Sentences with phrase «paint the film as»

Additionally from the narration paints the film as an exploration of the delicacy of both life - sustaining systems in space, and interpersonal relationships as the characters are faced with colliding satellites, extra-terrestrial slime mold and fear of the unknown.

The first trailer for My Cousin Rachel paints this film as a gothic love story with sensual thrills between Oscar winner Weisz (The Constant Gardner) and Claflin aiming at his first superior performance.

There were scenes shown at comic - con last year that paint the film as being way more over the top than the slow paced trailer would have you believe.

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Not exact matches

While Canipre's film - noir website paints the company as the scourge of pirates, the truth is murkier.

Phoenix went on to point out how the Church has often painted Mary Magdelene as a prostitute — in fact, Pope Gregory claimed she was a prostitute in 591 — and said he hopes the film provides a different lens for people to view women in the Church.

The documentary, «Kids with Cameras,» following children with autism as they learn how to express themselves through films, poems, painting and music — now just $ 15

Part of musical performance involves narcissism, just as some part of writing or acting or painting or sculpting or making film is deeply self - absorbed, but we don't condemn musicians or artists for daring to put their creations out in public for people to see.

With Electrick, conductive touch surfaces can be created by applying conductive paints, bulk plastics or carbon - loaded films, such as Desco's Velostat, among other materials.

Personal or Handmade Touches - Handmade invitations (made by ourselves)- Handmade place settings (made by ourselves)- Handmade Guest Book (drop frame — guests signed a wooden heart, and dropped them into a frame)(made by ourselves)- Framed pictures for table names (made by ourselves, and named after cars from Harry's favourite film)- Personalised cake topper and cupcake decoration (cake topper from Ebay, and cake made by my Aunt)- Handmade bridesmaid's posies (made by my mum)- Personalised and hand painted wedding shoes (for Bride)(done by Beautiful Moments)- Personalised champagne glasses for Bride and Groom to use for toast (bought as a present by my sister and her family)- Ushers were bought cufflinks to wear that reflected their personal interests - Bridesmaids were given personalised flat shoes to wear in the evening (personalised by me)- Handmade bridesmaids dresses - Flowers and buttonholes, and bouquet all made unique, with my bouquet including charms with pictures of my grandfathers on them.

For example, in the film, Riggs is painted as a sexist, sure, but a harmless one who was mostly a product of his era.

Louis Theroux paints «Saint Jimmy» as evil, cunning puppet master in hindsight Canberran Caroline Simone O'Brien earns slot at Hollywood film festival with puppet film

Just as Jackson Pollock stretched the definition of painting and broke away from previous conventions, Malick is challenging the mainstream notion which defines film and more importantly, he offers a comfort to our suffering.

Do yourself a favor by ignoring the film's trailers and onslaught of ad spots that inadvertently paint Megamind as just another tighted candidate looking for a free ride.

The Games are a way of punishing constituents for a nearly century - old uprising, though haunting propaganda films paint them as honorable sacrifice.

This moody, elegiac film has universally been acclaimed as a cinematographic masterpiece, from the talents of Cuban - born European Nestor Almendros (and «additional photography» by Haskell Wexler), with naturally - lit, sweeping, 70 mm images of crystal clarity and scope, and artfully composed scenes reminiscent of Andrew Wyeth paintings.

The Sword in the Stone painted Arthur as a reluctant weed more than forty years earlier, and for all the baggage that Wolfgang Reitherman brings with him, it is a much better film.

Given that some of Mary's creative team worked on some of those films, it's less a matter of copying Ghibli's style than extending it, but as swoony as some of its deftly painted vistas can be, it's decidedly lacking the shock of the new.

It's an emotionally involving rather than harrowing film, with scenes as beautiful as oil paintings.

Gillespie, working from a script by Steven Rogers, does an effective job of painting a somewhat less - than - flattering portrayal of the protagonist's hard - scrabble existence, with the strength of the film's opening stretch standing in sharp contrast to a middling midsection that grows less and less interesting as time progresses.

Stories We Tell explores the elusive nature of truth and memory, but at its core is a deeply personal film about how our narratives shape and define us as individuals and families, all interconnecting to paint a profound, funny and poignant picture of the larger human story.

There is also a dismaying laziness to the film's use of Mexico as a suppurating cradle of the occult, with its painted skull ornaments and flapping leaflets for Día de Muertos processions cropping up in every other shot.

This film does a great job up being really morally ambiguous, and not painting either side as being truly right or wrong.

Not only does this film resurrect old Cold War red menace paranoia to paint the villainous Decepticons as Commies, but it also evokes a lot of contemporary xenophobia towards a vague notion of what lies in the Middle East.

For me it's more like a painting with motion than a film and if it can be seen as such then it's easier to enjoy I think.

Even when the film drags, it is pretty to look at, and many of the artfully constructed shots can stand alone as paintings.

