Sentences with phrase «reality of movies like»

«La Soga» is an edgy, action - drama, combining the gritty reality of movies like «City of God» and «Amores Perros.»

Not exact matches

They told Business Insider that they wanted to balance new and old, and a sense of adventure reminiscent of movies like «Jurassic Park» and «Avatar» with a sense of reality.

In other words, the two groups both said they were testing Twitter's predictive ability; in reality, they both examined the accuracy of predictions using tweets and additional data sources like movie openings in theaters and film ratings on International Movie Database and Rotten Tomamovie openings in theaters and film ratings on International Movie Database and Rotten TomaMovie Database and Rotten Tomatoes.

For decades, sci - fi movies like Minority Report created fantastic pictures of what a world powered by augmented reality could look like, but it was the simple smartphone game that provided the initial firsthand introduction to the concept of augmented reality for millions.

Films about rescue operations are presented more like a horror movie than as the sobering chronicles of somebody's reality.

IF YOU HAVE SEEN the recent Hollywood blockbuster Inception, a movie that does to dreaming what The Matrix did for virtual reality, you may have been holding your breath as Ariadne, an architecture student, folded the streets of Paris over herself like a blanket.

Only after each system had produced a sophisticated representation of the world did the brain combine their perceptions into one experience of reality, like a film editor adding a soundtrack to a movie.

The Chino pant brings back some fond tweenage memories of Jeanine Garofalo folding pants at The Gap on the movie «Reality Bites», or Pat the nerdy sexually ambiguous employee on SNL, and basically every 90's character you don't want to look like.

This is why we like watching Tarantino movies or slasher films with brutal murders and lots of blood; it breaks away from reality and entertains us.

And the movie does have its flaws: for such a supposedly important author, Eiffel's work sounds like it has more in common with Oprah's Book Club than Saul Bellow, those two boobs from the Sonic Drive - Thru commercials are inexplicably cast as co-workers (perhaps to contribute to the entire atmosphere of unreality), and the whole thing plays like Charlie Kaufman Lite... blurring the lines of reality and unreality, but without the messy cynicism.

This rambling film, which feels much longer than its actual length, might have worked as a distaff version of Nicolas Roeg's «The Man Who Fell to Earth» if it weren't for director Glazer's decision to turn the movie into something like a TV reality show.

Just like Clint Eastwood did to westerns, Logan changes the aspect and reality of the superhero genre to make a movie that could exist in our own timeline in today's world.

Ending up watching this movie is so much like waking up from a bad dream, when everything beside us, all of a sudden becomes harsh reality from long - forgotten vivid images.

Into this season of the Serious Movie, when every other film seems to speak to the troubled times in which we actually live, the fact - based, yet farcical «The Disaster Artist» blows like a fresh breeze, throwing open a window through which we may escape, briefly, from ugly reality.

«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.»

The nature of a movie involving reincarnation seems like the perfect set - up for a captivating supernatural thriller, but instead, Glazer uses the seeming return of Sean as a way to explore Anna's grief and how her love affects her grip on reality.

For a film which features the word «irony» so prominently, it's suitably ironic that Reality Bites features a documentary given the commercial television treatment, as the movie as a whole has an underlying compelling story that feels like it has been drained of all uniqueness by the corporate interests handling the film.

Albeit, like Memento and Fight Club, a trick movie that reflects the post-modern equivalence of simulation and reality that Chuck Klosterman, apparently ripping off one of my college Film Theory papers writes about in Sex, Drugs and Cocoa - Puffs.

Surprisingly, the movie's more weirdly interiorized and not as expansively outgoing as the book would lead you to anticipate: the Inherent Vice of my dreams would have more sense of the jumbled archaeology of L.A. back then, more of the grunge - funk edifices, the leftover potluck from previous generations, the smog and the unexpected torrential rains, the feeling of reality bleeding and strobing like a cheap color TV picture in a thunderstorm.

All it does, really, is clarify that when people at Ground Zero referred to the falling of the WTC as «just like in a movie,» it didn't point to a divorce from reality but to an inability, utterly, to conceive of anything so epoch - shaking as possible outside the prism of our precious, silver - graven images.

Josh and Benny Safdie, who made this year's kaleidoscopic crime movie Good Time, split their childhood between a responsible mother in Manhattan and a manic father in Queens who introduced them to stuff like A Clockwork Orange way too young and purposefully blurred the line between reality and fiction after viewings of Kramer vs. Kramer.

I like the way the movie slips between different planes of reality.

I explain about the nightmare story of Movie 43, the gross - out comedy that promised us a movie experience like never before and in reality, was an awkward two hours of watch - watcMovie 43, the gross - out comedy that promised us a movie experience like never before and in reality, was an awkward two hours of watch - watcmovie experience like never before and in reality, was an awkward two hours of watch - watching.

I also like this part of the movie because it reflects both the allure of the dreams Vegas offers and the reality of what it's like to actually live and work there.

The movie plays almost like a companion piece to Krzysztof Zanussi's acclaimed A Year of the Quiet Sun (1984): one of the first Polish movies to fully depict the terror of Stalinism and the unhinged post-war reality of rapid Soviet takeover.

