Sentences with phrase «out of cinemas as»

It will more than likely be out of cinemas as soon as it hits, possibly build up a reputation through word of mouth that might develop during DVD or VOD release.

Not exact matches

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On the banks of the Moscow River, Crystal Island would rise as high as the Empire State Building but spread out like a tent, covering the Nagatino peninsula with a massive structure containing apartments, hotel rooms, shops, museums, theaters, and cinemas.

Hey I'm just a young man enjoying life to its full and looking for some one to enjoy that with me I'm fun easy going and down to earth I have quite alot of tattoos and its one of my loves in life as well as going for meals, to the cinema and going out with friends to bars and clubs i also like to...

Well what can I say I'm a friendly easy going single guy who's looking for somebody special in my life and to spend the good times together I live on my own got my own house which is share with my wee pet kitten macey so you must like cats and animals lol apart from that I'm an easy guy to get on with it work as a landscaper gardener with one of the council's so that keeps me busy as I'm an outdoors person and in my spare time I like nice walks in the countryside spending time with my family or going out for a night out with friends to the pub or the cinema or I'm just as happy with a nice night in watching tv or a movie I am willing to try new things tho if I meet the right person tho.I'm also quite an affectionate and romantic person and miss being with somebody to cosy up to at night could this be you?

It is troubling that Lincoln plays out exactly as you expect it might based on the trailer that felt like a parody of awards bait cinema.

However, when we examine 2 of his latest films (white ribbon and cache), it seems to me what stands out is his ability to use the concept of mystery and show the viewer that in cinema, as in life, there are things beyond our understanding, and nihilism isn't so bad if you can accept that.

I have met and talked to these types of film fans, but most of them seem to be film fans of the last 5 years, and as they venture out of the New Release categories of their local video outlet, they will begin to see more of the world of cinema, but for now they have their patron saints of film.

Rushmore is also something of a high - water mark for Anderson, who is the inadvertent godfather of an irritatingly quirky school of US cinema that grew out of the late 1990s and came to give us such annoying films as Napoleon Dynamite and I Heart Huckabees.

This may be clunky, but it's also one of the traditions of the action / thriller cinema (Soderbergh's a huge «Three Days of the Condor» fan, as anyone who's seen «Out of Sight» knows).

With Colossal set to arrives in cinemas next month, a new poster has debuted for Nacho Vigalondo's monster comedy featuring Anne Hathaway as Gloria, an ordinary woman who finds herself sharing a strange connection with a monster on the opposite side of the world; check it out here... SEE ALSO: Watch the trailer for Colossal here After Gloria -LSB-...]

Ava DuVernay over the last few years has become a mighty presence in cinema, and an important voice that shines a light on diversity in her films and the stories she tells and while I Will Follow came first and Selma counted as her big break out moment, Middle of Nowhere is what officially started the stir.

«We Need to Talk About Kevin» is one of the most beautifully bleak psychological fake - outs the cinema's given us in years, as Lynne Ramsay («Ratcatcher,» «Morvern Callar «-RRB- directs an adaptation of Lionel Shriver «s 2003 novel.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Julia, as it turns out, is a showcase for the hot - mess side of that supremely poised ice queen of the cinema: Tilda Swinton.

Films that moved us, resonated with us, and out - and - out blew us away all saw release in 2017, so much of them, in fact, that, as with previous years at the cinema, it was difficult coming up with the 10 best.

As a friend of mine pointed out, it's also entirely possible that he counts as a manic pixie dream boy, which surely must be a cinema firsAs a friend of mine pointed out, it's also entirely possible that he counts as a manic pixie dream boy, which surely must be a cinema firsas a manic pixie dream boy, which surely must be a cinema first.

From the trailer alone you can see right away that Strickland is drawing inspiration directly from Italian cinema as we watch Toby Jones» character descend into a hole in which it doesn't look like he's going to be able to climb out of.

In recent years, some of the most exciting releases have come from directors based in Chile and South Korea, but just as notable have been the run of excellent cinema coming out of Greece.

Unlike Traffic, Ocean's Eleven is anything but hard - bitten (as Out of Sight and The Limey, Soderbergh's other forays into crime cinema, were) and has nothing controversial to say about anything save perhaps incidental comments on race.

As my friend said to me as we walked out of the cinema, «I wish we'd just read an article about this family instead.&raquAs my friend said to me as we walked out of the cinema, «I wish we'd just read an article about this family instead.&raquas we walked out of the cinema, «I wish we'd just read an article about this family instead.»

Disturbingly, Bertolucci, a poet raised on the cinema in Langlois's Cinematheque, a «true artist» now refusing interviews to anyone not associated with a «major daily,» has crafted a film that talks about growing out of movie love as something inevitable and to be accepted with resignation.

Think of them as cinemas golden boys, the best directing duo out there, and indie icons for the break out films at festivals and how they told stories on a limited canvas.

Slides Maggie Cheung, acting out her own role as one of the greatest stars of Asian cinema, comes to Paris to portray Irma Vep (the character created by Musidora) in a remake of the famous series «Vampires» directed by Louis Feuillade between 1915 and 1916.

As the 61st BFI London Film Festival rolled out across the UK capital's cinemas, many of us found it hard to turn away from our Twitter feeds, where the biggest Hollywood sexual abuse scandal in living memory was exploding on a scale impossible to keep up with.

Kristen Stewart is fast becoming an icon of modern cinema, and her latest performance in Personal Shopper confirms her as one of most interesting and daring actors out there.

«We are looking forward to sharing Lover For a Day with arthouse crowds, fans of Garrel and French cinema, as well as younger audiences / students who can relate to the two protagonists — especially Esther Garrel's growing fan base given the break - out year she has had, with an impressive performance in Luca Guadagnino's Call Me By Your Name in addition to her leading role in Lover For a Day,» commented Kasman.

