Sentences with phrase «style of films like»

Fincher's actual directorial work has slackened a bit since the Fight Club days, but despite the straightforward directorial style of films like Zodiac and The Social Network, he's still managing to outlive his reputation as a visual specialist and music video bred guy into a solid as a rock film director that will capably shoot anything that he is given, and get the best possible performances from his actors.

Not exact matches

With her retro - chic style and girl - next - door vibe, the indie sweetheart has charmed more than just her romantic co-stars in films like (500) Days of Summer and Elf.

With the increasing emphasis on plant - based diets for improved health, and with the popularity of films like «What the Health,» more consumers are turning to a vegan eating style to change their bodies.

Teresa was inspired by the style of Melissa McCarthy in the recent film I Spy and so redid her own spin on dressing like Melissa which had me thinking on whom I might want to target and dress like in films... my brain is searching but with no success (HELP!).

So flattering and easy to style... I actually just ordered a boat load of things from Banana and Old Navy and I filmed a YouTube haul telling you the things I loved and did not like!

it was certainly a more accessible film in terms of the sci - fi genre and has bolstered the credibility, much like Children of Men, however, I disagree with the seamless integration of the film styles and think the trailer misled, as the film is not really mockumentary at all.

Though I did like the second of these films better, there is such an amazing style, energy and creative blend to this film.

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 really the actor's moment to shine after over a decade in the black wig, working that cape like America's Next Top Model, increasingly alluring visual - kei, Jrock star styling and short appearances in each of the films.

Got ta love that classic film poster though huh, just like «The Rocketeer» they really capture the essence of the old style crime caper and dare devil hero aspect.

Director Nora Twomey changes the film's style for the fantasy story, transitioning from the sharp lines and solid colors of the real - life scenes to animation that looks like paper models in motion.

I didn't like the style of the film.

As it happens, the Ireland - based studio was also responsible for producing world - class Oscar nominees «The Secret of Kells» and «Song of the Sea,» and though Nora Twomey worked on both films, «The Breadwinner» marks her solo directing debut, employing a similarly bold graphic style in its telling («hand - drawn» via a program called TVPaint), augmented by colorful story - within - the - story interludes designed to look like stop - motion.

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).

Cinematographer Ryan Samul (2014's «Cold in July») holds a shot for maximum dread, whether it's on the smiley face spray - painted on a mailbox or the swing of a swing set, but also pleasingly employs technical flourishes, like zooms, that help differentiate it from the jittery style and often subtle framing in Bryan Bertino's original film.

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.

There's a certain kind of film I see at many festivals: oblique, short on narrative and incident (or filled with repetitive incident), shot in a style that favors long (distance and time) shots of people doing nothing, or doing mundane things like crossing the street in real time.

Well regarded among horror fans, Alice Sweet Alice has aged surprisingly well and stands up to repeated viewings like many of the best films of the seventies, particularly with its look and style.

As for the film itself, though Waititi includes aspects that play like genre parody — a montage scored to Leonard Cohen's interpretation of the «Song of the French Partisan» unexpectedly recalling McCabe & Mrs. Miller; a Mad Max - like chase climax; Lukasz Buda, Samuel Scott and Conrad Wedde's 1980s - style synthesizer - laden score — Hunt for the Wilderpeople is ultimately disarming in its innocent sincerity.

The result is a work that — like a whole sub-species of French films of the recent decades — fetishizes its own hyper - naturalistic visual style and performances (all but one by non-actors) while offering no original or striking insights into the world it portrays.

Though it's mildly raunchy in the Apatow style (he co-produced), The Five - Year Engagement, like most of the films Segel's co-written, also allows its female characters to be recognizable human beings with senses of humor and personality traits other than niceness.

Hallmarks of Altman's aural and visual style are evident everywhere - overlapping dialogue, life - like improvised roles and ensemble acting, multiple means of communication to connect the characters (phone calls, tape recordings, radio and TV, and P.A. announcements), a continuously moving camera, long takes, and imaginative sound and film editing.

The visual style of the film impresses, it's just that the jokes never quite catch fire like they should — they are more funny in the mind than in the gut.

Yes it looks like a lot of genre films gone wrong, but I think somehow it can be just as good as the best Community style episodes where they manage, while not being Emmy winning, to be the most entertaining thing you can spend your money on.

Philip Glass (The Illusionist, Undertow) coats the film with his usual whimsical style, and though the film might be deemed as too slight in its subject matter to merit such heavy - handed compositions, the music is actually completely in keeping with the tragic allusions underneath, with motifs based on magic (wizard hats, old cats, strands of hair, and gold stars tie in to the coven - like relationship of the women) as well as Biblical references (Sheba is short for Bathsheba, the Old Testament woman seduced; Barbara's last name is Covett, and covet she most certainly does).