The Avengers is the most overrated movie of the year, people act like it was this big surprise, in reality the movie was going to be a big success no matter what, it was always going to make a lot money, but people kept saying how grate it was, and how it was the best movie of the year, when in reality the movie was average, it was boring, there was zero tension, the villain was weak, the dialog was annoying and the characters were unlikable.The movie have a lot of the same problems that everybody complaint in other movies like Transformers and Avatar, like to much special effects and weak story.

In reality: This scene, like most of the movie, was actually shot in San Francisco.

Movies like Total Recall, a remake that's poised to give you déjà vu this August, face the predicament of promoting themes like memory and alternate reality, which aren't exactly the easiest things to visualize.

That is simply the reality for being the face of a small one - hander movie like this.

Arguably, the aggregate of Nineties cinema deals with the evolution from filmic to digital reality (from 1989's sex, lies, and videotape on through to the end of the following decade's American Beauty, The Truman Show, Dark City, The Matrix, Fight Club, and The Blair Witch Project), but it's here in 2007, six years post-9 / 11, that the phrase «it's just like in the movies» gains the kind of existential dread it deserves.

Even so, the costumes still look like costumes, the sets like sets, and the many accents sound inauthentic, to the point where The Mummy gives the vibe of people playing dress up and making a movie based on what they think a North African treasure hunt must be like based on old movies rather than in trying to represent anything akin to reality.

The historic reception that's greeted the film is indicative of how rare movies like it are, and how alluring the fantasy of being able to transcend our frustrating and spirit - killing realities is.

Like a sunbaked Jules and Jim, the movie makes nimble use of its central love triangle, setting up conflicts between the characters as they move through the complicated political and social realities of Mexican life.

Still, give the movie credit for being prescient: Given the disgusting rise and success of reality TV, it's not difficult at all to imagine fans of garbage like Survivor or Jersey Shore easily turning into the audience for a deathsport show like The Running Man, where viewers win fabulous prizes while cheering the slaughter of other humans.

I believe the final act only works because the movie finally embraces the concept of alternate realities and begins treating Meg like the adult she's maturing into.

Like the original, though it deals with the harsh realities of a broken family, it is by all accounts a happy, feel - good movie.

By the end of the film, we realize that we have been seeing the world through their eyes the whole time; in reality, most of us still find polygamy odd, but for the duration of this movie, it seems like the one right thing.

In some films, like Code Unknown and Caché, Haneke creates multiple on - screen realities, through movie sets and cameras that are part of the story, to blur the boundaries of time and space within the world of the movie.

For now, Channing Tatum and Doug Liman are keeping themselves busy, and Fox is working on a lot of other X-Men franchise movies, like Deadpool 2, so we will have to wait and see if the Gambit movie ever actually becomes a reality.

She was very manic and very pixie but if you watch the movie you see that she was like the cruel reality of the MPDG.

That's because unlike the aforementioned characters, who are firmly planted in reality, Thor comes from a different world altogether, and quite frankly, a movie version of the hammer - wielding hero seemed like a joke just waiting to happen.

What once sounded like an unlikely dream project is now slowly becoming a reality, with director Doug Liman revealing that a sequel to Edge of Tomorrow, his much - loved sci - fi action movie, could be his next project.

Screenwriters Boyce (24 Hour Party People, Millions) and Paterson do try to punch up the narrative with quite a few sensationalized bits of drama (a suicide occurs in the film that never happened from a character that never existed) and a helping of creative license (no mention that Lomax meets Patti while he had still been married with children, or of Patti's own children from a previous marriage for that matter), but those moments feel like inauthentic, manipulative movie moments (the film ramps up the climax with murderous intent that was not prevalent in reality), exacerbated by overcooked dialogue that not even these capable thespians can spout without it feeling manufactured.

But they may be changing more than you realize; many of us have already predicted the growing market for streaming services, and how that will soon compete with the movies, but the month of February sees that becoming more of a reality whether we like it or not.

Tagged With: ABSENTIA, alienation, apocalypse, cinema, Danny Boyle, dating, delusions, demons, director, emotional trauma, Evan Dumouchel, existential, friendship, horror, indie film, interview, isolation, loneliness, MacLeod Andrews, male - bonding rituals, Mike Flanagan, movie, OCCULUS, Pantheon of Evil, paranoia, paranormal, Perry Blackshear, primal fear, reality, schizophrenia, screenwriter, self - help, Slamdance, sound design, SUNSHINE, suspense, THE LOOK LIKE PEOPLE, thriller

The idea of simply slipping on a headset and immediately being immersed into another world seems like something out of a sci - fi movie, but virtual reality gadgets, such as Google Glass, Oculus Rift and others, are making it possible.

However, the reality is that the kinds of books that I buy digitally are, to me, disposable entertainment, much like going to a live concert or movie theater.

The one thing that is making me finally like public speaking (even though I still get butterflies) is being able to tell people about the unfolding of the movie that has long been running in my head and how the next scene is coming to reality before my eyes.

The in - game premise is that the evil Lord Vortech is attempting to destroy all of the various LEGO dimensions and combine them into one; in reality, it's a handy excuse to see worlds and characters from some major franchises collide, including The Lord of the Rings, the DC universe, Doctor Who, The Simpsons, the Portalgames, The LEGO Movie, and more kid - friendly series like Scooby Doo, Ninjago, and Legends of Chima.

Just like Everybody's Gone to the Rapture and What Remains of Edith Finch before it, it's a stupidly short visual experience with little to no interaction or player input, which would have been more fit for a virtual reality movie or anything else other than a game.