Sentences with phrase «remaking old films»

Lazy and completely superfluous, Bad News Bears isn't really a bad film, but it would be a very bad trend in Hollywood moviemaking if one were to keep remaking old films into new ones without doing very much differently.

Not exact matches

Among the top five films of 2016 was The Jungle Book, a remake of a 49 - year - old movie.

Remakes of grand old films are to be discouraged, but director Philip Kaufman gets away with this one on style and verve.

Echols thought the movie was bad, but I'll bet he will be tempted, for old time's sake, to see two other remakes of films he remembers from before his fall: Footloose and The Thing.

It's not as simple as «no one in Hollywood has ideas anymore» or that the industry just remakes older American films or scavenges other national industries for their most successful enterprises (Vanilla Sky, The Ring, The Grudge and so on).

«Far From the Madding Crowd,» another remake of older film — the original with Julie Christie and Alan Bates came out in 1967 — went from 576 to 865 theaters and brought in $ 606,000 in its fourth week for Fox Searchlight.

In other news, in an effort to prove converting older films to 3D is the new remake, it was announced at the International Broadcasting Convention in Amsterdam that Tony Scott's Top Gun is the latest film getting the 3D treatment.

Personally I haven't seen the old film, but enjoyed the remake, Keanu Reeves fits the character perfectly it's his type of role.

Garrett has also been in films such as 2009's horror remake of «Last House on the Left» and The Coen Brothers» «No Country for Old Men».

The 79 - year - old writer - director - actor was accompanied by two of the film's stars, Emma Stone and Parker Posey, but it was Allen who held court during the 40 - minute press conference, speaking on a number of topics including world philosophy, remaking his own work and his upcoming Amazon Studios TV series.

Following a disappointing turn in the underwhelming OLD BOY remake, Josh Brolin will return to his NO COUNTRY FOR OLD MEN writer / directors The Coen Brothers for their next film, HAIL CAESAR, opposite the already cast George Clooney.

Medium jumps are never an easy thing to do, whether it's today's commonplace practice of remaking an old television series as a film residing between homage and parody, or as in the case of The Muppet Movie, simply bringing characters who found popularity on TV to a cinema audience.

For his part, Protosevich has written I Am Legend and Thor as well as the upcoming films Jurassic Park IV, Mass Effect and the U.S. Old Boy remake.

The film was a sizeable success, but instead of continuing to put twists on older films, Disney instead started straight - up remaking them.

Ann Sheridan, with lots of oomph, takes over Bette Davis» old role (and Jeanne Eagels») in this Americanized remake of the film versions of the classic W. Somerset Maugham short story «The Letter.»

It's a very old - fashioned kind of film, a remake of a 1942 Italian film Four Steps in the Clouds (Quattro Passi fra le Nuvole), and with the exception of some more modern themes and overall sexiness, this update probably could have been made without much alteration back then as well.

The nominees are Herman Yau's bomb disposal actioner Shock Wave, which is a fun old school Hong Kong film but not really a serious contender, Wilson Yip's Paradox, which is also quite a good action film (it may be part of the SPL series) and has a better chance but probably not, and Chasing the Dragon, which I haven't seen yet but also chases that early 90s Hong Kong vibe (it's kind of a remake of 1992 Best Film winner To Be Number One).

But rather than merely update the old formula with new effects, along the lines of last year's Ghostbusters remake, the film instead becomes a cute romance, as Babyjohn accidentally turns a pretty vampire girl almost human.

There's a certain joy in gender - flipped remakes and the way they skewer original films, bringing new life into old classics.

I know it is a bit shocking for a film buff to have never seen those old black and white classics, nor have I watched that Matthew Broderick remake from 1998.

Darkness comes thisclose to reaching sci - fi classic status, but the screenwriters opt to pay homage to old stories instead of charting their own path making it feel more like a remake and not the fresh start suggested by the 2009 film.

Despite the uptick in remakes, it's extremely difficult to identify a few dozen great ones — particularly when you exclude movies like The Thing, which represent the second attempt at adapting a novel — and yet we can't deny that some of the greatest films ever made wouldn't have been possible without slapping a new paint job on an old chassis.

