Sentences with phrase «regard to the films from»

Not exact matches

This classic German silent film from the 1920s (which some regard as the first horror movie) follows an insane doctor who uses a sleepwalker to commit murders.

Today's question comes from ochaos on reddit, who asks how things are going with regards to the recent changes in Sprint's financial eligibility date checker: Comment from discussion We're filming another...

Regarding Bright's initiative, Movieguide publisher Ted Baehr said, «I think it says to Hollywood that they can make a film like Joan of Arc or Prince of Egypt and expect more communication and cooperation from the church.»

Locus Corporation wishes to apologize regarding the first elements of our marketing campaign (in the form of a Cannes billboard and a trailer) which we realize has had the opposite effect from that which was intended... Our film, a family comedy, carries a message designed to challenge social prejudices related to standards of physical beauty in society by emphasizing the importance of inner beauty.

Those quibbles aside, though, I'd recommend the film to any parents or teachers who'd like to get a productive conversation going with children regarding where our food comes from and how our food's origins affect our bodies and our world.

When Roberts was asked what stood out to her the most from the film regarding the lesson in civic engagement she responded «just basically let's do it — let's get involved — that's basically what they are all saying.»

While I find Shrek the Third to be entertaining enough to give it a pass in this regard, I fear for the future of the series, as now they've gotten even further away from the Grimm Fairy Tales / Disney world that the previous films spoofed, opening up the series to legendary characters and other tales of adventure.

Snyder was rightly criticized for Superman's lack of regard for saving human lives in the first film, so in this film he tries to rectify that with a montage early on showing Superman saving people from burning buildings, exploding rockets, deadly floods.».».

Well, they are right in that regard, which seems to be the real point of the film in the end, as these are people who live from day to day without much to look forward to except to go to work and drink all night, then do it all again the next day.

Issues regarding pacing and structural tightness are among the more considerable in this film, which promises to be rather extensive as a biopic, only to succumb to anything from repetitious filler, - at its worst with the forceful and recurrent insertion of a recital of Oscar Wilde's own short story «The Selfish Giant» - to meandering material whose being backed by steady directorial storytelling by Brian Gilbert leads to moderate bland spells.

The film's condensation of the years that took Wiseau to get over his heartbreak regarding the unexpected laughter that resulted in screening his «drama», and finally embrace the comedic aspects of the film, takes a bit away from important character development that could have given the third act a bit more substance.

And while this film certainly isn't free from guilt in that regard, for the first time, we can imagine what it might have been like to know the man.

Eddie Redmayne opened up regarding the upcoming release of Fantastic Beasts and Where To Find Them to EW at PopFest in Los Angeles, and addressed how the film sets itself apart from the Harry Potter franchisTo Find Them to EW at PopFest in Los Angeles, and addressed how the film sets itself apart from the Harry Potter franchisto EW at PopFest in Los Angeles, and addressed how the film sets itself apart from the Harry Potter franchise.

While a step up from Cline's book, and while Spielberg does make a number of attempts to comment and dissect many of the more noxious elements regarding gender and race that are found inside the story, the film never seems to be fully able to reconcile any of its major themes in ways that aren't either condescending or offensive.

The Camera d'Or, which is given to the best first film from any section of the festival, went to Leonor Serrail's «Jeune Femme,» which screened in the Un Certain Regard section.

«The Revenge of Jennifer Hills: Remaking a Cult Icon» (16:22) gathers comments from cast and crew regarding the original film and what their involvement in this remake meant to them.

In an age when the offspring of famous actors seem to be granted front of the line status with regard to acting work (Rumer Willis, your table is waiting...) I wasn't expecting much from a film that stars the son of Jack Tripper, John Ritter.

There are some interesting moments when we see the same moments from different perspectives, but this film doesn't really sit on the fence at all with regards to the «truth» of Emily's demise.

The thoroughly awful movie that resulted from their collaboration would go on to become a midnight cult classic, one of the most highly regarded so - bad - it's - good films ever made.

It is almost as if director Nicholas Winding Refn has taken all the good regard generated from his last film, Drive, and experimented to see just how far he could use it to push the audience before they stopped to question the actual worth of the work at hand.

