Sentences with phrase «put on a film like»

With the James Quandt - programmed retrospective A Man and a Woman: Jean - Louis Trintignant and Emmanuelle Riva, TIFF honours both the universality of their performances and the particular corporeal stamp Trintignant and Riva put on a film like Amour.

Not exact matches

Just like film studio distribution now puts extra emphasis on a film's overseas take, international markets may be crucial for investors looking for returns to supplement domestically driven ones.

I find it fascinating when writers and directors and even producers of films about real people in the Bible read into what the people were like and how they fill in the gaps of the dialog, some I like, others I disagree with, but it allows me to put flesh and blood on their bones.

1) Put flour, salt, sugar and melted butter in a mixing bowl 2) Pour in warm water bit by bit, and knead dough until it achieves a homogenous, smooth and soft texture 3) Roll the dough into a small ball and place it in a bowl, covering it with transparent film, and allow the dough to rise for 30 minutes 4) Chop onions and garlic finely, and saute onions in a pan until onions are caramelized, then add chopped garlic 5) After 30 minutes is up, press the dough to get rid of the gas created by the yeast 6) Add the sauteed onions and garlic to the dough, and knead well so that ingredients are dispersed homogeneously in dough 7) Shape the dough in any way you like and then leave it on a greased baking tray for 30 minutes (during which the dough should double in size) 8) After the 30 minutes of waiting time, bake in pre-heated oven at 180 — 200 deg cel for around 20 to 25 minutes (or until the crust is golden brown)

To put it diplomatically, we were both operating at the limits of our understanding - sailors adrift on the Far Side of the World, at the mercy of the wind and waves, like those in Peter Weir's stirring film.

It was very easy to put on and I liked the blue film over it.

M * A * S * H is a 1972 — 1983 American television series developed by Larry Gelbart, adapted from the 1970 feature film MASH, which, in turn, was based on the Oh, I really love mash - up games like this where characters from two different worlds are put together!

If this sounds like a «Species» sequel with incongruous A-list casting, you'd be more on track putting Natasha Henstridge's man - eating aside and instead picturing a sister film to «The Man Who Fell to Earth.»

If you like commentaries, director Guillermo del Toro provides detailed insight into the film that is still entertaining to listen to, and the rest of bonus features go into even more detail on how the film was put together.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

You'd hope that a film like this could put a bold new spin on the superhero story.

The success of the film led to a job directing the 1989 big - budget version of Batman; a darkly lavish, gothic production, the film proved to be a huge hit, securing Burton a place on the roster of A-list directors.His next film, 1990's Edward Scissorhands was the tongue - in - cheek gothic tale of an artificial boy put together by a benign scientist, who dies before he can complete the boy; as a result, the fabricated youth has hedge clipper - like scissors for hands.

And there are films and filmmakers and actors that I like that I wouldn't put on my geek list, too.

The lab is one of those classic Brutalist - fortress - looking monstrosities; it seems to be located deep in the bowels of the earth but is revealed in helicopter shots to be within biking distance of the U.S. Capitol (seems like a bad idea, but this isn't a film that puts a high price on real - world plausibility, so whatever).

With so much non-fiction footage available, culled from such a long time span, the last thing the case would seem to cry out for is a conventional dramatization, the kind in which glamorous actors put on just enough makeup to look 10 percent like the people they play, without any hope of imbuing the roles with the intensity already captured on film.

Haggard admits that he wasn't «able to put as much of a personal stamp on the film» as he would have liked, and says he was «struggling to keep up» during certain points of the shoot due to minimal prep time.

Like Ballad of Narayama, they are often essentially musicals: Karumen kokyo ni kaeru (Carmen Comes Home, 1951), Japan's first colour film, had characters break into song and dance and even put on a climactic show in the Hollywood manner; Kinoshita's masterpiece, the experimental melodrama Nihon no higeki (A Japanese Tragedy, 1953), is about a failed singer turned geisha and abused mother.

The film is so well put together on his end that sometimes you actually feel like you are watching the real story take place rather than a representation.