THE LADYKILLERS (Grade: D): This Coen brothers remake of the classic 1955 British comedy — with Tom Hanks in the Alec Guinness role as the leader of a gang of crooks who plan a heist in the home of a dotty old woman (Irma P. Hall)-- not only misses all the wit and charm of the original, but it may stand as the clumsiest, crudest, least funny and most pandering of all their films.

«Far From the Madding Crowd,» another remake of an older film — the original with Julie Christie and Alan Bates came out in 1967 — went from 576 to 865 theaters and will bring in $ 2.8 million in its fourth week for Fox Searchlight.

Hollywood's fascination with remaking old television shows into film continues with our subject for today, The Man from U.N.C.L.E., a slick action spy caper from director Guy Ritchie (Sherlock Holmes).

It's almost a miracle that despite numerous problems — a cultural context that's implausible, characters that are too old, a cast - against - type Richard Gere, a wooden Jennifer Lopez, clumsy direction — that Shall We Dance the American remake of the 1996 Japanese hit, is an enjoyable film.

This setting allows Bay and writer Ehren Kruger (who wrote two good movies over a decade ago — Arlington Road and The Ring — before descending into Hollywood hackdom) the films only flourish of ironic «wit» — the crotchety old gent theatre owner (great character actor Richard Riehle, wasted here) complains that all they make sequels and remakes nowadays.

Villeneuve just didn't remake the original film, like a remaster of an old Frank Sinatra song.

«PETE»S DRAGON» — Disney's remake of a ’77 film that most wouldn't call a classic was a refreshing, old - fashioned adventure not just for kids.

It was a very different take on this material than the old Charlton Heston films or even the Tim Burton remake.

A remake of sorts of the 1969 film La Piscine, A Bigger Splash tells the story of ageing rock star Marianne Lane (Tilda Swinton) and her younger lover Paul (Schoenaerts) who, while vacationing on the volcanic island of Pantelleria, are unexpectedly joined by hirsute old flame Harry (Fiennes) and his daughter Penelope (Dakota Johnson).

With all the hype and controversy surrounding the idea of remaking «Ghostbusters» with female stars, the idea of judging the new movie on its own merits, instead of comparing it to the 32 - year - old original — arguably one of the 10 funniest and most original films ever made — is laughable.

She remembers bits of old Tarantino films, and then proceeds to remake them in brash, story - boardy constructions, complete with pink Cadillacs with their diabolically dangerous yellow headlights and a grease - quiffed gangster.

Yet, while Made in L.A. appeared as diverse and sprawling as the city whose art it presented, it might also be argued that the bulk of the work on view extended four familiar (and familial) lineages of Los Angeles art that were well represented in «PST»: hard - edge abstraction (represented here in paintings by Brian Sharp and Alex Olson and painterly objects by Lisa Williamson and Brenna Youngblood), found - object assemblage (in the work of Liz Glynn, Ry Rocklen, Henry Taylor, and Erika Vogt, among others), eclectic performance practices (including live pieces by Math Bass, Kenyatta A. C. Hinkle, and Ashley Hunt, as well as the collective Slanguage's array of community - based works at LAXART), and film and video projects that pointed, more or less, to the looming shadow of Hollywood (e.g., Miljohn Ruperto's Seven and Five, 2012, which includes multiple remakes of a 1961 episode of the TV show Alfred Hitchcock Presents, and Dan Finsel's The Space Between You and Me, 2012, for which the artist restaged Farrah Fawcett and Keith Edmier's decade - old roll in the clay).

One is a personal retrospective of the Super-8 films the artist created during his first two decades of art making; another comprises two portraits, one of an old Thai farmer ritualistically toiling through the day and the other of a European artist at work; finally, and most poignantly, a frame - by - frame remake of the great German film - maker Rainer Werner Fassbinder's key film Ali: Fear Eats the Soul (1974).

In this work Shulie (1997) Subrin remade, almost shot for shot, a rediscovered 1967 film produced by four male graduate students about a young female art student, 22 year - old Shulamith Firestone, in an attempt to create a portrait of the «Now» generation.