Sentences with phrase «other remakes of films»

Echols thought the movie was bad, but I'll bet he will be tempted, for old time's sake, to see two other remakes of films he remembers from before his fall: Footloose and The Thing.

Not exact matches

NEW YORK (AP)-- George Romero, whose classic «Night of the Living Dead» and other horror films turned zombie movies into social commentaries and who saw his flesh - devouring undead spawn countless imitators, remakes and homages, has died.

Some of his other notable films include A BRIDGE TOO FAR, CAPRICORN ONE, a remake of THE LADY VANISHES, and Altman's 1973 film THE LONG GOODBYE.

This came out at the height of the remake craze and like every other remake; it failed to capture the essence of the original film.

A blast of black humour, much of it referring to other films, makes this riotously violent remake rather a lot of fun.

This updated version follows the formula of other Romero remakes by upgrading the visuals and production value while at the same time gutting the story of any satirical or sociological aspects leaving a competent but rather generic horror film that barely explores its underlying concepts, instead relying on by the number horror film «scares» and gore.

At its core, it is a derivative film, not only because it is a remake, but it is also very similar to other films to come out in the years before it, including Alien and Invasion of the Body Snatchers, but it still manages to hold its own through the fantastic action, Ennio Morricone's (The Untouchables) sparse and haunting score, and the lively acting by all of the performers, with especially memorable performances by Kurt Russell (Stargate, Tombstone) and Keith David (They Live, Final Analysis).

His cinematography and camera orchestrations are as sumptuous as ever, almost worth watching without dialogue, and yet, he doesn't exactly offer anything new here — it occasionally seems like he is trying to remake his cult classic, Chungking Express, for a Western audience, with some of the more interesting bits of his other films tossed in for good measure.

However, under the skillful hand of director Nolan (Memento, Batman Begins), it's a much better film than many other Hollywood remakes have been in recent years, with some of the best work the main players have done in years.

Based on two earlier productions in the 1950's (one made for televison, the other for film), this remake of 12 Angry Men presents an even more colorful depiction of the responsibility of jury duty.

Some directors have remade their earlier films (Hitchcock did British and American versions of «The Man Who Knew Too Much»), and others have thought out loud about changes they'd like to make (Robert Altman wanted to edit a nine - hour version of «Nashville» for TV).

11:00 pm — TCM — Father of the Bride Long before Steve Martin kicked of his nearly twenty - year run of remaking classic comedies with his version of this film, Spencer Tracy was the Father of the Bride, dealing with the difficulty of letting his only daughter, Elizabeth Taylor, go to some other man.

Hop over to the other similarly sterling yakker to hear DP Peter Deming (later cinematographer for David Lynch, Wes Craven, and Sam Raimi), co-screenwriter Richard Jefferies, and composer Terry Plumeri go into all aspects of the production, such as the possibility of a remake, the Chris Walas film The Vagrant (also written by Jefferies), and how the film was so very angry.

Luis Prieto «s remake of Pusher is in no way significantly different than Nicolas Winding Refn «s Pusher other than Prieto's film takes place in London instead of Copenhagen, and...

It was the best of times, it was the worst of times, it was the age of transcendent filmmaking in the The Lost City of Z and A Ghost Story, it was the age of foolish Spider - Man remakes / reboots / regurgitations, it was the epoch of a magnificent enquiry into belief by the evergreen Martin Scorsese, it was the epoch of the incredulous return of Mel Gibson in a box office hit, it was the season of Michael Haneke shining a light on our uncaring societal malaise, it was the season of manifold more people watching Baywatch, it was the spring of Aki Kaurismäki's warm - hearted but politically pressing The Other Side of Hope, it was the winter of despair at the box office results of masterpieces like Certain Women, Aquarius and The Death of Louis XIV, we had Yorgos Lanthimos» Kubrickian masterpiece before us, we had a new Kingsman film before us, we were all going direct to cinematic Heaven, we were all going direct the otherOther Side of Hope, it was the winter of despair at the box office results of masterpieces like Certain Women, Aquarius and The Death of Louis XIV, we had Yorgos Lanthimos» Kubrickian masterpiece before us, we had a new Kingsman film before us, we were all going direct to cinematic Heaven, we were all going direct the otherother way.

On the one hand, these remakes speak to the fact of Hitchcock's timeless themes in his films, while on the other hand it points out that Hollywood has perhaps run out of ideas when even a remake of a middling Hitchcock film is one of the better thrillers to come out in recent years.

While many diehard fans of the original are clamoring that a remake is completely unnecessary, others are glad that the film (both versions) will reach a new audience.

Other films opening in December include the new Mark Wahlberg / Will Ferrell comedy «Daddy's Home» (Dec. 25), «Alvin and the Chipmunks 4: The Road Chip» (Dec. 23), and the remake of «Point Break» (Dec. 25).

Not only is Nicolas Winding Refn currently gearing up for the summer release of his supermodel horror film The Neon Demon, but he has already lined up a couple of uncanny projects to remake as a producer — in other words, this is some great news for fans of the genre.

