Sentences with phrase «political films of the year»

Moreover, in telling the story of a betrayed American spy come home for answers, this chapter in the Bourne saga was the political film of its year.

Moreover, in telling the story of an amnesiac American killing machine (Matt Damon) come home for answers, this chapter in the Bourne saga was 2007's political film of the year.

Director Pablo Larraín made the political film of the year, enlivened by Natalie Portman as we've never seen her before: all the fragility hidden behind a fixed jaw.

The feature has its flaws (check out my full review here) but it's still one of the most urgent and important political films of the year.

Not exact matches

I, on the other hand, went into the BBC newsroom the other day to find teams of young producers laughing at archive film reports from 17 years ago of a young political correspondent looking nothing like he does now.

What's shocking is how much our political culture has changed in just 60 years — the producers of this film lived in a country that had just seen REAL despotism in the form of Nazi Germany and a military - ruled Japan (note the brownshirt - style uniforms, and also the lack of any of any depiction of their Soviet equivalents), and they pull few punches about what leads a society away from freedom.

Based on the story of Burmese pro-democracy leader Aung San Suu Kyi, The Lady is not the only film based on the life of a famous political woman to be released this year.

To hell with the first movie's thoughtful consideration of a young woman's new political power or that a good second film would show how well she's been marinated in authority over the past 23 years: Let's rip some bodices.

Based on a real - life story of a tobacco - company research scientist (Russell Crowe) and the ramifications of his decision to disclose industry secrets to the American public on an episode of 60 Minutes, it was a moody, intense affair that many critics touted as one of the year's best films; it netted 7 Oscar nominations in the process.Mann was back in the Academy Award hunt two year's later with Ali, a biopic of the beloved boxer Muhammad Ali that focused on both his athletic accomplishments and his political battles.

It's a question swirling around the Sundance Film Festival at this tony ski resort this year as the fate of independent films seems to grow dimmer and the money to finance these ventures is as difficult to cobble together as political compromises -LSB-...]

Not many will debate against that Woody Harrelson is one of the greatest actors of his time (this year alone he has appeared in a wide variety of films and given a pair of incredible performances in War for the Planet of the Apes and Three Billboards Outside Ebbing, Missouri), but his portrayal of Texan Lyndon B. Johnson in the biopic about the polarizing political figure simply titled LBJ (directed by Rob Reiner of A Few Good Men fame among other widely regarded classics) is a mixed bag.

Glastonbury (15) Running time: 135 min *** Julian Temple's loving documentary may at first appear to be aimed at the sort of music fan who prefers Glasto streamed live to their TV.But this collection of archive and commissioned footage from 36 years of England's greatest music festival is likely to appeal more to diehard fans than non-festival-goers, since it revels in precisely the eccentricities that makes the armchair people dive for cover.Most of this film is a structureless, rambling celebration of Glastonbury's boozy, hedonistic, liberated, political and frequently bonkers character rather than of the actual music: great if you were at the party, presumably less great if you weren't.

People who want to see this Beasts film will see it regardless of the moral and political issues; for them, they are not supporting Depp, they are supporting a series they have loved for years.

A heartrending love story tops our list of the year's best films, which also features a kids» - eye view of Florida, political horror, erotic thrills, sci - fi noir, ghosts, grief and communism

Despite Tolkien's adamant argument against the existence of allegory in his novel, it's difficult to watch the film without thinking of the world political climate before and during the first years of World War II.

The new film keeps the focus on his formative years, not the political battles he'd choose during the second half of his life.

One of the most influential political films in history, The Battle of Algiers, by Gillo Pontecorvo, vividly re-creates a key year in the tumultuous Algerian struggle for independence from the occupying French in the 1950s.

After a total of three screenings at SFF 2017, the perhaps more poignant than ever the Showtime Documentary film from the team that brought us the weekly The Circus: Inside The Greatest Political Show On Earth last year will premiere on the premium cabler on February 3.

