Sentences with phrase «period films like»

The 27 - year - old star found early success playing various characters on British TV shows, before hitting the Hollywood big time with period films like Jane Eyre, Anna Karenina and Great Expectations.

Also, period films like this one are for chicks.

If you're a fan of period films like I am, this is a worthwhile movie.

Not exact matches

Possible office - friendly ideas might include a time - period theme such as the 1950s or the Renaissance, or employees can dress up like their favorite TV and film characters.

«This job is working with interesting people and interesting actors — I didn't feel like I needed to be in another period drama, but this was just a really interesting director who had done a really interesting film,» says actor @douglasbooth of the @tribeca Film Festival film «Mary Shelley.»

This happens every year like clockwork because the esteemed award show tends to be focused around a select season of films released and marketed during a short period of time.

So the thing that I would consider first of all is you may want to actually get one of this film canisters or like a noon type of bottle and actually take digestive enzymes out there with you or use digestive enzymes for a period of time in your life that you jumpstart or up - regulate your body's own natural production of digestive enzymes which can actually happen if you use digestive enzymes for a period of time.

I like most music, the usual soaps period dramas and romantic / comedy films I do not like horror but will watch any.

Sad to say, the rumored intensity of the play» «night Mother» is not on display in this filmed version that does not translate particularly well to the screen as it feels like just another made for television movie of the period.

Like most Coen movies, it isn't quite the way they used to make them, but is deeply in love not just with the films of the past, but all of popular culture, from product packaging (principally Dapper Dan hair pomade) through period pop music to modes of dress and politics.

During this close - minded time period in American cinema, she was showcased for her «exotic» qualities in films like Pagan Love Song, Latin Lovers, and The Fabulous Señorita.

For all the value of his three most recent period pictures, they feel less vital as direct responses to the world around us than as filmed civics lessons, like popcorn Rossellini in his historical films era.

No, people, this type of film is quite a ways away from being something like «Rock of Ages», but the idea of a period piece about a prominent rock music club is close enough to make the handful of people who know about «CBGB» get the «heebie - jeebies».

Povinelli sometimes performed stunts, in films like Van Helsing and Employee of the Month, but largely stuck to acting, earning particular attention for the role of Walter in the 2011 period drama Water for Elephants.

What separates «Gosford Park» from films like «Nashville» and «Short Cuts,» however, is the lush set direction and costume design, which helps build the completely immersive period setting for the audience to get to know the characters in.

Filmed in 2.35:1 Panavision and originally released in four - track magnetic stereo sound (a rarity in 1975, a period in which nearly all movies were mono), the movie was all but impossible to appreciate on television and even subsequent superior home video formats like laserdisc.

Jon Amiel's film is beautifully constructed and flawlessly integrates other techniques (documentary footage, time lapse photography, CGI effects) into what feels like a traditional period piece.

A kind of low - level trickster god of indie cinema himself, Waititi lets his film go a little crazy: He's outfitted it with garish colors and costumes and set designs, some not - entirely - perfect special effects, and a synthesized Mark Mothersbaugh score that sounds like it was lifted from an early period Jean - Claude Van Damme flick.

The film segues breezily between various episodes from Piaf's life — such as her lover, French boxer Marcel Cerdan's (Jean - Pierre Martins) championship bout in mid -»40s New York; her period in Hollywood during the»50s; Piaf's abandonment as a young girl by her contortionist father (and earlier by her mother, a street singer); her brushes with the law as an adult; and her 1951 car accident and subsequent morphine addiction that caused her to age well beyond her years and left her barely mobile; and, through it all, her ability (like Billie Holiday) to funnel personal tragedy and emotional struggles into her vocalizations — dazzling audiences in the process.

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.

In comparison to recent films based on the life and work of the Beats, like Howl and On the Road, Kill Your Darlings is presented less abstractedly, with Krokidas choosing a highly stylized aesthetic while employing the bold juxtaposition of the period setting and a contemporary soundtrack featuring the likes of TV on the Radio.

Having previously worked with Emily Watson, who plays her mother in this film (on period drama Belle), Sarah enjoyed working with her again: «Working with Emily was great, I really felt like I had somebody in my corner,» she says.

With roles in the likes of Transformers: The Last Knight, Patriots Day and Deepwater Horizon amongst the films he's appeared in that time period, he commanded $ 68 million, beating off Johnson by $ 3 million.

«And so what better way than to show the silent - movie period in black - and - white [35 mm] negative,» he said, «and for the»70s we looked to the urban reality grit of New York films like Mean Streets, The French Connection and Midnight Cowboy — a much rawer look.»

Junge, detained in Russia for a period at the end of World War II before finding work as a magazine editor, treats the unseen Heller like a priest; one might say that her regret drives the piece, resulting in not a lurid film about Hitler (which has disappointed those critics out for something pulpier), but a deathbed confession.

Much as Michael Mann's Public Enemies created a disconnect by looking like home video at certain points, the period simply requires film, or at least it does for right now with digital photography still figuring out how to look good with the entire color spectrum.

Similar to the original film, Ray also jumps around on the timeline, and much like its predecessor things can get a smidge confusing as to what time period we're currently in.