The legacy of his Trash Trilogy remains quintessential to the history of queer cinema: through juxtaposing gross - out humour with everyday Middle American imagery, Waters became an influential queer figure in developing queer exploitation cinema and established himself as an influential figure of queer humour.

While it's easy to see the Academy as simply «those people who give out the Oscars,» the institution performs an important function for both filmmakers and film historians, providing symposiums and information for industry professionals and the public alike, access to an extensive film library and archive to researchers and cinematheques, and a valuable reminder of the rich heritage of American cinema.

Introducing itself to the world at the 2015 Sundance Film Festival and creating substantial buzz in film festivals the world over before opening in an elite listing of American cinemas in July, Sean Baker's fifth feature plays out with genuine emotion and manifests as an eye - opening day - in - the - life of two transgender sex workers on the streets of Los Angeles.

More than anything, this one sequence in Out of Time stands as monument to the kind of pure, adrenalized cinema — a tap dance with weight — of which Franklin is capable.

During this time in cinema, the late 19th Century and early 20th Century, the film points out directors felt as if they were putting their dreams on film, such was the expansion of the craft and its ability to capture one's imagination.

«So it is not surprising that two of contemporary cinema's best actresses, Rachel Weisz and Rachel McAdams, take the leading roles here and that Alessandro Nivola does perhaps the most affecting work of his career as their costar -LSB-...] Coming across at first as timid and plain (quite a challenge for an actress as charismatic as McAdams), Esti turns out to be passionate not only about Ronit but about her vocation as a teacher in a girls high school as well.

The visual splendor of Zack Snyder is on full display, and what a magnificent looking piece of cinema it is, as the director does well playing somber and slow during the first hour - plus of build - up, only to finally get a chance to let it all rip in grand fashion for a lengthy showdown between godlike beings battling it out on Earth for the fate of two separate races.

The accidental similarity, plain as day on paper, becomes even plainer on the screen: Minutes into the film, stage and cinema veteran Simon Axler (Al Pacino, himself a veteran of both Broadway and Hollywood) ambles out of his dressing room, the camera following close behind; gets locked out of the back entrance of the theater, and must come in through the front; and dramatically inflicts some violence upon himself before a shocked live audience.

Set on the streets of Paris in 1910, «A Monster in Paris» borrows some of its tics from silent cinema, but it also reaches out to films such as «Frankenstein»,...

Scoffing at gross - out comedies just because they aren't in accord with what has traditionally been construed as quality cinema doesn't mean that this type of film should forever be banished from award ceremonies.

And having a movie come out during that period and getting a lot of awards attention isn't solving the problem that I think needs to be addressed, which is: What has happened to movies for grown - ups made by people who are still interested in the idea of cinema as an approach?

The cinema trip didn't start out well as the Picturehouse Central (which I love) bar was closed because of a private party!

While it is true there's more than one way to be funny, Deadpool 2 is not particularly so, and it contains some of the sort of material that should have been rubbed out of cinema by 2018 (a prison rape joke in a studio film isn't «politically incorrect» so much as it is tasteless).

This week Trespass» writers are listing their top ten cinema releases (in Australia) of 2011, as well as recognising the film they know they should have seen but didn't (the film that got away), picking out an Australian highlight and selecting their three top non-cinema releases, films they have caught at a film festival or that remain unreleased.

Neil Marshall has again been denied the success he deserves as Centurion breezes in and out of a select couple of cinemas in Melbourne in the space of two weeks.

As of today, July 1st, I've seen only a movie or two below the 150 mark, so I've hit on almost all of the worthwhile bits of cinema that have come out between now and January 1st.

Inside Out instilled in me all the clichés; I laughed, I cried (I wanted to buy the print) and I left the cinema having shared an understanding of what it is that forms us as human beings with a team of movie makers who may have faltered in recent years but return in 2015 with an uneven yet bold, powerfully accomplished movie.

Baumbach is one of cinema's sharpest writers of naturalistic dialogue, capable of ringing out layers of meaning from casual exchanges, and here he's at his pithy best: Bernard's offhand categorization of his student's short story to his teenage son as «very feminist but very interesting» belies depths of misogyny and elitism, while his graceless romantic counsel to Walt leads the teen to ditch his perfectly reasonable girlfriend, Sophie (Halley Feiffer), with the same projectiles of secondhand rhetoric that he unveiled to initially charm her.

And after a 2011 that turned out to be a pretty decent year for cinema (if not necessarily one for the ages), we're now staring out across a few months that seem fairly barren, as the early months of the year always do.

But also people's responses as they come out of the cinema, even as they go in, what they are saying on social media or in reviews.

There is some conceptual weight to drive the film along: an homage to silent cinema, an index of Todd Hayne's filmography, a flight of fancy along the road of childlike wonder and a favourable gesture of the impossible... but none of this adds up to a feature film, and instead Wonderstruck comes off about as insightfully as a cluttered brainstorm session from a writer's blocked first grader who can't quite figure out what his thoughts are all about.

Regardless of its bandying about of political ideas and secretive agencies, the movie isn't easily mistaken for intelligent cinema and it would be about as out of place at an awards show was as Fuqua's ridiculously - decorated Training Day.

Even in fine Christmas season films from the US, Santa Claus has been tarnished with a cynical brush that paints him as a rather desperate loser or out - and - out nutcase — Gene Hackman's undercover cop Santa in William Friedkin's The French Connection (1970); Dan Aykroyd's smashed Santa in John Landis» Trading Places (1983); and the one - two combination of cinema's worst shopping mall Santas, Jeff Gillen in Bob Clark's A Christmas Story (1983) and Billy Bob Thornton in Terry Zwigoff's bad - taste, big - heart classic Bad Santa (2003).