Inspired by the true - life events confronting Abraham Lincoln and his monumental moral and political challenge to amend the United States Constitution to permanently abolish slavery, and based in part on the book «Team of Rivals: The Political Genius of Abraham Lincoln» by Doris Kearns Goodwin, Lincoln is a rich and compelling historical and human drama that has been hailed as one of the best film of political challenge to amend the United States Constitution to permanently abolish slavery, and based in part on the book «Team of Rivals: The Political Genius of Abraham Lincoln» by Doris Kearns Goodwin, Lincoln is a rich and compelling historical and human drama that has been hailed as one of the best film of Political Genius of Abraham Lincoln» by Doris Kearns Goodwin, Lincoln is a rich and compelling historical and human drama that has been hailed as one of the best film of the year.

This was a minor disruption compared to the previous year, when the festival was nearly cancelled due to a political conflict between the city and the festival organisers, relating to the screening of an anti-government documentary in 2014.1 Much has changed in the past year, most notably the impeachment of right - wing President Park Geun - hye, whose government the documentary had targeted, and the election of the left - liberal party headed by Moon Jae - in.2 While the contentious political atmosphere has not entirely dissipated, as evidenced by the student protest groups still demanding an apology from the local city government, this year's festival was an attempt to return to normalcy, despite the untimely death of one of the festival's driving forces, deputy director Kim Ji - seok, a much beloved figure within the community.3 Although the festival had a strong selection of international entries, including some of the best this year has to offer, such as Ruben Östlund's Palme d'Or winner The Square and Sean Baker's The Florida Project, I have decided to focus my report on the Korean films.

Feted, beloved, and at times «progressive» as it may be, Pixar is not immune to similarly «bloggy» issues regarding political correctness; a debate over the absence of female lead characters in their films began earlier this year and remains a valid and popular talking point.

The traditional climbing of the steps was a political moment for the cast and producer of the Russian film Leto (Summer), in competition at the 71st Cannes Film Festival: its director, Kirill Serebrennikov, has been under house arrest in Russia since August of last year, on charges of corruption.

Following his GQ Award as «Actor of the Year», he made two films in the USA: Brad Anderson's TRANSSIBERIAN and the political thriller VANTAGE POINT.

Meryl Streep portrays Katharine Graham in «The Post,» the only political film in this years batch of nominees.

Former film critic turned writer / director Rod Lurie (The Last Castle, Resurrecting the Champ) serves up another savvy political drama (after last year's sleeper Deterrence) that ranks as one of the better films in 2000.

But for this year's film slate, any political correlations are primarily indirect, since the wound is too fresh, both in terms of gaining appropriate thematic perspective but also just in terms of simple production timeframes.

Bong suspends any disbelief with a mixture of B - movie earnestness and black comedy, as well as constant nods to today's political climate (notice how Swinton enunciates «occupy») and classic films of years past (from Soylent Green to The Shining).

In a fractious political year that has seen many a film, from Get Out to Three Billboards Outside Ebbing, Missouri, take on intensified topicality, Anderson's guarded, gilded object has somehow been released into its optimum moment: a time when the manifold forms of male - female abuse that enable art are being placed under the microscope, and any solutions are up for discussion.

Is it going to be a coming out party for Kate Beckinsale and Vera Farmiga, both sensational in one of a very few films tackling the political zeitgeist this year (and successfully at that)?

The film will be a «character based comedy with dramatic and political overtones» and tells the story of the famous 1973 tennis match dubbed the Battle of the Sexes, where a 29 year - old King played and beat former male champ Bobby Riggs after the latter spent many years stating how the female game was inferior the the males.

A political activist in his home country of Iran, he received a 20 - year ban from making movies by the government in 2010 — since then, he has released three films.

But this year, with a culture - wide reckoning over decades of sexual misconduct, a film business in decline, a volatile political climate and the fact that last year the esteemed show couldn't even manage to present its biggest award correctly, the film academy and host Jimmy Kimmel on Sunday staged a complex and sometimes incongruous dance of attempting to both honor and atone for the past.

