Sentences with phrase «seen in a studio film»

Finally, it closes with the best finale of any film this year, the most heart - wrenching ending I've seen in a studio film in years, that for once shows us the emotional toll that a taut thrill - ride would have on a person in real life.

You don't see it in the studio films, but he's kind of Gary Cooper decent and a real throwback.»

Not exact matches

So Paramount, in the wake of a disappointing 2017 that saw big budget films like Transformers: The Last Knight and Ghost in the Shell underperform while the studio's would - be Oscar hopefuls Suburbicon and Downsizing were DOA at awards season, is looking to make some changes in 2018 and selling God Particle off to Netflix may be a cushy deal.

The studio where «Chicago Fire,» «Empire» and other shows are filmed is taking control of adjacent Douglas Park streets to build outdoor sets of the sort you'd see in Tinseltown.

It fascinates me that the tendency of Hollywood is to use the locked - in audience of a franchise like cattle to a slaughter, spiting patrons with no more than they'll merely settle for because studio executives know they'll see the film anyway.

The only draw of the film was the dancing talent that was shown, which, as I feel that anyone else in that theater can support me on, would be better seen at a REAL dance studio today.

In fact, Paramount was the only one of the six major studios to see a drop in average Metascore for its 2012 releases compared to films released the previous yeaIn fact, Paramount was the only one of the six major studios to see a drop in average Metascore for its 2012 releases compared to films released the previous yeain average Metascore for its 2012 releases compared to films released the previous year.

When Hollywood tackles terrorism, it rarely offers the degree of ambiguity on display in In the Fade and I have never seen a studio - funded film opt for this kind of uncompromising endinin In the Fade and I have never seen a studio - funded film opt for this kind of uncompromising endinIn the Fade and I have never seen a studio - funded film opt for this kind of uncompromising ending.

On the one hand, it's exciting to see the always envelope - pushing Lee working without a studio - or distributor - imposed safety net... But while the film never lacks for ambition, it fails to satisfy emotionally or intellectually in the ways Lee intends.

There's some very candid, fascinating footage here capturing the process of making the film (in, for a surprise revelation, not a real Parisian flat but a studio - built apartment replica surrounded by green screens, not at all dissimilar to David Cronenberg's use of similar magic for A Dangerous Method, not that you can tell in either film in its finished form, where the technology is seamless and unobtrusive), with Haneke working with the actors in a rigorous, nitty - gritty way that lets us see what infinitesimal precision he's looking for in performance, in movement, in blocking, and in composition.

Although it's refreshing to see a major studio take a gamble on a modestly budgeted film targeted towards adults (even if it stars one of the most bankable actors in the world), when that movie is as passively mediocre as «Focus,» you can understand why other studios have been afraid to pull the trigger.

I can't wait to write my review, but suffice it to say that it's unlike any film you'll see this year, just as its probably one of the last gasps of this kind of film from a major studio, where the shock and awe comes from expert artistry of the hand drawn variety rather than CGI (which Scorsese mastered in Hugo).

Perhaps it's nostalgia, if not for the simpler thrills of childhood viewings (this was my first time seeing the film) than for the off - the - wall, predictable, and good - natured stories that the Disney studio has long dabbled in.

If all this weren't enough, Mannix also has to contend with twin gossip columnists (played by Tilda Swinton) who are circling the studio in search of scandal; a near - fatal accident involving a film editor (Frances McDormand); an accountant (Jonah Hill) enlisted to see whether the pregnant ingénue can legally adopt her own child; and a song - and - dance star (Channing Tatum) harboring more than one Big Secret.

Fox announces their distrust of critics with this title by splaying «Property of 20th Century Fox Publicity Department» in huge letters across the screen for the duration of the film on both sides of the disc (the first time a major studio has done so since DreamWorks sent out advanced copies of the Gladiator Signature Selection in 2000 — which is why you never saw a review of it at FILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the imfilm on both sides of the disc (the first time a major studio has done so since DreamWorks sent out advanced copies of the Gladiator Signature Selection in 2000 — which is why you never saw a review of it at FILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the imFILM FREAK CENTRAL), in turn prohibiting an ethical assessment of the image.

This is definitely more interesting, I'd really like to see more major studios push to film sequences in IMAX and explore the possibilities of shooting at a higher framerate in the future.

There is so much money on the line with this film — especially considering that parent studio Lionsgate bid a reluctant farewell to the «Saw» franchise only a little over a year ago, and could use another cash cow — and yet nearly everything about its execution flies in the face of standard Hollywood protocol.