There's something both creakily and comfortingly naff about films such as Suite Française (Entertainment One, 15), polite period melodramas that wear their history like plush epaulettes and remain intractably set in Britain even when they're not.

There's much discussion about how the film is supposedly a game changer, how it's more in tune with the current zeitgeist as opposed to the traditional narrative strengths and linearity of a period piece like The King's Speech.

Surviving Mars is almost entirely based on theoretical science and, like Andy Weir's The Martian and its film adaption (which it owes a few inevitable debts to), occupies a «five minutes into the future» time period.

Most of the time, actors in period films look like people of today with old - style haircuts, but here the people look like it's 1952.

Richard III's period cultural roots are rather cleverly laid out throughout the film, with Lady Anne's (Kristen Scott Thomas) first appearance on the screen evocative of the grand dames of the silver screen, like an Ingrid Bergman or Marlene Dietrich: a dark coat and a fur draped around her, a hat partially obscuring her face, and the morgue she walks through smoky and opaque.

Carey embraces the film's R rating with some pretty raunchy humor, but it feels like it's trying too hard at times, and the overdependence on its 90s period setting for laughs gets old quick.

Per the film's trailer, it appears this time returning auteur Adam McKay will be fearlessly tackling the period's race politics with a similarly incisive eye to that he previously brought to bear on gender perception in the 1970s, and with a laundry list of Hollywood power players lining up for cameo roles like this is goddamn Altman or something, suffice to say that it's going to be an effort to stay classy till Christmas, but we're going to have to try.

The advanced techniques of the Hong Kong action cinema translated from the period kung fu and wuxia film to the modern world of cops and robbers, from swordplay to gunplay, not for the first time (it was preceded into the present by Jackie Chan's Police Story from the previous year, as well as Cinema City's highly profitable Aces Go Places series of comic adventures and a whole host of films from the Hong Kong New Wave like Tsui Hark's own Dangerous Encounters - First Kind, not to mention earlier films like Chang Cheh's Ti Lung - starring Dead End, from 1969), but better than anything before it.

is misleading because while draped in Darius Khondji's luxuriant, golden - hued cinematography like the silks of Lady Liberty's gown, and decked in loving period costume and detail, the film is really a small - scale human drama in which those Gray staples, a love triangle and a love / hate brother-esque relationship, play out beat by minutely observed beat.

Together, they have tried to create a soul - searching tale of a woman finally coming to find that she likes herself, and though it isn't entirely successful in that mode, there are periods where the film works well.

Like many films made around this period, there is a slice - of - life attitude, showing you the ups and down of the work place, never really in a hurry to get to the main point.

Formalist technics can be worked seamlessly into modern films, like the comic book qualities of Edgar Wright's Scott Pilgrim Vs. The World, or they can be sloppy, like every time a current Top 40 hit makes its way into the soundtrack of a period piece.

Whereas Hitchcock's films put his sympathetic blonde women in peril and appeared to punish them for their apparent «transgressions» (particularly for asserting their independence), as in late period Hitchcock films like Psycho (1960), The Birds (1963) and Marnie (1964), Verhoeven seems to revel in showing the Blonde women in his films command the screen, dictate the narrative and overcome their persecutors.

A period Western with nods to Ford classics like «She Wore a Yellow Ribbon» and «The Searchers,» the picture is filming here at Ghost Ranch — 21,000 acres of God's country, 60 miles north of Santa Fe — where one - time resident Georgia O'Keeffe painted canvases with images of the mesa that towers in the distance.

Far From the Madding Crowd looks like it falls firmly in Fox Searchlight's wheelhouse (in the period film way, not the quirky indie way), which seems like a good thing in this case.

Getting her start in films like «Gory Greek Gods» and SyFy classics like «Croc» and «The Hive,» talented actress Elizabeth Healey has come a long way in a relatively short period of time.

The film is Anderson's best live - action feature — his best feature, period — since Rushmore, in part because, like that film, it takes as its primary subject matter odd, precocious children, rather than the damaged and dissatisfied adults they will one day become.

It doesn't help that much of the music in I, Tonya often isn't contemporary to the time period, which would at least give it a sense of place (this is where a film with a ton of soundtrack hits, like Atomic Blonde for example, can be constructive).

He's an executive producer on «Another Period» and has been exploring more dramatic roles with films like «Brad's Status.»

For all the film's intelligence and period sophistication, doesn't Whale's character seem like a gay white equivalent of Hoke in Driving Miss Daisy?

And the recent Supreme Court decision didn't make the film feel like a musty period piece — instead, it seemed to add resonance and immediacy, turning a small victory in one community into the harbinger of greater things to come.

It's a great looking film, with cinematography by John Alonzo who even makes the California hills look like they cam from another era, and the disc preserves the period colors and tone of the film along with the crisp image.

In this period, he tackled an Oscar - winning drama about alcoholism (The Lost Weekend), two well - regarded film noirs (Double Indemnity, Sunset Boulevard), a war drama (Stalag 17), two light - hearted rom - coms (Sabrina, Seven Year Itch) a gripping murder - mystery (Witness for the Prosecution) and perhaps the funniest American movie of all time (Some Like It Hot).