Sentences with phrase «person style of filming»

The first person style of filming is also problematic as it renders almost all of Frank's victims as inessential nobodies whose only purpose is to be killed.

Not exact matches

As such, its latest campaign comprises several films juxtaposing ordinary equipment such as the humble exercise bike against a backdrop of gritty «This Girl Can» - style footage showing people working out.

The strains and contradictions The Trump style is populist in the sense of his citing «the people» as a legitimatizing source of authority and a source he can use to harangue and hector any opponent from a union leader to a film star to a senior Republican senator or judge.

Because a decade has passed since Andy underwent an epic style transformation (with the help of sidekick Nigel), People recapped some of the film's best outfits.

I have finally had a chance to flip through some of the business cards of people who filmed / photographed me during NY Fashion Week and came across this beautiful video of street style on www.NYLatte.com.

I feel as though this film is a genius picture on many levels, due to its manipulative styles and ways of getting people into the theatre.

Good things tend to come when Michael Winterbottom works with star Steve Coogan (24 Hour Party People, Tristram Shandy, The Trip), so we're happy to see Coogan starring as infamous British pornographer, club - owner, real estate developer, multi-millionaire, and so - called «King of Soho» Paul Raymond in a dramedy that spans decades and includes scenes shot in black - and - white and color, constantly changing to match the film styles of each period.

And the triumph of the film is the balletic gracefulness with which the performances and style exteriorize the interior worlds of the characters — how voluptuously alive the film's layered approach to melodrama is to people hesitatingly approaching the bridge to freedom.

There's a certain kind of film I see at many festivals: oblique, short on narrative and incident (or filled with repetitive incident), shot in a style that favors long (distance and time) shots of people doing nothing, or doing mundane things like crossing the street in real time.

The song's style doesn't try to match the 1940s setting of the film, but does capture the power of the story, and the hope that comes when people learn how to love one another.

Christopher Nolan's WWII drama has been on people's radar for a while now, and the film will draw in younger fans with its casting of Harry Styles.

In act one of the film, the people of Carthage sit interview style in front of a camera and tell their favorite Bernie Tiede story.

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.

Not For Conservative Anti-Mexican White People In Arizona Or People Who Dislike Major Stabbings: The fleshed - out theme of illegal immigration and the corporate / political exploitation of that issue, dealt with in a gut - level exploitation film style, is kind of brilliant.

Forman took full advantage of this by creating a series of films, beginning with «Black Peter» (1964), which commented on the lives of ordinary people with a filmmaking that combined a documentary - like style (including the use of improvisation and non-professional actors) with a biting and deeply anti-establishment sense of humor.

Interstate 60 will definitely appeal to people who like smart independent films with lots of humorous characters and especially for fans of «The Twilight Zone» style of stories.

Visually, it looks great — the hairstyles & fashions of the 80's shown in the sort of small town where big bucks and high fashion are never going to reside are brilliantly depicted and the «mockumentary» style of film - making shown makes it easy to step into the lives of these people although frankly, all are so vile you'll soon be looking round wondering how quickly you can step back out again.

Amy Seimetz («Sun Don't Shine») Some people act, write and direct, and some people tell the story of the year in film all their own, «Zelig» - style.

His films reflect all of this and more, rooted in unfettered emotion and steeped in style, running the gamut from small studio pictures to micro-budget contemporary fables, like Ray Meets Helen, which premieres Friday at the Quad, with Rudolph and actors Keith Carradine and Samantha Mathis in person for the evening show.

One film that falls into that «some people are gonna love this» category is Hélène Cattet and Bruno Forzani's exercise in style «Let the Corpses Tan,» a film that feels like it could be made by no one other than the people behind «The Secret Color of Your Body's Tears.»

«The game's basically a very orthodox third - person shooter,» the editors wrote, «but one that incorporates a lot of Hollywood film - style effects.

The film also weaves in lots of scenes that are meant to make us think that Barnum was the first 21st century - style «woke» white straight man in America — a goodhearted fellow who gave circus jobs to outcasts of one kind or another (talk about a big tent: the repertory company includes African - Americans, little people, giants, conjoined twins and a bearded lady), not just because they happened to possess certain talents or physical characteristics that Barnum could exploit (often by appealing to the majority's prurient interests or bigotries) but because the onetime poor boy Barnum sees himself in their striving, and wants to build a theatrical - carnival arts utopia in America's largest city with help from his new partner, rich kid turned playwright Philip Carlyle (Zac Efron).

Kicking off with a Grindhouse style clip of a zombie film with a synth soundscape that would make filmmaker John Carpenter proud, it's clear that «Paranorman» is made by people with a love for the macabre side of movies.

Wiseman's unobtrusive filming style and strategic editing reveals the inner workings of the multifaceted institution, engages with discussion about the role of art in broader society and explores how people connect with art.