Lister - Jones, who is currently seen on CBS» «Life in Pieces,» said that this film marked a return to her indie roots after getting a peak into the big - budget Hollywood studio system.

Along with the trade show floor that featured the latest technological advances, concession goodies, comfort seating and more to enhance the theater audience movie going experience, each of the movie studios presented a sneak peak of their upcoming films slated for release in 2012 and beyond, many which were being seen for the very first time.

(p. 37) Yet, whereas Daire sees Mauprat as a dynamic, complex, and ostensibly queer studio film (the gender play he notes in the biography), Keller sees the film as a «costume drama [that] lacks almost entirely the vigour described by Epstein about the effects of cinema on an audience.»

We don't often see two studio films begin filming on the same date that's unless the two are connected in some way.

Indeed, the studio have already set the movie for a May 2014 release for «Belle,» in part to try and replicate the impressive success of «Best Exotic Marigold Hotel,» and in part because there are internal worries that between McQueen's film and TWC's «Mandela: Long Walk To Freedom» and «Fruitvale Station,» there are too many films with black leads for «Belle» to get traction (We'd argue there's room for them all, but you can see the logic, given the Academy's tastes).

We've previously only seen the first trailer for the film, but thanks to a presentation by the animation studio today, we now have a better idea of the cast, their characters, and just how they'll look in the finished film.

Walt's namesake studio acquired the series» film rights in the late - 1980s, seeing blockbuster potential in the material as a Tom Cruise vehicle.

Filmed almost entirely in first person, Maniac follows a deranged young man, Frank (Elijah Wood, Sin City, seen in mirror shots and in photographs), who hunts down beautiful women and takes their scalp back to his mannequin studio in a horrifically violent ritual.

This has been on my must - see list ever since it was announced, and that excitement has only grown with each new reveal, from the casting of Chris Pratt in the lead role, to landing Vin Diesel and Bradley Cooper to voice the movie's CGI characters, to the strong buzz emerging from early screenings that have pegged it as one of the studio's best films to date.

When: December 11th Why: It's not very often that you see a film's release date moved to a more competitive time of year, but Warner Bros.» decision to push «In the Heart of the Sea» from last March to December (one week before the release of «The Force Awakens») speaks volumes of the studio's confidence in the Ron Howard - directed historical epiIn the Heart of the Sea» from last March to December (one week before the release of «The Force Awakens») speaks volumes of the studio's confidence in the Ron Howard - directed historical epiin the Ron Howard - directed historical epic.

Furthermore, in a summer filled with overblown and script - weak blockbuster fare, it's nice to see a relatively small «independent movie» (I put that in quotes because the film is from Fox Searchlight Pictures, which is, after all, a subset of a major studio), which delivers its goods without a single explosion or special effect (none visible, anyway).

In the day and age of superheroes and CGI it's reassuring to see a genuine film exit the doors of a studio.

The behind - the - scenes action of Living in Oblivion is no exception, and although we've seen many films just like it in recent years, such as Mistress and The Big Picture, Tom DiCillo's (Double Whammy, Box of Moon Light) creation distinguishes itself by being about a independent filmmaking, not greatly influenced by the dictation of a major studio or bigwig producer, but by conflicts within the filmmaker himself.

The laid - bare poignancy and touching immediacy of these films are exactly the kind of thing that is too often jettisoned by studio pictures; they're part of what makes indie film great, and connection with those common themes are, let's hope, a trend that we'll continue to see in independent film this year.

films to get there, but in 2019 we will finally see a female - fronted superhero pic from the foremost superhero movie studio around.

That's not to say he's done with studio filmmaking altogether — Warner Bros. is reportedly keen on bringing Ayer back for Suicide Squad 2 but the filmmaker wanted to do something different (see: Bright) first — but when he's not in the mood to helm an awards film or a massive tentpole, Ayer sees Netflix and the like as places where he can get other kinds of films done without a tremendous amount of compromise.

The studio is also developing multiple female - led Batman adjacent projects with a Harley Quinn solo film and Gotham City Sirens, but those haven't seen much movement in recent months.

Redrafted as a prequel to the storyline in the game, the movie will be directed by Shawn Levy («Night at the Museum») in a starring vehicle for Holland that's said to have come together after studio head Tom Rothman saw the latest «Spider - Man» film, in which the young actor plays the title role.

It's both rare and awesome to see Disney lease something so perfectly relevant from another studio, though this time it was natural seeing how owner Classic Media had a hand in producing the film.