Yes, he constructs various shots as paintings in a frame, but he does so with such a stylish, subtle touch the device never feels forced, and works on an almost subliminal level to enhance the richness of the film's scope.

It's a mesmerizing look at Vincent Van Gogh's final days, as elegantly interpreted by a team of 100 professional painters who hand painted every single frame of this truly unique film.

Johnson's supportive wife is played by the always excellent Jennifer Jason Leigh, but that's her sole purpose in the film; she's a character as dry as paint.

But Assayas also refers specifically to Hilma af Klint (1862 - 1944), a recently rediscovered Swedish pioneer of abstract art who claimed that her paintings were directly dictated by spirit forces, and to 19th - century French literary titan Victor Hugo, who practiced «table turning» sessions to contact the dead (Assayas fabricates an «extract» from an apocryphal French TV film of the 1960s, featuring actor - singer Benjamin Biolay as a solemn Hugo).

Not long ago, what with the housing market on the fritz and certifiable capitalistic ruin staring down the face of America, not to mention stoke brokers being painted as the devils of the earth, it seemed a great time to revisit Oliver Stone's 1987 film «Wall Street,» the Michael Douglas starrer that put «greed is -LSB-...]

The film also goes a bit easy on its characters considering the time period (apart from Carol's custody battle, they don't experience any persecution), and while it looks gorgeous — like an oil painting of soft pastels — you don't feel the romance as much as you should; it's sensual, but emotionally distant.

But as smart as it may seem for painting Barkawi as seeking revenge solely for the death of his daughter, the film mostly succeeds at advancing Mike's improbable yet largely singular survival as a symbol of American triumphalism.»

Chastain stars as Catherine Weldon, the artist who risked the ire of the pioneers to paint Native American leader Sitting Bull, in a solidly crafted film

That film is like painting — context can certainly enhance a certain line of thinking, but the job of gleaning pleasure comes from imaginative flights of fancy more than blindly accepting statements as fact.

For a spell, it feels as if the film will transcend the unpromising irony of its title with a female protagonist painted as unflattering and tortured, but by the time the final credits roll after an unforgivable third act, Murder by Numbers washes out as just another imminently forgettable movie starring Sandra Bullock.

Set in a few wet weeks before the release of East Of Eden in 1955, it paints Dean (Dane Dehaan) as a man unsure he even wants to be a film star.

The movie often looks more like a watercolor painting than a film, especially as characters move in and out of the moonlight or the fog.»

The film is fairly paint - by - numbers and mostly predictable, but a standout performance from Shannon as the drunk, gambling - addicted father of a high school basketball star and an impressive turn from the always - welcome, always - gorgeous Carla Gugino will help position Wolves for a decently widespread theatrical release, though it probably won't have much staying power.

My lingering problem is the amount of fluttering butterflies that the film creates, it paints a picture that any wedding you wish to have is possible, which is untrue, but I don't believe the film was about creating a realistic explanation, but more show the journey the parents make, but again, the journey only seems to consist of daddy, as esteemed actress Diane Keaton, who plays other Nina, plays a largely unimportant role, perhaps a traditional scenario calls for a father and his daughter, but the mother is as equally important.

The film's title is inspired by a David Hockney painting, a work that provides mystery in suggestion as the only sign of a protagonist is a splash and an empty chair, asking the spectator to provide the rest.

His films are meticulously constructed enigmas, which require the same type of open minded approach to understanding as it likely takes Lynch himself to paint with images.

He definitely has a vision he believes in a thousand percent - The Room is very much a personal screed for him - but Franco's film doesn't paint him as either fully sympathetic or tyrannical.

No less important, this film relies on a variety of storytelling devices and narrative forms, such as narrative painting, the gothic tale, the incest story, the letter, the dream, the flashback, the omniscient narrator, and the horizontal wipe.

Another surprise: the animated «Loving Vincent,» about Vincent Van Gogh, advertised as «the first fully painted feature film,» and when I think, hmmm, Walt Disney might take exception to that, I see «first OIL painted film.»

The realism of the film is one of the factors that makes it so great as it uses long takes and what seems like guerrilla styled filming at times to paint a detailed picture of the hardships of simply trying to survive whether it be a child passing time by scamming money for ice cream or a young mum trying to keep a roof over her daughter's head.

Affleck paints on a grand canvas that aspires to be in the same league as The Godfather, and yet his film is constantly hamstrung by its lackluster protagonist.

Gray's wide shots are among the saddest in contemporary film, and as a result the movie is pervaded by loneliness and resignation — intervals of space, sometimes akin to the ma of Japanese landscape painting.

In fact it's amazing Efron and Jackman are as watchable as they are, considering the film daren't paint either of their characters are anything more complex than earnest eccentrics just trying to spread some happiness around.

He's seeking a commission for an exhibition of paintings that comparatively few will see, that in any case will be hard - pressed to summon the galvanizing power of a well - made film (or song, as we see in one lovely scene), which Mrs. Cole's slop is turning out to be.