Sentences with phrase «powerful film which»

In recognition of National Child Abuse Prevention Month, please join us for this powerful film which explores the impact of childhood trauma and showcases the trailblazers in pediatrics, education, and social welfare who are developing and using innovative interventions to help build resilient children.

A very powerful film which is only achieved by the amazing acting of the main cast - Helena and Carey are stunning.

Very powerful film which poses a lot of moral questions about the consequences of the American government's campaign to empower anti-communist governments during the Cold War but instead we empowered a brutal regime, and the fallout of this caused a million person genocide that took place

Not exact matches

When I had to reinvent and rebuild my photography business in 2007, which was failing because of the rapid decline of film, it was my powerful personal brand that drove much of our success.

It is a hamfisted cautionary tale about global warming (which, via the film's scientific hand - waving, produces an ice age), but it also functions as a powerful 9/11 allegory, celebrating the ability of New Yorkers to unify in the face of tragedy.

She has served as executive producer of four documentary films, including Kicking It, which premiered at the 2008 Sundance Film Festival; A Powerful Noise, which premiered at the 2008 Tribeca Film Festival; She Is the Matador; and The Other City, a critically acclaimed portrayal of the HIV / AIDS crisis in Washington, DC, which premiered at the 2010 Tribeca Film Festival.

And they spoke of home birth as if it was child abuse and didn't see the beauty of Ricki Lake's film (which was so powerful!).

These days, medical X-rays come in multiple formats: plain film used in dental exams and doctors» offices; fluoroscopy, which bounces a continuous X-ray beam off contrast agents you've either injected or ingested, providing a moving real - time image of arteries and intestines; and the computed tomography (CT) scan, which couples a powerful computer with a circular array of extremely sensitive detectors to turn X-rays into detailed cross sections of the body.

The film also shows a large tidal wave, caused by the powerful eruption, which sends at least one ship from the nearby bay crashing into the city itself.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

A powerful and thoughtful film, it is also not what it at first seems, which is part of the point Polley appears to be interested in making.

In addition to his star turn in Unbroken, he can be seen in the great British film» 71, as well as Starred Up, in which he gives the most powerful performance by a male actor in recent memory.

Yes, it may not live up to Fred Zinneman's 1948 film on which it's loosely based, but it's strong and powerful all the same: a film where it's clear the director is in complete control.

Poor health dogged Ford's career during the 1950s, but he still managed to create The Sun Shines Bright (1953)-- one of his favorite films, dealing with politics and race relations in the 19th century South — Mogambo (1953), and The Searchers (1956), which is considered one of the most powerful Western dramas ever made.

There is a car crash scene which was extremely powerful in the film, yet I personally felt it was predictable.

And yet, given that the film's most powerful relationship - namely, that between Tim and his father (Bill Nighy)- is inextricably connected to the shared secret of their ability, one struggles to see a way in which Curtis could have avoided this particular problem.

Giallo («yellow» in Italian, referencing pulpy yellow - covered crime books) films, which emerged in Italy during the 1960s, are narratively akin to thrillers, often centred on crime, murder, paranoia and powerful sexuality.

The film had stiff competition in the 2008 Independent Spirit Awards, running against Kelly Reichhart's sublime Wendy and Lucy and Lance Hammer's powerful, contemplative Ballast, which speaks to the idiosyncratic brilliance of Aronofsky and Rourke's collaboration.

It reflects the fear and paranoia over a changing culture, which makes it a particularly powerful film this year.

Hood and Eye In The Sky was awarded for its powerful portrayal of the ethical dilemmas posed by drone warfare, including how political and military leaders assess «collateral damage» — a term for which the film provides much - needed humanity.

The film also builds to a climax in which magic skills are put to good use, as is the intellect of the protagonists, in trying to thwart the powerful adversaries from perhaps destroying the planet on the pretense of bestowing everlasting life to all.

Music frequently plays a crucial role in Denis's films, exemplified by Beau Travail (1999), which expertly mixed a Tindersticks score, excerpts from Benjamin Britten opera «Billy Budd» and Corona's catchy dance hit «The Rhythm Of The Night» to powerful effect.

Which isn't to say that the film doesn't boast plenty of powerful and often disturbing sequences (it does), nor that its mostly - female cast don't deliver a forceful ensemble performance, with Natalie Portman exceptional as the traumatised but driven central character, biologist Lena.