Fun with Dick and Jane is a loose remake of the 1977 George Segal / Jane Fonda film of the same name, revamped to incorporate a running commentary on the greed and corruption of corporate America, where CEOs leave with millions, leaving others to take the fall, while the thousands of employees are left holding worthless stocks and no promises of a job.

10:45 am — TCM — Father of the Bride (1950) Long before Steve Martin kicked off his nearly twenty - year run of remaking classic comedies with his version of this film, Spencer Tracy was the Father of the Bride, dealing with the difficulty of letting his only daughter, Elizabeth Taylor, go to some other man.

His next two are a sequel and a remake of two cult classic films in the hard sci - fi genre that will only continue to stretch your minds and cinematic intelligence with the upcoming Blade Runner 2049 starring Ryan Gosling, Harrison Ford, and a crap ton of other people while his next project is the Watchmen of sci - fi movies where people fear that a faithful adaptation and remake of Dune feels near impossible, but if there was somebody to do it, it's Denis.

It's a remake of a minor classic 1972 film of the same name, starring Charles Bronson and Jan - Michael Vincent, and while this is a glossy, modern - day take, it's for the interesting character touches that The Mechanic doesn't become too «mechanical» to disappear into the action movie abyss many other Statham starring vehicles fall into.

Charlotte Brontë's Jane Eyre has been adapted so many times (19 if my maths is correct, plus upwards of ten made for television) that it's hard not to consider a new version as much a remake of the previous films as it is an adaptation of the book, but the trailer does a splendid job of significantly standing out from the others.

He also sounds off about the upcoming Lion King remake before reviewing the other new films: Deepwater Horizon, Masterminds, Queen of Katwe and Miss Peregrine's Home for Peculiar Children.

The studio backed out, though, and the only other one who would bite with a budget of $ 70 million wanted Rodriguez to shoot the R - rated film in Germany, which he refused to do, effectively killing the remake plans.

In the grand scheme of things, The Last House on the Left does fare a great deal better than this week's other remake / reboot of a»70s cult classic, Race to Witch Mountain — a kids» film that wants to sit at the grown - ups» table but can't bring itself to go that extra mile.

George Romero, whose classic «Night of the Living Dead» and other horror films turned zombie movies into social commentaries and who saw his flesh - devouring undead spawn countless imitators, remakes and homages, dies Sunday, July 16, 2017.

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?

First up is Light Source & Imagery's 22 - minute «The Making of Norbit», in which Eddie Murphy walks the knife's edge of self - awareness («When I put on these makeups, I get to go to some whole other place... that I couldn't go with [my real face] on»), Thandie Newton hails the movie as a palate cleanser to a string of demanding roles / films (to think Jonathan Demme remade Charade for her when all he had to do was put Eddie Murphy in a fat - suit), and we see nifty demonstrations of how the split - screens were accomplished; turns out that much of the time Murphy is only playing Rasputia from the neck up, a good - natured obese woman filling in for the body.

But, it never really materialised and I didn't have a lot of interest in it, so it wasn't really until Rupert Preston (Producer on PUSHER), who had distributed the first one (the Danish original in 1996), and I had worked with on all my other films up until DRIVE (2011) and was a very good friend of mine, and with that he was very interested in maybe doing a remake because we had been talking about it for a couple of years and he said now was the time do it.

20th Century Fox has unearthed five new posters for its upcoming Egyptian - set horror film, The Pyramid, produced by Alexandre Aja (The Others, Horns), the directorial debut of prolific horror screenwriter Grégory Levasseur (who scripted The Hills Have Eyes and Maniac remakes, as well as Mirrors and P2), making his directorial debut.

Additionally, even with the gender roles reversed from the 1987 original, it seems like an odd comedy to be remade, especially in 2018; this has been a year of discussions around consent and rape culture and other weighty topics that it's hard not to notice this icky cloud hanging over everything as the film progresses.

He went on to appear in numerous other films, including «The Pelican Brief» with Julia Roberts and Denzel Washington, «Kiss The Girls,» Oliver Stone's «Nixon,» «The Substance of Fire,» «The Last Samurai» opposite Tom Cruise, and the recent remake of Wes Craven's classic «The Last House on the Left.»

Other film credits include «Cloverfield,» the remake of «Friday the 13th» and «As Above, So Below.»

Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk of the work on view extended four familiar (and familial) lineages of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array of community - based works at LAXART), and film and video projects that pointed, more or less, to the looming shadow of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple remakes of a 1961 episode of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade - old roll in the clay).

One is a personal retrospective of the Super-8 films the artist created during his first two decades of art making; another comprises two portraits, one of an old Thai farmer ritualistically toiling through the day and the other of a European artist at work; finally, and most poignantly, a frame - by - frame remake of the great German film - maker Rainer Werner Fassbinder's key film Ali: Fear Eats the Soul (1974).