Sentences with phrase «scale film stills»

Using a «found» Korean action thriller by director Kim Jee Woon, entitled A Bittersweet Life (2005), Webster works with paint and encaustic wax on large and small - scale film stills (computer - generated screenshots), which have been printed onto synthetic and slippery digital canvas.

Not exact matches

Frodo and Sam's journey had reached a point where the trials they had survived were balanced by the scale of what was still facing them, enabling the film to stand on its own.

On a scale of one to a hundred (one featuring no babies at all, and a hundred featuring all the babies in all of existence) this film could still only be classified as «babies».

By Scott Mendelson HollywoodNews.com: Yes, this looks pretty entertaining, it's well - cast, and yes there are moments that suggest a pretty large scale, but at the end of the day, it still looks like an Alien - type horror film.

Written and directed by master filmmaker Jia Zhangke (The World, Still Life), «one of the best and most important directors in the world» (Richard Brody, The New Yorker), this daring, poetic and grand - scale film focuses on four characters, each living in different provinces, who are driven to violent ends.

Though realized on a more modest scale than other Aardman features, the film is still an absolute delight in terms of set and character design, with sophisticated blink - and - you'll - miss - it detailing to counterbalance the franchise's cruder visual trademarks.

The fact that he is still chugging away, knocking out a film a year at 74 years old, is indeed impressive, and one frequently marvels at not only the consistent quality of his work, but the relative indifference when he hits pay dirt — i.e., if some young up - and - comer had knocked out a Vicky Cristina Barcelona or Match Point, he or she'd have been hailed as the Second Coming, but when it's Woody, we just chalk it up as an expectation, rate it on a comparative scale to his previous masterworks, and move on.

While it's awesome that digital effects can reduce the headache of shooting certain scenes, it's nice to know that even with a film at the scale of Rogue One they're still grinding out some amazing creature effects.

While the scale of the animals feels off since all of the creatures are roughly the same size, they are still wonderfully conceived and stunningly put on film.

Holofcener's last film «Please Give» ended up on many of our year - end lists in 2009, so while we're not expecting «big things» exactly — that's hard to say about small scale dramas about regular people — we are, as usual, excited and grateful that we live in a world where, despite all the tentpole tendencies, there's still a very viable space for Holofcener to make movies.

On the surface A Touch of Sin seems very different from Jia's larger - scale films Platform or The World, or his more intimate films Unknown Pleasures and Still Life.

The film has a pretty big scale and still looks great for a early 90's film.

Still, for all the acclaim it has received, Zhao is well aware that a small - scale film such as «The Rider» — the cast of which consists entirely of non-professional actors, including Jandreau's father, Tim, his sister Lilly and several of his friends — is in a lopsided battle for attention against studio behemoths such as Dwayne Johnson's «Rampage» and the upcoming «Avengers: Infinity War.»

With much of the film unscored (perhaps Happy Madison scaled back its usually plentiful needle drops to keep the cast - heavy budget at a still mind - blowing $ 80 million), you can hear a pin drop during numerous moments where laughter is anticipated but not earned.

I'm still going to keep making Mario Bros jokes about this movie and be fine with it... This week ok the podcast we discuss being alone and the film Prince Avalanche as David Gordon Green returns to much smaller scale filmmaking.

Instead of feeling like the same thing on a feature film scale, this film was able to take this character and show the audience his personal struggles, while still making a film filled to the brim with uncomfortable laughs.

The sliding Sandler scale, where you rate the film on just how much more or less offensive it was when compared to his previous works, is still completely applicable in The Ridiculous 6.

After this run of deeply ruminative, small - scale works, one last major film was still to come; Akerman's final narrative feature film, La folie Almayer (Almayer's Folly, 2011), based on the 1895 novel by Joseph Conrad.

Gokita continues his monochromatic series that explores the traditional portrait format on a range of scales, using source material from vintage postcards, magazines, found photos, and classic film stills.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

The oeuvre of Belgian painter Robert Devriendt (born 1955) is cinematic in character: his paintings, small in scale and highly detailed, resemble a series of film stills.

You may be familiar with her small - scale collage works that in the past have used quite romanticising images drawn from 50s and 60s film stills and hand - tinted postcard views, or perhaps you might have caught her Chapters exhibition that toured from Kunsthaus Zurich to Modern Art Oxford and the Fondazione Querini Stampalia in Venice last year.

His monochromatic works explore the traditional portrait format on a range of scales, using source material from vintage postcards, magazines, found photos, and classic film stills.

Thus, in the same way as large - scale earthworks, these smaller constructions became (and still are) dependent on the more traditional media of 2 - D photography and film.

Each of the small scale images is a black and white photograph staged and developed, to look like a still from a noir film of the 50s or 60s.

In 2011, in collaboration with the director and artist Harmony Korine, she exhibited Shadow Fux at the Swiss Institute in New York where she collaged, painted, and drew over large - scale faces of film stills from Korine's Trash Humpers, to create otherworldly beings that the viewer can feel in their presence.

Interiors - spaces inhabited both physically and mentally - still form her main subject matter, but for this show she abstained from the walk - in film installations she's become known for and focused on sculptures: small - scale models of rooms, mostly with the same floor plan though otherwise unalike, and sculptures of furniture, such as beds and armoires.

Highlights of the Norwich leg include All That Is Solid (2015), a recent film by John Akomfrah and Trevor Mathison concerning the transience and impossibility of capturing the unrecorded voice and the undocumented past; Spirit is a bone (2014), portraits of Moscow citizens by artist duo Broomberg & Chanarin created through the use of a facial recognition system recently developed in Russia for public security and border control surveillance; as well as a series of posters that reproduce on a 1:1 scale a scene from Ryan Gander's studio in which a still life has been constructed from research material on the subject of «The Still Life&rastill life has been constructed from research material on the subject of «The Still Life&raStill Life».

Still, given the scale of production, level of secrecy and vast room for human error surrounding new film and TV releases, it's a wonder that anything manages to premiere without first popping up online.