Sentences with phrase «romance films like»

The two also penned other coming - of - age teen romance films like 500 Days of Summer, The Spectacular Now and Paper Towns.

A litmus test: if you find that you enjoy revisiting sweeping modern romance films like Titanic and The Notebook, you owe it to yourself to give Somewhere in Time a try, especially as it contains elements that both films have emulated.

Her career has continued to be just as eclectic, with appearances in thrillers like «Red Eye» and «State of Play,» action films like «Sherlock Holmes,» and romance films like «The Time Traveler's Wife» and «The Vow.»

Lastly, the vampire genre has hit mainstream audiences with cheesy teenage romance films like Twilight, making vampire based films hard to take serious.

Not exact matches

With those two films showing potential weaknesses, there is room for a surprise winner like Get Out, the horror film about racism, or the coming - of - age LGBTQ romance Call Me By Your Name, among others.

We also wanted to appeal to people who enjoy character driven indie films like the ones Tom has made in the past (Fairhaven & Manhattan Romance).

We both like country music, romance film and dog.

Some Kind of Beautiful (Canadian title: How to Make Love Like an Englishman, UK title: Lessons in Love) is a 2014 comedy / romance film written by Matthew Mira Dating Game Gets Bi - Summer Day Mike Panic Penelope Reed Lance Hart en línea en.

It's a ground - breaker like «Guess Who's Coming to Dinner» (1967), the first major film about an interracial romance; it uses the chemistry of popular stars in a reliable genre to sidestep what looks like controversy.

Romance and westerns go together like peanut butter and jelly in these films from the FilmOn library.

This film plays out more like a very slow - burn romance with a few action scenes that are pretty average.

No hate for H.G, but McAvoy, while bearing some of the awkward romance of Grant's puppy - like characters in the R. Curtis films, has none of the affectedness of Grant's lean - to's; the floppy hair, the eyes that blink so furiously you think he's about to have a seizure, the nerdy stuttering.

The film does show more bravado about attacking relatively safe targets (like big insurance companies) than venturing into an interracial May - November romance.

A supposed romance with Amber Heard generates lots of lust but goes nowhere, just like the film's main conflict.

The film also goes a bit easy on its characters considering the time period (apart from Carol's custody battle, they don't experience any persecution), and while it looks gorgeous — like an oil painting of soft pastels — you don't feel the romance as much as you should; it's sensual, but emotionally distant.

The film begins with Arash (Arash Marandi), a handsome gardener, leaning against a ’57 convertible in sunglasses, doing his best Martin Sheen in Badlands; like Malick's character, he will soon become entangled in a doomed romance.

Although there are some places where the film feels like your usual boy - meets - girl tale, it does take a fresh approach to the romance genre.

After Submarine made my Top 10 Films of 2011, hearing that the film's young star Craig Roberts was starring in another coming - of - age romance sounded like just what the doctor ordered.

Playing like some warped configuration of sci - fi, romance, and heist film, Upstream Color works best as a portrait of two people's embattled quest to heal after trauma.

Jennifer Lopez and Ralph Fiennes (in what feels like a rare turn) have palpable chemistry, and the film is shot with the sweeping air of off your feet romance that we desperately want to see in our romantic comedies.

Even his music in lower - key films, like the Keira Knightley romance «Last Night,» turned out to be among the composer's highlights.

On the outside, it looks like this film — a plucky and resourceful, yet measured and formidable, female protagonist, the ever - seductive pseudo-Gothic setting, pin - up flavour of the month Tom Hiddleston — but to dismiss Crimson Peak as a Gothic romance for girls is to do it a huge disservice.

The Hunger Games drags at times, is not particularly imaginative as much as it's campy, the romance part seems more perfunctory as touchy - feely love than steamy and any complexities in characters or angry revolutionary messages can't be drawn out on film like they were supposedly in the book (I'm not one of its 26 million readers, but I'll take the word of those who stated that was so in the book).

Annie Hall, Manhattan, even a more recent work like Vicky Cristina Barcelona — a great number of Allen's films deftly sketch the tricky terrain of romance.

When the film makes its unfortunate shift from provocative comedy to drama, it begins to feel like a series of maudlin music videos interrupted by romance and saccharine uplift.

Along with films like Punch - Drunk Love (P.T. Anderson, 2002) and Jane Campion's In The Cut (2003), Lost in Translation represents a significant departure from the predictable depiction of romance.

And I really like that it doesn't hold back, because with artificial intelligence being addressed in so many sci - fi films someone smart needs to carefully handle topics like sex and romance.

