Sentences with phrase «spirit of films like»

Holy Motors (Leos Carax, 2012) In the spirit of films like Mulholland Drive (2001), O Lucky Man!

While Friends With Benefits follows in the fast - talking spirit of films like His Girl Friday, Crazy, Stupid, Love.

Not exact matches

The portrait of Lincoln that Spielberg presents — in a film that often plays like a tense, high - spirited political thriller as influence is peddled behind the scenes and votes come down to the wire — will no doubt surprise viewers raised on a more staid version of the Great Man.

Indeed, for all the striking technical qualities the animated medium brings to Anderson's work, the film feels like less of a departure than it might have done — not least because it retains the jangly, high - spirited ensemble feel of the director's live - action films.

Though the directing duo behind the «Crank» films seemed like a natural fit to take on such a bizarre character, «Spirit of Vengeance» is only slightly better than the first movie.

This film followed in the path of «Spirited Away» but didn't catch on like the Oscar winner.

Anderson — who's become even more of an actors» director in his last few films than he was already — is at the peak of his powers here, ironically but appropriately directing «Vice» in such a way that phrases like «peak of his powers» (and other language connoting masculine swagger or preening mastery) seem contrary to the spirit of the thing.

Whether or not you liked the first Ghost Rider film, chances are you won't think much of Spirit of Vengeance.

Spirit of Vengeance is not at all like the film it follows, which might sound promising to those who didn't like Mark Steven Johnson's take.

It is, however, a loud, fun, heroic exploso-fest of a film that really felt like it honored the spirit of the original TV Show.

It shares the anarchic spirit of the finest of Irish Crime Cinema, like older films such as I Went Down (another Gleeson project) to the more recent triumphs of In Bruges (a movie made by John Michael McDonagh's brother).

Even when I'm not crazy about a particular film of his — or, say, anything he's done since 1995 — I just can't put him down too harshly, because he has the energetic and fun spirit of a guy who genuinely likes entertaining horror flicks.

His film has the same frisky, dawdling spirit of Richard Linklater's Before trilogy, in fact it's sort of like watching two Before Sunrises for the price of one, even though this singular diptych ultimately proves even more adept at expanding the world beyond its central pair.

I feel like I should end my review for Scott Scott Pilgrim vs. the World by channeling the spirit of classic video games like «Legend of Zelda,» «Mario,» etc. (all of which the film parodies).

What the director has kept is the earthy and ethereal treatment of redheads, here former 007 beauty Olga Kurylenko, who like Jessica Chastain before her, gets the chance to both soar and suffer (the shadowy yin to the free - spirited yang) over the course of the films run - time.

Fellini stood here at the dividing point between the neorealism of his earlier films (like «La Strada») and the carnival visuals of his extravagant later ones («Juliet of the Spirits,» «Amarcord»).

His other work during that period involves films more or less in the same spirit of Apatow productions, like Grandma's Boy, Evan Almighty, and The Invention Of Lying as well as children's movies like Horton Hears a Whof Apatow productions, like Grandma's Boy, Evan Almighty, and The Invention Of Lying as well as children's movies like Horton Hears a WhOf Lying as well as children's movies like Horton Hears a Who!

From French North America, 2010's Incendies was like a brand new film for me, its illumination on love, hate and strength of spirit span beyond any given film year.

Me and Earl and the Dying Girl (Director: Alfonso Gomez - Rejon, Screenwriter: Jesse Andrews)-- Greg is coasting through senior year of high school as anonymously as possible, avoiding social interactions like the plague while secretly making spirited, bizarre films with Earl, his only friend.

Like the film's bike, with its bright green frame and yellow handlebar streamers, Wadjda is an object of stark beauty, an oasis of free - spirited cinema emerging from the desert.

There's also an entire subplot dedicated to the budding friendship between kindred spirits Jenko and Zook that has some really funny bits (like their sandwich and Q - tip derived «meet cute»), but it's played to death over the course of the film's unnecessarily long 112 - minute runtime.

You can help by signing the petition to help get recognition for film editors by asking these organizations to add the Film Editing category to their annual awards: Sundance Film Festival Shanghai International Film Festival, China San Sebastian Film Festival, Spain Byron Bay International Film Festival, Australia New York Film Critics Circle New York Film Critics On Line National Society of Film Critics We would like to thank the organizations that have recently added the Film Editing category to their Annual Awards: Durban International Film Festival, South Africa New Orleans Film Festival Tribeca Film Festival Washington DC Area Film Critics Association Film Independent - Spirit Awards LA Film Critics Association Chicago Film Critics Association Boston Film Festival The International Animated Film Society — Annie Awards Academy of Science Fiction, Fantasy & Horror - Saturn Awards

Since then, Don has written about film and pop culture for Film Threat, Film School Rejects, Adobe Airstream, Devil in the Woods, Pop Culture Press, the Los Angeles Journal, and was Managing Editor for Smells Like Screen Spirit for just shy of a decade.

And as Oscar voters» stack of DVD screeners grows perilously high, current films like «Nebraska,» «Dallas Buyers Club» and, especially, J.C. Chandor's brilliant survival tale «All Is Lost,» might immediately be shuffled to the top of the pile with some Spirit headlines.

In that spirit, Cedric Nicolas - Troyan's The Huntsman: Winter's War (hereafter Huntsman 2) reminds a lot of pleasant disasters like Ladyhawke and Krull, with its biggest crime maybe being that it's not ridiculous enough, given how the fantastic commitment of Charlize Theron, reprising her role from the previous film (which I'm sure I saw and probably reviewed), seems ultimately squandered.

His early films often cast him as an outsider: in family fare like The Red Pony (Lewis Milestone, 1949) or Rachel and the Stranger (Norman Foster, 1948) he was never of the family, standing for another, more free - spirited way of life — he was a temptation, sent to test the family.