Abel Ferrara was already in firm control of his art - sleaze style by the time of 1984's Fear City, a film that looks like it occurs at the darkest corners of the sex - funk world of Purple Rain.

More satirically - oriented delights from the 1930s that deal not in resignation but social revolt, like Boudu sauvè des eaux (Boudu Saved from Drowning, Jean Renoir, 1932) and Zèro de conduite (Jean Vigo, 1933), do seem more modern in their openness and much looser in style, but lack, in the words of Swedish film historian Rune Waldekranz, the «attractive 1930s patina» that Carné's films have by now acquired (6).

Though the film did travel a bit (more like a very wee bit) out of the typical Marvel style, traveling further than previous Marvel risk films like Guardians of the Galaxy and Ant Man but never too far north that you would forget.

Where the film starts to fall apart is in too close a read of the picture's clumsy subtext (it clunks along like a»50s psychodrama with splatter and tits), and too much attention is given over to Cimber's shake - and - bake style.

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.

Pair her contribution with Baumbach's directorial style of cutting shots like a ping - pong match, and the film becomes oddball hilarity.

Most of the time, actors in period films look like people of today with old - style haircuts, but here the people look like it's 1952.

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.

While the actual ending the film settles on is extremely far - fetched given all of the elements that would have had to proceed flawlessly, which seems like an impossibility if you really think back to the very beginning, the film isn't really about who wins or loses, but competing styles.

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.

They combine realism with an often formalist style to explore a variety of emotions, including those felt between parents and their young children in his latest film, Like Father, Like Son.

(Elia Kazan, 1947), Call Northside 777 (Henry Hathaway, 1948), and The Naked City (Jules Dassin, 1948), T - Men achieved this semblance of realism through the then - innovative (by classical Hollywood standards) on - location filming in Detroit, Los Angeles, and Washington, D.C.; a newsreel - style voiceover; and a cast featuring lesser - known stars like former Metro - Goldwyn - Mayer contract player Dennis O'Keefe.

Though it boasts a similar visual style to a lot of Mann's films, the tension is almost non-existent, and despite an interesting dynamic between McAvoy's cop and Strong's robber, it's never fully explored, nor does it have the same allure of seeing Hollywood heavyweights like Robert De Niro and Al Pacino face off.

The most disappointing features of the film though were the distracting directing style of Stone, who normally isn't like this, and the horrible choice in music.

The realism of the film is one of the factors that makes it so great as it uses long takes and what seems like guerrilla styled filming at times to paint a detailed picture of the hardships of simply trying to survive whether it be a child passing time by scamming money for ice cream or a young mum trying to keep a roof over her daughter's head.

When we saw Hayao Miyazaki «s «The Wind Rises» the next day, we were unaware that the director was about to announce that it would be his final film, but even then, it felt like a fitting career summation; a very different, and highly personal piece of work delivered in traditionally gorgeous Ghibli - stylings.

Where Cianfrance uses this — I suppose — signature style of his so effectively in Blue Valentine and The Place Beyond the Pines, it's a bit of a bummer that it doesn't work as well with a story like the one in his latest film, The Light Between Oceans.

With its larky tone and half - hearted style (Carol Reed's famous Dutch camera tilts are little more than window - dressing), it's the sort of film you'd expect a nation like ours, that doesn't take film seriously, to revere.

The latest offering from Blum and co. is the movie Jessabelle, which - judging from the trailer above - looks like a composite of so many horror films that have come before, presented in a darkly lavish cinematic style.

The grittiness of the crime drama and action, along with the overriding sense of slick style, feels very much like the John Singleton movie, Four Brothers, which also features a menacing villain and retribution storyline lifted right out of 1970s blaxploitation films.

Man of Steel looks like nothing else Zack Snyder has ever done, and we can safely assume that producer Christopher Nolan influenced a healthy part of the film's grounded style.

Benjamin Wallfisch seemed likely to become a film composer of real note just a few years ago, writing elegant, classically - styled music of sophistication, suggesting he might follow the path of someone like Alexandre Desplat if he got the big breaks.

Forman took full advantage of this by creating a series of films, beginning with «Black Peter» (1964), which commented on the lives of ordinary people with a filmmaking that combined a documentary - like style (including the use of improvisation and non-professional actors) with a biting and deeply anti-establishment sense of humor.

Interstate 60 will definitely appeal to people who like smart independent films with lots of humorous characters and especially for fans of «The Twilight Zone» style of stories.