In an iTunes Q&A hosted by MTV's Josh Horowitz for the Alamo Drafthouse screening of Logan Noir, director, and writer James Mangold revealed possible studio interest to see X-23 return in future filmIn an iTunes Q&A hosted by MTV's Josh Horowitz for the Alamo Drafthouse screening of Logan Noir, director, and writer James Mangold revealed possible studio interest to see X-23 return in future filmin future films.

The great video label Milestone has produced a great DVD set built around the half - hour documentary, adding as many surviving films (a few even restored) as possible to show just what happened, how this led to major production in Hollywood and how the truth is disappearing as the town seems to want to forget for some odd reason (speculation would require a new documentary) and we even see one of the final studios before it itself disappears.

Though most behind - the - scenes features showcase the production process once filming is underway, The Player gives us a glimpse of what goes on behind the scenes of the behind - the - scenes process, where the only dreams that come true are for the people up top — the people who feel that anyone can make a story that will entertain millions, while the lowly creators that nurtured the initial ideas are seen as little more then expendable goods hardly worth receiving input from once the studio handlers squeeze their foots in the door, symbolically getting away with murder — the figurative death of the writer in the Hollywood production process.

With such a wide range of targets, Martin and Oz give all their peripheral players their moments to shine, with the one notable exception being Jamie Kennedy, whose natural live - wire instincts (see the Scream films) are unfortunately held in check in the limited background role of Dave, the studio gofer who «borrows» the equipment to film Mr. Bowfinger's opus.

Although Altman scored big in the same year with his breakthrough film, MASH, the studios were not enamored by his quick follow - up effort, and seeing the final product, one can see why.

POOTS: Here's the thing: in terms of this studio film and what is seen as the bigger film, I think that's totally fine and great and fun, and I would love to be a superhero or a princess --

Of all the major horror franchises, The Texas Chain Saw Massacre has been pretty poorly served despite being eight films in, and still filmmakers and studios can not move away from trying to give a definitive background on main antagonist Leatherface, a fact given credence by the eponymous title which, in any other franchise, would be seen as being definitive but this being the schizophrenic series that it is, this is the second movie in it to bear this title, the other being 1990s Leatherface: The Texas Chainsaw Massacre III.

By the late Seventies, Corliss had become open to covering films ensconced in studio politics, messy interpretational questions, even violent controversy: see Wood's defense of The Last House on the Left, or Roger Greenspun's cover story on movie violence and Carrie.

You don't need to look any further than the paucity of good leading roles in studio films for women to see how sexism is woven into the fabric of the film industry.

These elements are typically found in smaller independent films but are incredibly rare to see in bigger budget films released by a major studio.

In regards to the awards bait release schedule, I don't know if there really is a perfect cure b / c every studio constantly repeats the same release patterns since they seem to be effective for maximum awards nominations / wins — if not for the enjoyment of a potentially wider and more receptive audience (who may have to choose between seeing only one comparable film being released in the same weekendIn regards to the awards bait release schedule, I don't know if there really is a perfect cure b / c every studio constantly repeats the same release patterns since they seem to be effective for maximum awards nominations / wins — if not for the enjoyment of a potentially wider and more receptive audience (who may have to choose between seeing only one comparable film being released in the same weekendin the same weekend.)

Featuring never - before - seen Coltrane family home movies, footage of John Coltrane and band in the studio — discovered in a California garage during production of this film — along with hundreds of never - before - seen photographs and rare television appearances from around the world, Coltrane's story is told by the musicians that worked with him including Sonny Rollins, McCoy Tyner, Benny Golson, Jimmy Heath, Reggie Workman, musicians that have been inspired by his fearless artistry and creative vision like Common, John Densmore, Wynton Marsalis, Carlos Santana, Wayne Shorter, Kamasi Washington, along with Coltrane's children and biographers, in addition to well - known admirers such as President Bill Clinton and philosopher Dr. Cornel West.

When studios themselves complain about the negative influence of Rotten Tomatoes, they tend to do so in defense of movies like Baywatch or the latest Pirates of the Caribbean — terrible films that audiences clearly were not interested in seeing in the first place.

The erotic fascination underlying all this is constantly visible in the way that Piñeiro and DP Fernando Lockett film faces, often in long gliding takes that move seamlessly from wide shot to close - up — see the radio studio scenes in The Princess of France and the extended scene in Viola in which the camera hunkers down between three characters talking in a car at very close quarters.