Sentences with phrase «social thrillers in»

Throughout the press tour for his film, Peele repeatedly mentioned that he had more social thrillers in store that he'd like to make.

Not exact matches

Paulina's unfathomable actions, and the limits of social justice, are examined unflinchingly in this «social thriller» of will and sacrifice.

In addition to directing the George Clooney headlined social satire / thriller Money Monster, Foster has called the shots on episodes of Netflix series House of Cards, Orange is the New Black, and Black Mirror over that period of time.

Director Arthur Penn, at his peak, turned the movie into an ironic blend of twisted love story, dark comedy, caustic social portrait and breezy romantic crime thriller, with Bonnie and Clyde as a pair of deadly innocents, caught up in the poverty of the Depression and the turbulence of the»30s gangster period.

All in all, however, the film plays more like a revenge thriller than an emotive social document — losing a lot of its power, and all of its resonance, in the process.

The blood in a thriller like «Diehard» or a social film like «Menace II Society» isn't the same blood that drips out of a «Friday the 13th» or «Nightmare on Elm Street.»

The 2018 Film Independent Spirit Awards nominations have been announced and Jordan Peele's completely different but also masterful social thriller Get Out, scored five nods in total including Best Director and Screenplay for Peele, as well as Best Picture, Actor, and Editing.

Jordan Peele snagged that title early in 2017 with Get Out, his social horror thriller that explores the black experience in America in a way no other movie has.

The director's «social thriller» is considered to be in the running, but it's a long shot for several reasons.

True, social media also took some jabs at Emily Blunt for her first - ever SAG nod for «The Girl on the Train,» even if there was critical acclaim her work in the «Gone Girl» - ish thriller despite the film's mixed reviews.

Jordan Peele, the mastermind of «Get Out,» a social thriller about American racism, became the first African American to earn producer, director and writer nominations for a single film; the academy nominated a female cinematographer, «Mudbound's» Rachel Morrison, for the first time in its 90 - year history; and Greta Gerwig became just the fifth woman recognized as a director, feted for her wry, observational coming - of - age story «Lady Bird.»

Although there is one upside to the Golden Globes classifying Jordan Peele's hit «social thriller» Get Out as a comedy — namely, that it's more likely to win big awards in that less competitive category — there are also several compelling reasons to oppose the decision.

Damien Chazelle has taken a relatively staid subject like the relationship between a music student and his teacher and turned it into a thriller built on a brilliant undercurrent of social commentary about what it takes to make it in an increasingly competitive and cutthroat world.

SEE THIS MOVIE IF: you enjoy your thrillers with a dose of social commentary OR you want a glimpse of the new Batman body in progress.

Subversion, mischief and tension in the highest traditions of Hitchcock are alive and well in this bold and brilliant thriller debut from writer - director Jordan Peele that darkly sends up the social fissures that still exist in US race relations.

But Peele's eerie social thriller has been slowly building momentum in the past few awards ceremonies.

That's the superficial starting point of The Gift, the directorial debut of actor Joel Edgerton, who takes the cuckoo - in - the - nest thriller template — which became ubiquitous in the early»90s with films like Pacific Heights, Unlawful Entry, Single White Female and The Hand That Rocks the Cradle — and, by introducing psychological depth and a streak of social conscience, fashions an intriguing morality tale.

She made her screen debut in the slasher film Urban Legends: Bloody Mary (2005), went on to have a supporting role in the independent coming - of - age drama Tanner Hall (2009), and has since starred in the horror remake A Nightmare on Elm Street (2010), the biographical drama The Social Network (2010), the thriller remake The Girl with the Dragon Tattoo (2011), and the romantic drama Carol (2015).

CUSTODY (note: this film is out in 2018) A rare instance of social realism harmonising with elements of the horror and thriller to create a heart - stopping, anxiety - inducing drama that not only enthrals but will also open audience's eyes to the hideousness of spousal abuse.

«Better Luck Tomorrow» is not just a thriller, not just a social commentary, not just a comedy or a romance, but all of those in a clearly seen, brilliantly made film.

As he proved in 1999's underrated war drama / western / satire / heist / action film / comedy / political thriller / social conscience movie Three Kings, Russell is a master at defying genre.

Jordan Peele didn't make any friends in the HFPA when he appeared to complain about his social thriller «Get Out» being slotted in the comedy category, but it's hard to imagine that voters will take it out on him and not nominate one of the year's biggest sensations.

Other films carried the torch for film as a medium for social justice: the angry, bracing I, Daniel Blake, Spotlight — which played like the taut political thrillers made by Pakula and Lumet in the 70s — and Katharine Round's lucid expose of the effects of inequality, The Divide.

pleads a nearby placard as serial killer Hans Beckert (Peter Lorre) closes in on little Elsie Beckmann... In his harrowing masterwork M, Fritz Lang merges trenchant social commentary with chilling suspense, creating a panorama of private madness and public hysteria that to this day remains the blueprint for the psychological thrillein on little Elsie Beckmann... In his harrowing masterwork M, Fritz Lang merges trenchant social commentary with chilling suspense, creating a panorama of private madness and public hysteria that to this day remains the blueprint for the psychological thrilleIn his harrowing masterwork M, Fritz Lang merges trenchant social commentary with chilling suspense, creating a panorama of private madness and public hysteria that to this day remains the blueprint for the psychological thriller.