Like director Ridley Scott's recent film with Christopher Plummer (replacing Kevin Spacey) as Getty, «All the Money in the World,» the 10 - episode first season of «Trust» puts the focus on the 1973 kidnapping of the industrialist's grandson, John Paul Getty III (Harris Dickinson).

The film was crowd - funded for $ 3 million, but the production doesn't look like it was put together on the cheap.

And there are a couple of films which could have almost been calculated to please me, on paper they would be exactly my kind of thing — I fully would have expected to like Matteo Garrone's Tale of Tales but somehow, no magic there whatsoever, I saw an absolutely deliberate construction and elements put together in a particular recipe.

A lot of moviegoers still believe that low quality CGI toon projects should get a pass because they're just «kid movies» but films like Wreck - It - Ralph remind us that superior animated pictures are more than just cheep gags and one - note cliches — considering the film puts a new spin on tried - and - true stories about friendship and heroism.

Anderson has long been a proponent of shooting on celluloid and releasing his films theatrically, which puts him on an anti-streaming team that also includes directors like Christopher Nolan and Quentin Tarantino.

Cera delivers the one natural - seeming performance in the picture, the one that conveys legitimate exasperation for mothers who call him «puppy» and girlfriends who talk on hamburger phones and put abandoned living - room sets on his lawn as some sort of shrine (like the film itself) to fashionable quirk.

For all of its superb, shock - and - awe - generating visuals — aided by oft - nominated master cinematographer Roger Deakin's (Sicario, Prisoners, Skyfall, The Assassination of Jesse James by the Coward Robert Ford) singular eye for composition — Blade Runner 2049 often feels like Villeneuve, lured by the promise of revisiting a world created by a visionary filmmaker, not only wanted to put his own, auteurist stamp on said world, creating a continuation of a standalone, sequel - adverse film that «fits» on a narrative, thematic, and visual level, but found himself seduced like so many fans over the decades by the pure power of Scott's world - building and simply couldn't leave.

Together, they felt like a conclusion, an appropriate point to put feature film production on indefinite hiatus.

: I realize I'm going to take some heat for putting this widely loathed film on my best list, especially since I was less than enthused by the overrated critic faves «Three Billboards Outside Ebbing, Missouri» and «Call Me by Your Name,» but Darren Aronofsky's fantasia about a self - infatuated poet (Javier Bardem) and his suffering muse of a wife (Jennifer Lawrence) is, like «Get Out,» both horrific and satiric in ways that move beyond the easy confines of genre.

For the purposes of this review, I decided to put my own personal prejudices aside (as much as I can anyway), and pretend I know nothing about Paris Hilton or Jason Mewes (Clerks II), treating this film like any other that I might happen to see on a daily basis with no - name stars.

Throughout «Paterson,» Jarmusch breaks the traditional form of the film for a poetic interlude, capturing a poem that Paterson is working on by literally putting words that look handwritten up on the screen as Driver reads them in a manner that makes it sound like he's coming up with them for the first time.

You were talking about how you don't like when filmmakers put themselves on screen, but this is clearly such a personal film in every way.

Sight unseen, I'd put my money on Lala Land being one of those well - liked and least - hated films, along with Manchester by the Sea and Billy Lynn's Long Halftime Walk.

Avengers: Infinity War, the third entry in the Avengers cycle («the greatest cinematic event of our lifetimes» might sound like hyperbole, but it's closer to the truth than not), confirms Thanos (voiced and mo - capped by Josh Brolin), the purple - skinned, scrotal - chinned, big - muscled bodybuilder with a God Complex not just as probably the greatest supervillain put on film, but quite possibly the first Malthusian supervillain in or out of the Marvel Industrial Complex.

Orser is the sort of actor who has operated on the fringes of pop culture for twenty years, with notable bit roles in films like Seven and Saving Private Ryan and the Taken films, as well as quite a bit of television work, but Faults is a rare case of a director putting him in the driver's seat, and he proves himself equal to the task.

