Sentences with phrase «style of film making»

This is of course helped by the shaky, documentary style of film making that Peter Landesman has employed to bring this fifty year old tale to life (again).

Not exact matches

What made my Games even more special was spending all of it, and I mean, ALL; bathroom, breakfast, lunch, dinner, films, hair styling, celebrating (afterwards of course!)

At first, the disjointed and somewhat dispassionate narrative style of this mini-documentary makes an already disturbing film even more uncomfortable than it would be otherwise.

Break out of the classic pearl strand mold with this «Tin Cup» pearl bracelet, a style made famous by Rene Russo in the feature film of the same name.

One of the most iconic style moments from the film comes courtesy of a prom scene where Andie shows up in a pink dress she made herself.

Director Shawn Levy imbues the film with all the style of a made - for - TBS production, which makes the many saccharine - laced moments far more overwhelming than they should've been.

Downey Jr. has a distinctive acting style that is often the saving grace of many otherwise forgettable films and his work in both the Iron Man films plays a huge part in what makes them so enjoyable.

Throughout the film, compelling arguments are made for how Western forms of music incorporated the rhythms and vocal stylings of traditional Native American music.

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is

Well the film was wide release, so it makes sense there wasn't an entirety of focus on the specifics, but I still think it would have worked better if it was more like the trailers professed intentions; doco style, with vignettes of alien / human scenes that emphasized and helped explain, not found footage either, like for example, after talking about Wikus in the past tense, it could focus on him for a bit then move on, but it stuck with him, and the film changed gears, I just thought it would have been better to focus on other things, as opposed to dumbing the plot down to one man and his battle against the evil government / corporation, and still stay in the doco style, it could have worked, no?

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is Bond» worst nightmare), the villain is truly threatening and played very well by Sean Bean, the title song is awesome and classic Bond, the script for this film is VERY well written and witty, etc..

What this film seriously lacks in a coherent and discernable plot and character development, it more than makes up for it with tons of style, great cinematography, and well - placed tension.

Nichols has yet to make a bad movie, and Midnight Special is not only within his usual style of excellence - despite that semi-wonky ending - it's also his most accessible film to date.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

In his seminal 1972 book Transcendental Style in Film: Ozu, Bresson, Dreyer (written at age 24, two years before he turned from film criticism to filmmaking), Schrader noted that, «The many statements [Robert] Bresson has made in interviews and discussions, properly arranged, would constitute an accurate analysis of his films (a statement which can be made of no other filmmaker to my knowledge)....»

The touching closing stretch isn't, as a result, quite able to make the tearjerking impact that Unkrich and Molina are obviously striving for, which is a shame, clearly, given the film's preponderance of better - than - average attributes (including an animation style that's never not jaw - droppingly astonishing).

Bresson, along with Ozu and Dreyer, formed a trinity at the heart of Schrader's book Transcendental Style in Film, and the filmmaker has faithfully returned to them again and again, channeling them in most of his directorial efforts, working within the so - called «Tarkovsky Ring» (films made within this ring will find commercial distribution, films like those of Bresson and Roberto Rossellini, while films outside of this ring are destined for museum and festival existences).

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

The film is exceptionally well - made, shot in a chilly style that utilizes intriguing close ups between the two men, evoking the coldness both of a winter in the Pacific Northwest and of a truly psychopathic crime.

And yet, however considerable the film's charms (it's first - rate children's entertainment, to be sure), there's something just the slightest bit disappointing in how pro-forma it all feels: Ghibli geniuses Isao Takahata and Hayao Miyazaki never clung to a house style, making films with wildly different looks and tones over the course of their careers, whereas Yonebayashi's first post-Ghibli effort colors well within the lines of stock Japanese animation.

The Strangers» pared - down style makes it particularly unsuited for the sequel treatment: Absent some Aliens - style conceptual twist, the best a 10 - years - later follow - up could hope to do is ably copy the original, and it doesn't take long for the new film to indicate it's incapable of doing even that.

As an uberfan of the so - bad - it's - good masterpiece The Room and a solid admirer of The Disaster Artist, The Room co-star Greg Sestero's tell - all book about the making of mysterious vampiric figure Tommy Wiseau's «Tennessee Williams style melodrama as told by an alien who has apparently never seen normal human beings interact» drama - turned - dark - comedy - after - initial - audience - reactions - full - of - howling - laughter, I was a bit reserved in my excitement when I found out that James Franco was going to direct the film adaptation, as well as portraying Wiseau himself.

The cast is made up of an actual family, including his father Tim Jandreau and his sister Lilly Jandreau, which is perhaps why their performances feel so authentic and why this film seems like an intimate, verité - style documentary at times.

Basically, I think that Ebert is just afraid of what could be a long string of bad films made for the wrong reasons, each trying to outdo each other in shocking subject matter, not for any discernable aesthetic reason, or even to make some Corman style exploitation film bucks, but simply to be cool like Quentin, and gain indie film hipster status.