If you don't like this movie, it's going to be hard for us to have any serious conversations about film, be it Kubrick, Fellini, Hitchcock or Bay» be it gothic romance, Fordian westerns, The French New Wave or the Dogme95 movement.

I like Tony's films more than you (True Romance is great) but Domino is lame and Ikea Knightley is seriously miscast.

Writer - director Richard Linklater is mostly known for his original and personal films like Dazed and Confused, Boyhood, and the novennial European romance series that began with Before Sunrise.

The character's step - by - step process of fixing his inadequacies would be rousing montage material in another, simpler romance (perhaps like the ones Gordon - Levitt parodies in the film, starring the likes of a humorously clock - punching Channing Tatum and Anne Hathaway).

The relationship between the lovelorn Dracula and the heart - crossed Mina is given special attention, particularly in the latter half of the film, and the romance ends up feeling like a destination to which the audience never traveled.

The second section of the film feels very much like a talky Richard Linklater picture (think «Waking Life,» or moments of «Slacker «-RRB- and essentially boils down to a big table of friends eating and conversing about life — intellectual, philosophical and social ideas revolving around technology, sex, romance, memory, perception and more.

character, his tentative romance with that film's co-star Emma Stone (dressed like Jessica Rabbit) impossible to invest in or even follow unless it's read as a continuation of that courtship in an alternate timeline.

The film plays out like a romance drama, with the lovers being Uygur and YouTube.

At the same time, it feels like a big film in the way that some»40s and»50s Hollywood romances feel vast, despite restricted settings: it's executed with great opulence, with a sense of detail that makes it seem hugely expansive.

While Jarmusch mostly described it as a romance during the NYFF Q&A, that feels like only one facet of a layered film that says so much about culture and its erosion, idols, nostalgia, civilization's decline, and art.

Like The Age of Innocence, these films also examine social manners between rich and poor, and have forbidden romances.

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.»

At the center of the film's roundelay of revelers are the icy Charlotte (Kate Beckinsale) and the demure Alice (Chloë Sevigny), by day toiling as publishing house assistants and by night looking for romance and entertainment at a Studio 54 — like club.

by Walter Chaw Lyrical, dislocated, and grim in the fashion of a Derek Jarman film (and director John Maybury served as editor on Jarman's The Last of England), The Jacket, like Altered States, Miracle Mile, Jacob's Ladder, and 12 Monkeys before it, is the sort of doom - filled genre romance that's regularly underestimated in popular contemporary conversation.

Like many period romances, a great deal of the film's assets reside in the lush cinematography, beautiful environs, and elegant costumes, sumptuously presented by cinematographer, Stuart Dryburgh (Aeon Flux, The Recruit).

What with all the Twilighting going on lately, we should be thankful that once in a while a film like Easy A comes along: a film that honestly and unwaveringly addresses what it means to be a teenage girl in this image laden, information drenched age, rather than resorting to archaic romance fiction techniques with passive heroines who do nothing but wait for inherently violent men to make all the hard decisions.

Taking inspiration from films like The Innocents and The Haunting, Del Toro has been pretty vocal about defining his latest project as a gothic romance, rather than a traditional horror movie.

Final Victory was written by Wong Kar - wai, one of the last screenplays he wrote before his 1988 directorial debut As Tears Go By, and in this intersection of genre film and full - blown romance, it is consistent with his later works, where the primal DNA of films like Days of Being Wild, Fallen Angels and even Chungking Express can be found in Hong Kong cop / gangster sagas (As Tears Go By is explicitly a Triad film).

Like the film's central romance itself, I suppose — or like the dark secrets behind the creation of the House of Woodcock's signature desiLike the film's central romance itself, I suppose — or like the dark secrets behind the creation of the House of Woodcock's signature desilike the dark secrets behind the creation of the House of Woodcock's signature designs.

The romance such as it is, is the nicest thing in the film, and there are some other funny moments, but despite the local pedigree in genre and in the veteran talent on - screen feels weirdly unrooted, like so many Hong Kong films trying to appeal to audiences outside the (former) colony.

It also occurred to me that movies about sexual freedom, such as Crash, Baise - moi and 40 Days and 40 Nights, tend not to receive the same kind of praise as films about sexual repression like this, Trouble Every Day and Romance.

Yet whoever Todd Haynes's playful and visually swooning «Wonderstruck» is for, it still feels like a film from the director who made the brilliant 1950s romance «Carol» and the dazzlingly original Bob Dylan biopic «I'm Not There».

A touching father / son story about romance, car washes and disco, this movie is like little else ever set to film.