Following the lead of films like Fly Away Home and My Dog Skip, Director Peter Markle combines a teenaged girl and a spirited horse in Virginia's Run to give viewers a feel - good movie aimed at young teens and tweens.

It feels like the spirit Charles Bronson's Paul Kersey, Clint Eastwood's Harry Callahan and Bruce Lee's Chen Zhen lives inside Uwais, and this film solidifies him as one of great action leads.

Most of this film feels like a mean spirited jab towards the original and what makes it worse is that it completely misses the point of what the original film set out to achieve.

The question of the title of the film therefore takes on a deeper resonance as one considers the tantalizing mélange produced by a marriage of noir, the western, and a jazz movement founded on unrest and violence, sold through a uniquely Japanese medium (animé, natch) that has been the vehicle for some of the most profound examinations of nihilism, violence, and romanticism (thinking especially of masterworks like Grave of the Fireflies and last year's Spirited Away) in the modern cinematic vocabulary.

So in the spirit of interminable award seasons, I'd like to present the films that at this juncture, a year away from Hollywood's biggest night, at least appear to be the best bets to take the golden statue.

In the opening sequence of John Boorman's new film, a huge stone head resembling a Greek tragic mask drifts in the air above the Irish countryside, like the floating spirit of Astaroth; it spits forth a spray of rifles and exhorts a congregation of horsemen to go forth and kill.

The historic reception that's greeted the film is indicative of how rare movies like it are, and how alluring the fantasy of being able to transcend our frustrating and spirit - killing realities is.

Per the standards long established in the road trip buddy comedy (a subgenre also embodied by films like Midnight Run and Tommy Boy), the mismatched men of course endure high - spirited adventure and outrageous obstacles en route to their destination.

Questioning the validity of that recalls the scene between Harry and Dumbledore in this film, where Harry meets the spirit of the deceased Dumbledore in a limbo - like version of King's Cross train station.

Robert Duvall dominates «Get Low» from the off, easing into the part of crusty codger Felix Bush like an old shoe and spiriting the film away from under the noses of several other very fine actors.

Sitting with the creative team behind new indie «The One I Love,» genial actor - producer - writer - director - cool - guy Mark Duplass says of his breakthrough film, «My first movie [«The Puffy Chair»] was shot on VHS - C with a dead pixel in the middle of it, and it looked and sounded like shit, but it went to Sundance because of the spirit.

Meanwhile, though she may not be a particularly strong student (her school adviser cracks up when Lady Bird simply mentions Yale), the film never condescends to any of her dreams, be they falling in love or wishing to surround herself with kindred spirits in someplace like New York City.

Hawke decided to make the film after receiving some life - altering advice from Bernstein at a gathering, as if compelled to share his good fortune with the world, and that generosity of spirit courses through a piece that looks for wisdom, not pathology, in its subject's hermetic existence (57 years alone in the same New York apartment) and monk - like devotion to music.

Christopher Nolan has made a ton of great films, and also Interstellar, so it's not like I want to champion The Prestige by dismissing his other work, although in the spirit of The Prestige's hypercompetitive dueling magicians, I will say that it's the most rewatchable Nolan film by far.

Slow, not terribly interested in lore or internal logic, and fatally hamstrung by the choice of actors like Billy Crystal and a zombified Emily Mortimer to voice its American dub, it's a regression for Miyazaki from his last two films (Princess Mononoke and Spirited Away) in almost every sense, starting with his decision to have a lonely young woman as the central character in place of the prepubescent little girls front and centre in most of his masterpieces (the last two films, Kiki's Delivery Service, Nausicaä of the Valley of the Wind, and My Neighbor Totoro) and ending with a gross simplification of his usually complex themes of confidence and actualization into a colourless, flavourless drone about the hard - to - dispute badness of war.

Rawson Marshall Thurber, responsible for Dodgeball: A True Underdog Story, was tasked to direct this film and also unfortunately this feels nothing like the spirited, «we're screwed but we're going to still enjoy the moment anyway» brand of humor that washed over Dodgeball «s cliched storyline; the direction here feels hesitant, unsure and quite frankly amateurish.

She writes me: «At those Independent Spirit Awards (a million years ago it seems like) we had been told that you were not a fan of the film.

It has an expertly crafted mix of self - reflection, endearing comedy and unsettling dark fantasy that feels reminiscent of films like Spirited Away.

This spirit of fusion between American and international cinema is on display in many of the festival's films, like The 33, a Chilean - American production that dramatizes Chile's 2010 Copiapó mining accident.

The U.S. Grand Jury Prize: Dramatic was presented to: Me and Earl and the Dying Girl (Director: Alfonso Gomez - Rejon, Screenwriter: Jesse Andrews)-- Greg is coasting through senior year of high school as anonymously as possible, avoiding social interactions like the plague while secretly making spirited, bizarre films with Earl, his only friend.

That said, I applaud the Spirits for rewarding such a terse, difficult little film — I think it's works like this, rather than the «Junos» and «Sunshines» of independent cinema, that the awards are really designed to benefit.

The Audience Award: U.S. Dramatic, Presented by Acura: Me and Earl and the Dying Girl (Director: Alfonso Gomez - Rejon, Screenwriter: Jesse Andrews)-- Greg is coasting through senior year of high school as anonymously as possible, avoiding social interactions like the plague while secretly making spirited, bizarre films with Earl, his only friend.

This is one of the funniest films Baumbach's ever made, and the hope is that Gerwig adopts some of Brooke's can - do spirit and churns out more movies like this for us to feast upon.

For a director whose films tend to fixate on the darker recesses of the human spirit, Paul Thomas Anderson seems like — dare we say it?