And until then, the film is so remarkable at synching its picturesque style to Moonee's seemingly limitless freedom that the one time they do fall out of sync feels jarring, almost offensive: In long shot, Moonee and her friends charge past a series of stores and toward the promise of ice cream, and even after the children have exited the frame, the camera lingers on the sight of an obese person on a scooter riding in the other direction, the sound of the scooter going over a speed bump nothing more than a punchline, an easy potshot, at the expense of a person who isn't even a bystander to Moonee's life.

At the film's recent press day, Costner talked about the appeal of playing Coach White, Niki Caro's directing style, the bond that developed between all the actors during filming, the pivotal role a coach can play in a young person's life, the Jim White - type coaches who influenced Costner's life in a positive way, what he learned about Latino culture growing up in Visalia, why he waits for projects to come along that he can really respond to irrespective of genre, the biggest cultural gap he experienced on this film, and how sports movies allow us to address other issues within the wider society.

The ambient electronic material is chilled - out and evocative, but while this composer is perfectly adept at applying that style of scoring to a film (it usually works very well in context), it's very hard to imagine there are too many people who would like it on album as much as similar styles from other composers who are possibly more at home working that way.

Like his 2009 debut, «Samson & Delilah,» the new film, which won a special jury prize in Venice, finds Thornton expressing a palpable anger at the brutal mistreatment of his country's Aboriginal people, in a style that melds classical western filmmaking with studied art - film longueurs.

To be fair though, there was a small handful of people laughing when I saw the film, but the comedy put forth here hearkens back to Three Stooges - style slapstick, not as humorous to today's audiences as it might have been in years past.

The film is shot in an earthy, offhanded style that feels improvised, allowing Tahir and Hannah to emerge as complex people with a variety of talents and flaws.

Like most of Linklater's films, it's largely made up of people talking, but with the added interest of the unique ever - shifting, never - solid animation style (which he'd reuse with a slightly more standard sci - fi story in A Scanner Darkly).

Strong plays John, a «memory detective», which is apparently a kind of shrink who walks around in other people's memories (in a style familiar to viewers of TV» sHannibal), and whose visions are therefore easily translated to film.

If «We Need to Talk About Kevin» is to be labelled any one person's triumph, however, it must be Lynne Ramsay's: this question - riddled film may not have quite the environmental specificity of «Ratcatcher» and her shorts, or the tingly intimacy of «Morvern Callar,» but it's the bigger, broader application of her five - sense style she needed to make for this long - awaited career re-arrival.

The Man Who Wasn't There may be strictly for two types of people: those who enjoy film noir detective flicks and those who enjoy the Coen brothers style of filmmaking.

It's Ozu's unique way of bringing realism to a film that allows for such speculations: despite his unusual editing style, tatami - level camera placement and generally fixed camera (though it moves more here than in any Ozu I can recall), everything in an Ozu film feels real: people talk like normal people about normal human issues.

The marketing makes you know that the film's produced by the same people who brought you 300 and with the Greek angle, as well as some of the action style that Zack Snyder has made popular today, it can seem similar, but it isn't the same.

His mise en scène is very sober, with deliberate pacing, no music, and muted cinematography in blue and gray hues, with things moving in and out of frame, in and out of focus... In a not so specific way, this made me think of M. Night Shyamalan's visual style; the fact that the film is about how people deal with grief, like many of the «Sixth Sense» director's films, only furthered this impression.

It's an era we're so used to seeing in B&W whether in a film made in those decades or on documentary footage of those times, that colour representation of it can look unreal particularly if proper attention is not paid to era - appropriate make - up techniques, hair - styles, costuming and physical props, and the way in which people held their bodies.

Quarantine Rated R for bloody violent and disturbing content, terror and language Available on DVD and Blu - ray This documentary - style horror film tells the story of a group of people quarantined into an apartment building by the CDC when a virus erupts that turns humans into rabid, deadly creatures.

Based on the film rather than the books, World War Z will be one of many zombie games out in 2018 / early 2019 but promises four - player co-op in the third - person shooter style.

But his singular approach to found imagery and appropriation also set the stage for the Pictures Generation, argues Prather, from Richard Prince's Marlboro men to Cindy Sherman's self - styled Hollywood film stills to Louise Lawler and Sherrie Levine's loaded snapshots of other people's art.

Comprised of two separate videos, «Ringtone» and «Geisha Song,» the installation features the artist's signature style of using inanimate objects, such as ventriloquist dummies, paper dolls and finger puppets in staged photographs and film to objectify people and express a blend of psychological, political and conceptual ideas.

Filmed in a classic minimalist style, British artist Martin Creed's Work No. 1701 (2013) shows a series of people with atypical gaits as eah crosses the same New York Street.

Most people have a good sense of his style, but seeing the show demonstrates how persistent his vision is and how evident it was from very early on, before he was even thinking about making full - scale feature films.

I am reminded of those people who insisted that Neil Armstrong did not actually walk on the moon in 1969, but it was all smoke and mirrors done with special effects filming, Hollywood style.