While the first Thor presented us with more of a one - dimensional and self - centered character, Ragnarok matures him in a way that the other films haven't.

The center section of the film plays the comedy of the scenario for just about all that it's worth, and the playful tone of Tony's plan coming to fruition is a pleasant interlude between the tonally disparate sections on either side (As a reminder of the threat on the other side of the world, Affleck intercuts the read - through of the screenplay with a mock execution in the embassy basement).

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?

This is a sunny, funny film, the loose plot centered on a pair of kids who want a television more than anything, but with plenty of time given to other vignettes around their apartment area.

But at its glorious center is a transfixing performance from Rita Blanco, an award winning actress from Portugal that's worked with Canijo in several other film projects (she can also be seen in a small role in Michael Haneke's Amour).

The softie finish should come as no shock to those who've found their way to the gooey center of any other Farrelly film.

In the new film, Ross is part of the Joint Counter Terrorist Center and works alongside Emily VanCamp's Agent 13, another character who Marvel fans» significant others will have to grudgingly look up on Wikipedia before going to the movie.

This November and December, Lincoln Center audiences can enjoy a peek into Haynes's creative process through a film series called «Todd Haynes: The Other Side of Dreams,» which runs November 18 to 29.

Like his other films, it still centers on a relationship tempted with infidelity, but through this, and through a plot involving the production of two vastly different independent films, Swanberg ponders out loud the role of the filmmaking process in the lives of the creators, and whether or not the resulting films are worth the strain and possible damage the process can cause.

For those of you who haven't watched (and cried through) the classic movie, Love Story, this is a film from the 1970s that centers around a Harvard hockey player and a Radcliffe intellectual who have absolutely nothing in common other than their deep love for each other.