Other films from Cannes making their US debut at Telluride include the Russian «Loveless,» directed by Andrey Zvyagintsev, about an unhappy couple searching for their son, and winner of Cannes» Jury Prize; «A Man of Integrity,» by Mohammad Rasoulof, set in corrupt Iranian society, which won the Grand Prize of the Un Certain Regard section; «The Rider,» by Chloe Zhao, about a badly injured young South Dakotan rodeo rider, which won the top prize, the Art Cinema Award, of the Director's Fortnight; «Tesnota (Closeness),» about a Jewish family forced to try to ransom their son and his new bride, also in Un Certain Regard, by Kantemir Balagov; and Barbet Schroeder's documentary about a Buddhist monk, «Le venerable W.»

While Buchanan's logic with regard to the summer tent pole is sound, there's one glaring omission from his article: the outstanding box - office performances of The Purge and The Conjuring, two original works, both horror films.

Regarding the latter, the jolt from brutal action to comedy, or vice versa, makes a film like War Dogs darkly hollow, and unintentionally uncomfortable.

Coupling that with a few of the points mentioned above, like the fallout from his father's death and the disdain from his sister regarding the mantle of Black Panther, we'd expect next year's film to knock this one out of the park.

Directed by Matthew Vaughn and adapted from Mark Millar and Dave Gibbons» graphic novel called The Secret Service, the film borrowed a great deal from the James Bond mythos — the tuxedos especially — while exercising a shocking amount of audacity in regards to sex and violence.

«Contempt,» a satirical drama starring Brigitte Bardot and Jack Palance, was released in 1963 and is regarded as one of the finest films ever made in CinemaScope, an anamorphic lens used from 1953 to 1967.

The film may very much be about the idea of Superman, but there is little - to - nothing regarding who this specific Superman is as a human and / or a god from another world.

Thanks to the forthcoming European Parliament election (which was moved from June to late May, and now conflicts with Cannes» final weekend), only one Competition film was screened yesterday, leaving me free to poke my nose into the sidebar program called Un Certain Regard.

Once Lovelace becomes a star, however, the film jumps ahead (six years, to a polygraph test regarding claims in Ordeal) and then back again, replaying the events up to and including Deep Throat from an altogether less jovial perspective, in which Linda is the victim of physical abuse and threats of violence.

By its end, however, the themes that make the film stand out in the first place don't seem to come with any specific message attached, which is disappointing, and it suffers from the same obvious potholes regarding parents and police that so many of its compatriots fall victim to as well.

Aside from some occasional set photos from Fallen Kingdom, not much has been teased regarding its story, although, Colin Trevorrow did compare the Jurassic World sequel to a Spanish horror film earlier this year.

David Lynch's Mulholland Drive contends that the answer to the eternal struggle between what is real and what is fantasy comes in the form of a Keatsian confusion — it's the difference between Adam's dream and Eve rendered flesh, blurred in the mind of the creator and his audience.A film is a dream of the director made tangible, a conceit familiar from the fourth wall - breaking in Ingmar Bergman's Persona (banishing any mystery there might have been regarding the visual references to that film in Lynch's piece), and a movie's characters therefore become projections of its maker's sublimated longing (clarifying too the auteur's use of wardrobe and colour schemes from Hitchcock's meditation on objectification, Vertigo, as well as those of his first collaboration with inamorata Tippi Hedren, The Birds).

While the dense narrative was sometimes hard work getting through while reading the Thomas Pynchon novel it was adapted from, in the film I found it was liberating to regard the story as secondary to the atmospheric and playful mood generate by Anderson.

Though the film became mired in the controversy regarding the personal life of its writer / director / star, Nate Parker, I believe that the picture deserves to be seen for its powerful staging of a vital tale from our history.

All in all, your feelings regarding Hero as a film will probably run the gamut from a confusing, boring spectacle, all the way to a visual epic masterpiece.

A + CinemaScores are rare — and audiences are responding to the great authenticity and heart of Coco and that gives confidence for Disney in regards to the pic holding during the upcoming weeks before Star Wars: The Last Jedi and through Oscar season where this heartwarming ancestral film has the edge next to the bulk of this year's lightweight comedic animated titles from the majors.