Both scenes are done without audible dialogue which makes them even more powerful, something silent film makers well understood.

Unrelenting, infuriating and tonally messy, Kathryn Bigelow's Detroit, which chronicles the real life events of the Algiers Motel during the Detroit Riots of 1967, is a powerful, albeit sporadic, film...

As writer - director of The Last Jedi, Johnson conceived and realized a powerful film of which Lucasfilm and Disney are immensely proud.

John Madden (Shakespeare In Love) is directing the film, which will see Chastain playing «a powerful lobbyist who sacrifices her career on Federal Hill in order to successfully pass an amendment enforcing stricter gun control laws.»

This could have been powerful, but it happens so late in the film — the credits start rolling almost immediately — that there's no time for the movie to examine it further, or for the audience to have a chance to ponder it, which takes away some of its immediate impact.

The upcoming film from the director of Blue Valentine, which also stars Ryan Gosling, looks as if he has another emotionally powerful story on his hands.

It is the third and most powerful of Alejandro Gonzalez Inarritu's trilogy of films in which the action is connected or influenced in invisible ways.

In this climate, any sort of backlash — which can be translated as a reflection of reasonable complaints about the way the film deals with racism — is powerful enough to derail a frontrunner.

We've sat through an entire generation of fantasy and science fiction films about a protagonist gifted with extraordinary powers who first Resists, then Accepts The Call, which almost always involves saving the world, defeating a powerful villain, and re-establishing the status quo.

This isn't the Old Testament prehistory we've seen before — Aronofsky draws from both Christian and Jewish religious texts to fill out the story (which is actually quite short in the Bible) and offers bleak, poisoned world before the flood quite different from the Mediterranean deserts and forests of previous films — and it accomplishes something quite powerful, vivid and unexpected as a result.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

Even though they record moments which may never appear in the film, production stills are strangely powerful instruments, constructing in...

«Straight Outta Compton» standout Jason Mitchell proves that film was no fluke in «Pariah» filmmaker Dee Rees» powerful historical drama, which hits Netflix Friday.

The building's look and history was updated for its big screen debut in the 2016 film Doctor Strange, becoming just one of three protective sanctums located around the world, the trio of which formed a protective barrier around the Earth meant to ward off powerful, otherworldly magic.

Both senses are treated to 1080p at its most powerful, which is no surprise given what Criterion does for the older films they typically distribute.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

She also gets the film's last and best - delivered line of dialogue, which rounds things off on a powerful note.

This is a very powerful and confidently made movie, a film that really puts its audience through the wringer, which finally refuses any palliative gestures, with towering performances from Elba and Attah.

This approach, while perhaps a little naïve, is brought to life by Cumberbatch's powerful attuned performance, which is the film's solitary redeeming feature.

On the strength of Staunton's performance alone, it is Leigh's most powerful film since Naked in which David Thewlis ranted and raged as the passionate misanthrope Johnny, adrift in an urban landscape blighted by Thatcherism.

Sam Smith did the most recent song «Writing On the Wall» which was a pretty terrific and powerful song in of itself, but I think Skyfall still takes the cake between the Craig Bond films.

Bodet filmed a documentary on him in 2007 (Le carré de la fortune, co-directed with Emmanuel Levaufre) and she and Bozon edited a collection of Delahaye's critical writings for Capricci in 2010, À la fortune du beau, a book which has ensured his work remains accessible to contemporary readers.11 Upon Delahaye's death, Ropert described him as a «powerful speaker with humble roots from another age, hardened by a life of brutal detours, passing from fury to kindness without warning, he was a character straight out of Victor Hugo.»

If the Broccolis — the producers of all the Bond films — want to finish the Daniel Craig run of Bond films it would make sense to get the singer who brought us arguably the most powerful of all the Bond songs which was given to us by Adele in Skyfall.

Britton has the most quietly powerful scene — in which she and Bateman have the kind of emotional honesty that other films of this sort (* cough * August Osage County * cough *) lack, but Hahn and Bateman have a sequence that almost equals it (and is far funnier in an uncomfortable sort of way).

The film has an overall gritty feel, which adds to the realism, and some of the scenes with Billy and Leila are surprising and emotionally powerful.

It's a film in which possession of the soul — by God or the devil — locks humanity out of the heart, but the commitment of love could be the most powerful force to fight it.

Apart from its final section, this is an powerful, fascinating and unsettling film and an extremely ambitious debut which points to a startling talent on the directing and writing front.