Unfortunately, its inescapable comparison is to David Gordon Green's «George Washington,» made the same year as Mr. Davidson's film but with a far greater sense of style and a more profound grasp of the fragility of young lives.

In making one of the film's chief villains a fellow slave, Tarantino is trying to be the ain't - I - cool, equal - opportunity exploitationist that he typically is, but in this context, in this style, from this filmmaker, it doesn't sit well.

Alfred Hitchcock's 1960 masterpiece blends a brutal manipulation of audience identification and an incredibly dense, allusive visual style to create the most morally unsettling film ever made.

Layering the life of Irish folk singer Joe Heaney through a flickering lens and leaning on the natural, unadorned voice of the sean nos [old style] singer, this doc / feature hybrid film isn't perfect, but it is quite perfectly - made.

Brian De Palma demonstrates the drawbacks of a film - school education by overexploiting every cornball trick of style in the book: slow motion, split screen long takes, and soft focus abound, all to no real point... He's an overachiever — which might not make for good movies, but at least he's seldom dull.

The film's light hand, appealing style, and simple exposition make it an eminently watchable inquiry into the politics of food, public health, and the reasons why corn has become an ingredient in virtually everything we eat.

I think he is mostly concerned over a glut of films by neophyte directors who are merely riffing on Tarantino - style shocks (but, he makes clear, without any of Tarantino's intelligence, nuance, or understanding and love of cinema) as a pathway to a likewise Tarantino - inspired cool.

Audiences loved the film, and Tarantino's distinct style made him become one of the most influential filmmakers working today.

The Troma style perhaps predates the anything - gross - for - a-laugh approach of the Farrelly Brothers (who also made a film called Stuck on You), but real seaminess between good - natured gags makes for a shifting tone that too often gets beyond the boundaries of good bad taste into merely tiresome unpleasantness.

Christian Bale, Jennifer Lawrence, Bradley Cooper, Amy Adams and Jeremy Renner collaborating with David O. Russell («Silver Linings Playbook») pretty much made this comedy drama a lock once it was announced, but the finished product was a lot of fun thanks to the spirited performances and Russell's active film - making style.

Per The Hollywood Reporter, this Jennifer Juniper Stratford film is a «science fiction tale told in the style of classic B - movies and outfitted with practical special effects, laser beams and lunatic ideas which are guaranteed to make it the next big midnight movie hit.»

Comedy, sci - fi, horror, romance, adventure, action, drama, and thriller, it covers quite a lot of territory in a short amount of time, and does so with its own sense of style that makes it different from any other film, even if it is an homage film at its core.

Hellboy makes for some fun escapist entertainment for fans of the the darker comic style films, such as Men in Black, X-Men, and Blade.

I have made a possible commitment to watching his The Sacrement sometime soon, but I keep getting put off by the occasional rant review over his style of filming.

Blade: Trinity is still hampered by the same elements that made the first two films substandard fare, namely, the heavy emphasis on doing everything the cool way, in a heavily over-the-top display of style over substance.

Code 46 is the sixth collaboration between director Michael Winterbottom and writer Frank Cottrell Boyce, and the style and point of view of the film certainly suggest that the two felt they had a point to make here.

A godard style graphic, a homage to don't look back and the graduate and a blatant copy of wes Anderson and transporting don't make it like those films.

Jackman has clearly been dying to make an original film musical for years (his yearning spills over to the semi-musical Pan and the carnie - barker stylings of Real Steel), and seems excited to return to the genre after Les Misérables.

It makes sense that Jolie has worked as an actor on a Clint Eastwood film, as her directing style, if we can call it a style, so far shows much of his solemn but static reserve.

Limitations of the time sort of hold the artistic value of this film back, making it harder to deny the dramatic fumblings which highlights in style could have made up for, but the fact of the matter is that aesthetic value is rich enough to play a big role in making the film reasonably attractive.

From films like Something's Got ta Give and The Holiday, the writer / director has made herself known for her particular style of well - lit, amiable comedies starring A-listers looking to have a pleasant break from the harder fare that they usually take on.

Among the extras is a making - of documentary filmed in the distracted observational style of the movie itself.

How crazy is it to make a biographical film of someone and then go ahead and invent sections of it.The demonic Wilson doctor and the youthful Wilson are great in their parts, but Cusack is not quite so convincing nor is his girlfriend who is ridiculously beautiful and sentimental.However the film has many good points and is an interesting viewing.l am not a fan of Beach Boys silly group harmonies, style of music, but still enjoyed the film.Mixing fact with fiction, though, did make me suspicious of the whole thing.3 Stars

At least the strong all - star cast makes the most of the vivid characters, and the film's visual style keeps...

The film doesn't precisely boast a wealthy colour palette (like San Andreas, it's most commonly painted in flat sun shades of brown and gray), however its motion and set items are photographed in a blank style that makes them simple to observe.

A vérité style narrative featuring professional and non-professional actors, and produced with a crew made up largely of women, Newman offers a new take on the sports film which wisely avoids sentimentality and melodrama.