Sentences with phrase «referencing films like»

I feel that on some level the game is attempting humour, and perhaps referencing films like this.

And we definitely referenced films like «Quo Vadis» and «The Bible,» you know.

Not exact matches

Russell said he thought media reports had made potential negative consequences of AI seem like they were all but already happening and said references to the Terminator film franchise in descriptions of AI were misleading.

The Kevin Smith era (like it or not) started with this different kind of independent film that had countless pop - culture references and adolescent humor.

As we've come to expect from these type films, the dialogue is loaded with numerous goofy puns and timely pop - culture references that always provide entertainment for the grown - ups, but I don't think we've ever had them thrown at us at such a machine - gun like pace.

This animated superhero parody makes so many zippy references to film, music and other mass obsessions, it's like watching stand - up comedians trade riffs with each other on a Just For Laughs stage.

At least the movie doesn't resort to tacky modern references or pop music, and like most animated family films these days, «Coco» also has some adult appeal.

In the liberal 90's it just seem like an unnessary reference to the older film.

Black Panther's cast and creators trod carefully around the movie's connection to current politics in the press conference attended by Screen Rant, with Chadwick Boseman saying that anything that seems like a reference is just coincidence, and Marvel Studios President Kevin Feige saying that «things have happened in the world which make the film seem more relevant.»

5 Films (And A TV Show)... A series where we recommend films referenced, inspired, influenced or generally like a certain Woody Allen film, from his first to his latest.

Philip Glass (The Illusionist, Undertow) coats the film with his usual whimsical style, and though the film might be deemed as too slight in its subject matter to merit such heavy - handed compositions, the music is actually completely in keeping with the tragic allusions underneath, with motifs based on magic (wizard hats, old cats, strands of hair, and gold stars tie in to the coven - like relationship of the women) as well as Biblical references (Sheba is short for Bathsheba, the Old Testament woman seduced; Barbara's last name is Covett, and covet she most certainly does).

5 Films (And A TV Show)... A new series where we recommend films referenced, inspired, influenced or generally like a certain Woody Allen film, from his first to his latest.

Which is not to say that Battleship isn't filled with them, just that they feel fresh because of things like the clever way in which the film references the original board game, or the way Jesse Plemmons takes a stock role — the sailor who talks too much when he's nervous — and adds just a few quirks that make him feel like a real individual.

Like many of Rogen's other films, «Sausage Party» exists to poke fun at films in general with its meta - references and seeks to emphasize some sort of screwed up part of our psyches.

In his eloquent fulmination on «the De Palma Conundrum,» The New Yorker's Richard Brody says, «De Palma's peculiar fealty to the history of cinema — his overt dependence upon the films of Alfred Hitchcock and his plethora of references to other classic filmmakers... results in zombie - like movies.»

Calling Brolin «Thanos» is a funny little barb, but when Domino asks if it's derivative for Wilson to call his super-group X-Force, it's hard to know if she just means of the X-Men, especially since the crossed - arm gesture he's making feels more like it's ripped off from Black Panther's Wakandan salute — a reference somebody on the film surely could have, and should have acknowledged.

A fan of Requiem for a Dream, Gaghan cribbed that film's composer as well as its cinematographer, Matthew Libatique; joining Gaghan for a screen - specific commentary track, Libatique is not afraid of alienating the viewer in name - checking development techniques — as a «Dawson,» I found myself transcribing terms like «cross process» for future reference.

With a title like Le Week - End, it would not have been unreasonable to expect yet another film made up of smug cineliteracy and French New Wave referencing.

The films of Ridley Scott — like the feel of Tyrell's office and bedroom sets in Blade Runner — and David Fincher were big reference points.

Along the way, we hear numerous references to events in the previous films, much of it filtered through fleeting cameo appearances by former MVPs like Joan Allen, David Strathairn and Albert Finney.

«It feels like we are living in the sunken place right now,» said «Get Out» writer - director Jordan Peele, accepting the Stanley Kramer Award, making a reference to the film's signature moment that he sees as a symbol for the marginalized.

Refreshing would be a cheap teensploitation flick that resisted making copious references to Casablanca (homage particularly self - important as the demographic for garbage like this most likely doesn't remember any film more than two years old), and just served up the prurience with pace and technical proficiency.

In order for faux - subversive films like Deadpool to succeed, there has to exist also a comprehensive and well - crafted status quo, and the Avengers films are the superhero point of reference.

But does all the referencing and homage — and not just to Demy, but also to Golden Age Tinseltown productions like An American in Paris, jazz greats like Miles Davis, and even (in the film's funniest scene) the English new - wave band A Flock of Seagulls — add up to much of anything original?

It's not just a hall of mirrors where you're just referencing old times like the characters in the film?

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 donuts.