Three independent movies from this year deserve a special mention... Bill Morrison's documentary Dawson City: Frozen Time, the socio - political history of a gold rush town, illustrated with film stock recovered from beneath an abandoned ice rink... Oxide Ghosts, director Michael Cumming's assemblage of VHS outtakes from the influential, more relevant than ever TV news satire Brass Eye... and Dispossession, a restrained documentary about the housing crisis that's provoked fiercely energetic audience discussions up and down the land, culminating in a panel discussion at Curzon Chelsea with director Paul Sng, author Anna Minton and Jeremy Corbyn MP.

«Black Panther» has made broken records globally but it hasn't broken political bans until now: the film will contribute to lifting a 35 - year old ban of theatrical screenings in Saudi Arabia.

But Spielberg's achievement on this occasion is to fold into his own celluloid know - how an astonishing script by playwright Tony Kushner that animates the political process to a degree rarely encountered on screen: small wonder both men figure among the film's 12 Oscar nominations, the most of any movie this year.

Acknowledging that his own left - wing political agenda informed part of the film's narrative, Liman, whose father was an interrogator in the Iran - Contra trial, praises the perqs of studio filmmaking (while toning down the anti-Universal sentiments he expressed to the media last year), illustrates the importance of directing a French crew in their native tongue, laughs at how coveted the «f» word was by the actors (the film was allowed only one because of the PG - 13 rating), and so on.

His last film was 2004's I Heart Huckabees, and for years he was struggling to finish a political comedy called Nailed, but after all kinds of production delays, financial problems and conflicts with actors, he was finally forced to throw in the towel.

Written and directed by Dan Gilroy, the film stars Denzel Washington as a political activist who has spent years working in the backroom of a small law firm.

All of these films reflected the anti-institutionalism and sometimes nihilism that had sprung from the tender political climate during the third year of the increasingly unpopular Iraq War, amongst other things.

No matter what side of the political spectrum you are on, American Sniper is one polished example of technical filmmaking that will (or should be) discussed in film classes for years to come.

Coogler and his collaborators, chief among them cinematographer Rachel Morrison, costume designer Ruth E. Carter, and production designer Hannah Beachler, behind and in front of the camera elevate Black Panther into serious commercial art, commercial art with provocative, confrontational political, cultural, and social themes rarely seen in or out of the genre — because Hollywood studios prefer playing it safe with potentially lucrative IP (intellectual property) in their possession — in turn delivering the first great film (genre qualifiers unnecessary) of the new year.

In telling a simple story of endurance, 70 - year - old writer - director George Miller kicks up a roaring dust cloud of poetic and political meaning, letting viewers interpret the film's swirling thematic storm as they see fit.

With its sharp - edged political assessment of American culture, Tragedy Girls is a subversive little provocation that clearly establishes itself as one of the year's best genre films, and its reputation, like Sadie and McKayla's, is destined to soar.

Granted, Redford wants the film to be a sober reflection on the political upheaval of 40 years earlier, when the escalation of the war in Vietnam gave rise to the Weather Underground, a terrorist operation that vowed to «bring the war home.»

In a year filled with political noise about income inequality and the One Percent lashing out as what they might perceive as government overreach, it's pretty heartening to see a piece of mainstream pop culture embracing imagery that strikes unmistakable parallels between Collins» bruising make believe and the realities that many moviegoers who will be watching this film on opening weekend have to deal with outside the confines of the multiplex.

The latest issue of Senses of Cinema looks back fifty years to reflect on films that captured the cultural and political tumult of 1967.

Many of this year's short films have taken on added significance in the wake of recent political developments.

Over the years, the film has come to represent the apotheosis of stylish political cinema.

And it undeniably plays differently in the wake of worker strikes today for «A Day Without Immigrants» and greater divides between the working class and the President of the United States than when the film premiered at Toronto last year (which is not meant as a political statement, just a fact, and not an alternative one).

A slow - building and unlikely blockbuster (the biggest film of 84 - year - old director Clint Eastwood's career), this electrifying PTSD war drama became a political football for its questionable handling of the real - life Chris Kyle.