Rodriguez winks and tries maybe too hard; Tarantino, being the sui generis of a very
specific kind of film, proceeds to create something that resembles Vanishing Point and Two - Lane Blacktop while steering clear of irony, self - indulgence, and post-modernism in its reverence.
Not exact matches
(There's a
specific cinematic language these
films speak; when you hear a certain
kind of music cue, or see a shot framed in just such a way, or when a character expresses anything approaching contentment, you'll know it's coming, so gird your loins.)
At its heart, the
film is a
kind of mystical fairy tale whose messages
of belief, endurance, family and belonging transcend its memorably
specific people and setting.
Demanding a
specific kind of active spectatorship, Borgman is a complex
film with heat, and somewhere in the middle
of it there's a performance within a performance that ends with a declaration
of intent that stands as one
of the most existentially chilling things in cinema this year.
However, we don't know what
specific bad guy Bruhl will play in the
film, as Deadline (who added that little tidbit about what
kind of character he's playing) didn't have that information.
This is a convincing and emotionally honest
film about a
specific kind of adolescence: bratty, confused, middle - middle class, white, female, pretentious, and ultimately kindhearted.
HOWEVER, THIS
KIND OF FILMS ARE MARKETED TO A
SPECIFIC AUDIENCE.
The appearance onscreen
of pointillist swarms
of film grain may trigger a
specific kind of nostalgia in movie buffs, for chemically produced and mechanically projected images that are rarely seen these days outside
of repertory cinemas and museums.
It is
kind of an interesting story, and plot holes aside, I can see that the real charm
of this
film is the universal theme
of revenge rather than a
specific storyline.
Crucially, it's not a product
of the United States or South Korea, two cultures married to a
specific kind of morally relativistic nightmare that have produced
films like this for years, but
of an Israeli movie industry that marks this as only their second «horror» release.
There's always the hovering director, Anderson taking the role
of surrogate father echoed in so many
of his
films (the paternal mentor being a key figure in all his features bar Punch - Drunk Love (2002)-RRB-, willing (as Hall says) a
specific kind of performance and, like a stern parent, ensuring there'll be no skylarking among his actors by determinedly interposing himself and his camera between them.
That synopsis makes me think Beast
of Burden is going to be one
of those «one man show» movies — you know the
kind; the
films that take place mostly in one location, focused on one
specific individual.
It's clear right from the get - go that Christopher Cain is in absolutely no hurry to tell this story, as the director has infused The Stone Boy with an almost achingly deliberate pace that does prove effective at establishing the
film's very
specific locale, admittedly - yet there's little doubt that the laid - back atmosphere, when combined with the uniformly subdued performances and the less - than - eventful nature
of Gina Berriault's script, effectively ensures that the viewer's efforts at forming any
kind of emotional attachment to the characters fall flat virtually from start to finish.
You have to have that
specific knowledge
of the subject matter to make this
kind of film work and take it to the next level.
However, unlike most
films of this
kind, One Day — based on David Nicholls» award - winning book from 2009 — only visits these two clunking clichés on one
specific day each year.
Victoria Eleanor Bradford is a choreographer and visual artist whose structured improvisations take shape as experimental dinner parties, site -
specific dance
films and dances translating words into a
kind of gibberish performance language.
Victoria Eleanor Bradford is a Louisiana - born, Chicago - based choreographer and visual artist whose structured improvisations take shape as experimental dinner parties, site -
specific dance
films, football training manuals used as choreographic instruction, and dancers translating words into a
kind of gibberish performance language.