With post-modern, intertextual references to films like POINT BREAK and BAD BOYS II, they proceed to blend the Michael Bay and John Woo - isms we've become so familiar with into the tropes of small town, British crime drama such as MIDSOMER MURDERS.

Prior to that, there's some good stuff going on, and Cody generally restrains herself from her tendency in prior films to show off with dialogue and references (I'm OK with her slipping in a little Ladies and Gentlemen, The Fabulous Stains just»cause I like it - but you couldn't resist, could you, Cody?).

For example, he notes, True Romance is inspired by Badlands, but Badlands was inspired by earlier films like Gun Crazy, They Drive by Night, and You Only Live Once, creating a «double frame of reference.»

If this sounds like it could have been the comedy version of TRAINING DAY, then it could have been, but the lazy writing would rather acknowledge that outright with constant references to the superior film, including word for word recreations of dialogue.

While characters like Phil Coulson, Nick Fury, Maria Hill and Lady Sif have appeared on «Agents of S.H.I.E.L.D.,» and both the ABC and Netflix dramas have referenced, and even directly addressed, events from the films, it's clear fans desperately want to see the TV heroes interact with Earth's Mightiest Heroes.

I had heard it had lots of film references & it did, it made me realise I'm really not the film buff I like to believe I am as most of that went over my head.

I suppose it would be somewhat similar to the Japanese seeing a film like Shrek, with all of its heavy references to Grimms» Faerie Tales, and enjoying it nevertheless because of the story and characters themselves.

I like to have a frame of reference when it comes to the bard but in this case, I capitulated and couldn't resist putting the film off any longer.

Part of what's least Dreyer - like about Breaking the Waves is von Trier's calculated and postmodernist sense of film reference.

Like Wright's films, Paul is crammed with references, but for the most part they're just references for the sake of references.

Any references you might pick up on are unintentional or subconscious, there are no overt references in this film, even films you could possibly apply it being similar to, like INVASION OF THE BODY SNATCHERS or STEPFORD WIVES.

Coming after a pair of uneven broad comedies, The Ladykillers and Intolerable Cruelty, the stark, stripped down, formally - controlled aesthetic of No Country, appeared to be a departure even from films like Fargo, Miller's Crossing, Blood Simple, and The Man Who Wasn't There, which were similarly grim and violent, but still contained their signature moments of absurd humor, references to older movies, and self - conscious pastiche of classic Hollywood genres.

Like a well - designed but unyielding uniform, problematic historical references get swept up in the illogical, pulpy melodrama of the jungle - raised brawny specimen to confirm the ever beloved theme of «white is right» in a film with an alarmingly subconscious reiteration of European approbation.

John Michael McDonagh plants these references - music, literary, philosophical - like little land mines in his stormy dream of a film.

In other words, almost everything in this film feels like a reference to another movie, but it's expertly assembled to look fabulous from start to finish, with some seriously striking sequences along the way.

The trademark Landis flavour can be felt in the film, with the characters» constant post-modernist references all feeling like shades of Landis» personality himself.

And with reference to so many other indigenous artists like Link Wray (the film's title is a reference to his hit instrumental guitar rock anthem, the first use ever of the power chord, so stirring it was the first and one of the only instrumental tracks to be banned from American air waves), Mildred Bailey, Jimi Hendrix, Wayne Kramer, Buffy Sainte - Marie, Robbie Robertson, Stevie Salas, Howlin» Wolf, and many more.

The film's title is a reference to wildebeests, those massive, horned, antelope - like creatures known for migrating thousands of miles across African plains to reach grazing grounds.

Hitchcock references are everywhere: in the names of Woodcock and Alma (the real - life name of Hitchcock's wife and collaborator), in the «Vertigo» - like references to the way the dead watch over the living, and the way Hitchcock's 1940 film «Rebecca» casts an elegant shadow over the entire film.

I can't say for sure whether audience members of this film who didn't grow under these very specific circumstances will be able to fully appreciate the significance of things like admitting that, despite the overwhelming pressures of teenage coolness, you actually like the Dave Matthews Band song, Crash Into Me, but I can say that those who recognize versions of themselves on the screen in Lady Bird will be grateful to be represented by an auteur with such an astute and funny method of illustrating the meaning behind our reference points as they applied to us a long time ago.

Like the best coming - of - age films, in Lady Bird, what is far more essential than relating to the references is understanding that they do not exist for the sake of throwbacking - the language of so many nostalgia cash cows these days.

One would hope that these films will rise above their own tropes and not turn into a lumbering ball of self - referencing with little substance like the James Bond series.

is, like every Coen film, packed with references and homages.

The jokes reference beloved scenes from the first film, but it never feels like a re-hash of old material (they even manage to elicit laughs from a dated reference to «Gangnam Style»).