On paper, I'm this movie's target audience, but in practice — to put it in terms of the film's endless quoting and referencing — it's like being trapped in the «Ironic Punishment Division» on «The Simpsons,» only I very quickly got sick of being force - fed all those delicious donutOn paper, I'm this movie's target audience, but in practice — to put it in terms of the film's endless quoting and referencing — it's like being trapped in the «Ironic Punishment Division» on «The Simpsons,» only I very quickly got sick of being force - fed all those delicious donuton «The Simpsons,» only I very quickly got sick of being force - fed all those delicious donuts.

Though he stood out as a teen in small films like 2002's Rodger Dodger, the film that put Eisenberg on the map for most people was Noah Baumbach's acidic divorce comedy The Squid And The Whale.

Longtime readers of the site know that I like to take matters into my own hands by putting together a mock awards ceremony, a post in which I break down overwhelm my poor readers with my ramblings on several different aspects of the year in film.

In the 1960s, his feature film debut, he plays the haunted and pale Boo Radley in To Kill A Mocking Bird; in the 1970s he immortalized his love for the smell of napalm in the morning as a general who like to surf and plays Wagner when going into battle; in the 1980s he plays a quiet, down - on - his - luck country singer who does odd jobs for room and board while trying to put his life back together; and in the 1990s his turn as the bombastic Apostle E.F. might just be the best single performance of that decade.

Garant and Lennon, who have made plenty of money writing major studio films like Night at the Museum, put this movie together independently on a small budget.

The first film felt like a fun little movie to pay homage to some classic horror movies, and seeing the success, it felt like Wirkola put in everything he had to make sure that this movie stood on its own and it sure a fuck does.

This puts the film into the same genre as films like Uncle Buck and The Pacifier, in which an unlikely outsider has an effect on a family / group.

While the second film often felt like a rehash of the original, this one puts the main characters in a different environment and sheds a needed light on some of the supporting characters.

Through the likes of «Secrets and Lies,» «Topsy - Turvy,» and «Vera Drake,» Mike Leigh has been a filmmaker who can convey strong commentary on the topics he chooses and put them in full - bodied films.

Though he noted that being in films is more like blue - collar work with grueling long hours, putting on the suit reminded him that «it was like being a kid at play,» he said, adding: «Being imaginative is how things change: in the arts, in business and in politics.»

Like «King Kong» before it, it seems like Jackson decided if it can be made let's put it on fLike «King Kong» before it, it seems like Jackson decided if it can be made let's put it on flike Jackson decided if it can be made let's put it on film.

It doesn't show any love for the horror menagerie it puts on display, in other words; imagine what this film would be like had Rob Zombie directed it, or Ti West, or, hell, Pascal Laugier, or Alexandre Bustillo and Julien Maury.

Featuring what is arguably the bravest female performance ever put on film - namely, Isabelle Adjani's Cannes - winning turn of shamanistic intensity - the film dares its viewer to enter a trance - like state, in which genres blur and mate to yield a new level of cinematic expression.

While the film as a whole is a bag of mixed goods, Waugh does at least succeed in making laws involving mandatory sentencing look like a joke, though it is hard to laugh when some of those who break these laws pose very little threat to society, while the government puts the squeeze on them to snitch on others, putting themselves and their families potentially at risk.

Low budget films like Chronicle and Sleight have put fresh spins on the concept of super-powered people in years past.

It just puts monsters on display like zoo animals, then mostly looks away when it's time to turn them loose in either a sad (and failed) attempt to win a PG - 13 rating or more likely an attempt to pander to every audience except the horror audience that would see right through it, and instantly, as another slam on genre films by a larded gentry too delicate to see them first.

Heavily influenced by horror films like «The Stepford Wives» and «Invasion of the Body Snatchers,» «Get Out» keeps you on the edge of your seat throughout its intense 104 - minute runtime, utilizing extreme close - ups and Michael Abels» eerie musical score to build tension and create an unsettling atmosphere of paranoia that effectively puts you in the protagonist's shoes.