It's not a comedy by any definition — in fact, it's a terrific thriller with as much personality as tension — but Lester weaves some terrific character humor through the picture, notably Roy Kinnear as the hapless Social Director, trying his best to keep spirits through the ordeal.

Kaluuya picked up a nod for his role in Get Out, Jordan Peele's stirring social thriller, which also picked up a slew of other nominations, including best original screenplay, best director, and best picture.

Its mood is something of another marvel, equal parts Ermanno Olmi social comedy and Alfred Hitchcock thriller, with the very best of absurdest Czech New Wave stylings thrown in.

In the tradition of the best classic social thrillers, Get Out takes a topic that is often approached cerebrally — casual racism — and turns it into something you feel in your tummIn the tradition of the best classic social thrillers, Get Out takes a topic that is often approached cerebrally — casual racism — and turns it into something you feel in your tummin your tummy.

An assured piece of filmmaking, Cold Hell succeeds in mixing social realism with more standard thriller elements and scenes of gut - wrenching violence.

Indeed, in this age of social - media catfishing, it's not hard to imagine an alternative take on «Man Up» that frames this narrative as a psychological thriller.

If «Moonlight,» an indie film about a gay black man growing up in impoverished Miami, a movie made for $ 1.5 million, could win best picture, then why not «Get Out,» a social thriller examining race?

Instead, what I witnessed was a thought - provoking character piece that fits in well with other works by author Richard Price (Shaft, Clockers) in seedy urban thrillers with a bent toward social commentary.

If you go into this expecting a slick, international thriller with some relevant social commentary about relations between the United States and Mexico, the state of corporate greed and how bad things often happen to good people — well, there's a LITTLE bit of that stuff lightly sprinkled in.

Like «The Witch,» this low - budget thriller directed by Karyn Kusama kept its camera close to a clammy, claustrophobic social situation (in this case, a dinner party at a house on an LA canyon ridge) and maximized it for unsettling atmosphere.

Peele's directorial debut, «Get Out,» in theaters Friday, Feb. 24, is one of those rare creations that functions both as a taut psychological thriller and as searing social commentary about racism in the modern era.

This brilliant satirical horror - thriller has loads of social commentary about racism in modern America, but under the surface it also has subtle symbolism and twists in its writing and presentation — with a few characters struggling with regret.

Too many spirited conversations with colleagues and young members of the movie industry, too much excited chitchat about how everything had changed, too many tweets riven with Sunken Place GIFs, and too much wonder over what it would mean for the future of the Oscars if the show could follow its historic Moonlight moment with a genuinely transgressive acknowledgment of Jordan Peele's social - thriller - horror - comedy - documentary as best in class.

Get Out turns out to be more fun, and more provocative, than it is scary, at least in the traditional midnight - movie sense: The film works so well as a gauntlet of social horror that Peele almost didn't need the more traditional thriller elements he introduces in the third act, when a carefully calibrated build in just - because - you're - paranoid dread gives way to some disappointingly conventional survival games.

Still, social thrillers are to Peele as Sacramento is to Gerwig, and he's already got a handful of projects in the works, including a film that he's going to shoot for Universal later this year.

The zeitgeist - y social thriller earned six MTV Movie and TV Awards nominations on Thursday, in such categories as movie of the year, best actor for lead Daniel Kaluuya, and best fight against the system (or «the artist formerly known as best fight»).

In a previous interview, Peele revealed he had «four other social thrillers that I want to unveil in the next decade.&raquIn a previous interview, Peele revealed he had «four other social thrillers that I want to unveil in the next decade.&raquin the next decade.»

In Yann Demange's debut feature» 71, this brand of social realism is served in the style of a tense war - time thrilleIn Yann Demange's debut feature» 71, this brand of social realism is served in the style of a tense war - time thrillein the style of a tense war - time thriller.

LATEST TRIUMPH Blum's company helped usher in the «social thriller,» a new horror genre, with Jordan Peele's (No. 59) Get Out.

In The Commuter, Liam Neeson and director Jaume Collet - Serra return for an action - thriller laced with paranoia and social anxiety.

Oscar - winning screenwriter - turned - director Aaron Sorkin («The Social Network») is not to be underestimated; he adapted Molly Bloom's truth - is - stranger - than - fiction gambling thriller starring twice - nominated Jessica Chastain («The Help,» «Zero Dark Thirty») as a brilliant skier - turned - high - stakes - poker - wrangler — she's a long shot in this year's overcrowded Actress category.

Be terser in the thriller elements, festive in the social moments, vulnerable in romance, quick and cutting in anger.

Deon Meyer's engrossing South African thriller pits Detective Benny Griessel against a mystery that unravels like the threads of a complex tapestry... Because the novel is set in contemporary South Africa, race relations and the legacy of apartheid are an inevitable topic, and Meyer works his social commentary into the story while remaining true to his characters... Thirteen Hours draws to a satisfying conclusion, with answers that prove surprising.

You would think that this would limit them somewhat in terms of genre, given the social constraints and expectations of women during that period, but they publish a wide range, from memoir through to literary and domestic fiction, thrillers, and even cookery books.

The second variety of literary thriller is the contemporary novel that hits the crime - filled mean streets hard but, again, abandons formula in favor of a more wide - sweeping approach to social issues and interpersonal dynamics.

The L.A. Times compares Attica Locke's debut thriller, Black Water Rising, to Dennis Lehane and Scott Turow; «a near - perfect balance of trenchant social commentary, rich characterizations and an action - oriented plot that, after it kicks in, moves rapidly toward some explosive revelations.»