Questions from all of you, many that are in regards to «Avengers,» «Suicide Squad,» and Superhero films in general.

The sort of problem Sontag has with Jameson is, of course, the very argument Bordwell has with anyone from Slavoj Žižek to Jacques Lacan, evident in a comment he makes on his blog (but not in the book) that echoes directly Sontag's: «Most of FRT [Zizek's The Fright of Real Tears] offers standard film criticism, providing impressionistic readings of various [Krzysztof] Kieslowski films in regard to recurring themes, visual motifs, dramatic structures, borrowed philosophical concepts, and the like.»

Those lucky enough to not have sat through the first two cartoonish films from a decade ago don't have the knowledge of what came before, therefore the expectations they may have regarding this film are unbiased.

«Holding on to anger is like drinking poison and expecting the other person to die» — Buddha Directed by Lee Unkrich («Toy Story 3») and Adrian Molina, Coco, the latest animated film from Disney - Pixar tells us to follow our dreams, seize the moment, and regard our family as paramount.

«We feel that out of 2000 films considered by the Festival, the 18 we saw in UN CERTAIN REGARD — from Argentina to China — were all in their own way winners.

In this regard, legends that have come out of Philadelphia are referenced both by dialogue from the characters within the film, and within the soundtrack.The most notable needle drop occurs when Creed arrives in the city, a quick montage unfolding to «The Fire» by John Legend and The Roots - not just a great song about ambition and drive, but also by Philly's local boys done good.

Having been on the Croisette before with his debut film Un 32 août sur Terrre (Un Certain Regard), and the Directors» Fortnight was home for his epic short Next Floor and sobering Polytechnique, the Quebecois helmer saw his critically lauded Incendies and Enemy receive a pass from the fest, but it was this work that ultimately convinced backers with deep pockets to have the auteur filmmaker move onto large - scale productions (Prisoners, Story of Us, the Blade Runner sequel), and in turn Sicario is now among the hopefuls for the Palme d'Or.

The introspective, soft - spoken actor will be interviewed in an onstage Q&A at A Tribute to Viggo Mortensen on Saturday, June 11 at the Egyptian, followed by a screening of his latest film Captain Fantastic, which premiered at Sundance earlier this year and was just honored with the Best Director prize for writer / director Matt Ross from the Un Certain Regard section of Cannes.

Telluride shows off some 25 films in four days — not counting all the retrospective cinema — and so there's lots more to get excited about including the world premiere of «Amazing Grace,» a Sydney Pollack film about Aretha Franklin, finally completed years after the director's death, Laurie Anderson «s «Heart Of A Dog,», Berlin winner «Taxi» from Jafar Panahi and Un Certain Regard victor «Rams.»

But it's important to regard the series as a whole, and with the eighth installment («The Fate of the Furious «-RRB- opening this weekend, now is the perfect time to chart its bizarre evolution from action film knockoff to genuine pop culture phenomenon.

The film, which already has distribution rights with the Weinstein Company, is probably one of the most buzzed films at the festival due to the fact that Carney is the genius behind the Sundance sleeper hit Once as well as the well regarded Begin Again from 2014.

The director himself sits in to provide an interview, explaining various facets of the movie's production including its relationship to his 1983 work The Fourth Man (which he sees as a quasi-prequel), the influence of Vertigo on the film, where inspiration for the infamous leg cross / flash scene came from, and his deciding with Michael Douglas to cast Sharon Stone, who at the time was not yet a star performer but one of the few actresses who would agree to Verhoeven's conditions regarding sexual content and nudity.

In an especially amusing exchange, Baumbach says he doesn't really care whether the film offends any members of his immediate family, to which Lopate responds that he himself still feels guilty with regards to some of the non-fiction he's written, prompting a deadpan «Yeah, so do I» from Baumbach.

When The Squid and the Whale comes at last to a scene of a child regarding an object of repressed fear with frank wonder, rather than taking the easy analytical road by speaking of the phallic whale vs. the devouring squid, I think it's closer to the mark to see Baumbach himself gazing up at his film and wondering how it is that parts of his childhood could look so mundane freed from his skull.