Sentences with phrase «style of the film looks»

Plus, the scope and style of the film looks legit.

Not exact matches

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He is known in the Indian film industry for his Variety of style and his ability to envision a «look» for the character.

Hey ladies, I'm so excited about putting looks together once again on a daily basis... I guess the thought of how I'm going to control myself and not purchase the whole store is a bit frightening but it's also a good exercise for moi:) So today I decided to film a «get ready with me» style video on my makeup look, hair and outfit.

Filmed in 1961 it displays the styles prevalent proper to the more simplistic gamine look of the later decade.

Having already directed the first two (and superior) X-Men films, Singer shows a level of comfort with both the material and the cast, and he contributes at least one brilliant comic set piece in which new mutant Quicksilver (Evan Peters) lays waste to a kitchen full of security guards in languorous, Matrix - style bullet time (it looks gorgeous and has the slapstick choreography of a Three Stooges routine).

I loved the look of the film and it really has a very noir style about it which the original doesn't.

The look of the film is easily the most impressive part of the movie, as it managed to take the flat line - art of Seuss» work and give it depth and texture, without losing any of the charm or style.

Commentary 3 — The Picture - Director of Photography Darius Khondji, Prodcution Designer Arthur Max, Editor Richard Francis - Bruce, Richard Dyer and David Fincher talk about the look of the film itself, the color processes used on the print, the locations scouted for the various shots, the detail used in the studio backlot constructions, the style David wanted to achieve and succeeded in doing, the clothing, the grittiness, the absolute black Fincher always wanted in Alien 3 but could achieve until now and more.

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.

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.

Sanctum is the perfect example of a film that's style over substance, it looks great, but the plot is paper thin, and relies on recycled ideas from previous films in order to create an engaging film.

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.

From the looks of it, not even the DVD producers have seen the film; the cover art places Michael Kelly's assistive supporting character on the front in a place and style clearly meant for Koteas» more prominent slimeball.

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.

But since the look of the film is essentially 100 % attributable to Miller and his inability to stray away from the impressive visual styles created for his previous project, «Sin City,» it can be assumed that much of «The Spirit's» shortcomings are from the mind of the notoriously morbid writer.

For some, it will be very bad news that Ritchie (who co-wrote King Arthur: The Legend of the Sword with Joby Harold and Lionel Wigram) stays in his lane with this film; if you didn't enjoy the look and pace and overall vibe of other Ritchie movies, such as Snatch or Sherlock Holmes, then you might feel that his often jarring and visually exhausting style could overpower the strong performances from a great cast.

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.

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.

He successfully brings a cohesive style to the look and feel of this film giving audiences a smooth transition into the new series.

In celebration of his many talents, we take a look at five efforts from his wealth of film and television offerings, with each demonstrating his skill, style and versatility.

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.

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.

The film is shot in a lurid, colourful style that, besides looking gorgeous, effectively gets us into the minds of the characters, especially when Araki uses visual trickery to portray dreams, drug trips and sexuality.

If you're looking for a taste of Lindsy's style, read her review of the highest - grossing film of the DC Extended Universe, Wonder Woman, or her review of my favorite film from 2016, Toni Erdmann.

9/2, 3 p.m. 9/7 7 p.m. RICHARD LINKLATER: DREAM IS DESTINY A rare and unusual look at a fiercely independent style of filmmaking that arose from Austin, Texas in the»80s and how Richard Linklater's films — Slacker, Dazed and Confused, Waking Life and Boyhood — sparked a low - budget, in - your - own - backyard movement in this country and around the world.

Directed by Peter Berg, «Friday Night Lights» is a remarkable depiction of an economically depressed town that looks to football for excitement and inspiration, and his decision to shoot the film in a raw and gritty documentary style only further helps in achieving that realism.

Amy Adams has never looked this gorgeous, capturing the style of the 70s and wearing tops so low, I struggled to keep my eyes off of her and take in the rest of the film.

While that film took a slightly more «Dawson's Creek» - style approach to the story, however, «Friday Night Lights» offers a more serious, and ultimately more rewarding, look at the inner workings of a Texas high school football team.

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.

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.

Despite cinematographer Shelly Johnson's admirable attempts to ape Janusz Kaminski's lighting style — covered up by the color grading, which A.V. Club contributor Adam Nayman likened to camouflage meant to hide the fact that anyone had put any effort into this movie — this basically looks and moves like an over-heated fan film, and Montiel's tin - eared use of country music doesn't make it seem any less amateurish.

With one of Kate Winslet's most layered, resonant performances, this film is definitely worth a look, even though the indulgent filmmaking style pushes it perilously close to Nicholas Sparks - style sappiness.

Ridley Scott's visual flair has led to a number of handsome - looking films (and a great deal of success), but his tendency to go for style over substance often leads to a slightly unsatisfactory feel to his films.

The movie was made in documentary style, not dissimilar to Paranormal Activity, which I was not looking forward to initially because I'm not a fan of the documentary - styled film, but in the end it worked in the film's favour.

Visually, it looks great — the hairstyles & fashions of the 80's shown in the sort of small town where big bucks and high fashion are never going to reside are brilliantly depicted and the «mockumentary» style of film - making shown makes it easy to step into the lives of these people although frankly, all are so vile you'll soon be looking round wondering how quickly you can step back out again.

House Of The Devil As with yesterday's look at Suspiria, Ti West's break out film could be viewed as an exercise in style.

«You Are Here» is a shockingly inept comedy, a project with the look and style of a mid -»90s Ivan Reitman or Harold Ramis comedy, not the first film from one of our finest TV writers.

The ending of the film strongly echoes the climax of the film Ghostbusters, with Enchantress substituting for Gozer the Gozerian amid a similar cloudy, lightning - blazed cloud portal, including giving her a kooky new wave look, as well as an incredibly silly - looking, jittery dance style as she speaks as erratic as watching an inflatable air dancer at your local car dealership.

Overall, the film, which was produced by Tim & Eric themselves along with Will Ferrell, Adam McKay and Dave Kneebone, is a true celebration of an off - brand style of niche cult humor that so many viewers still look for in shows like The Eric Andre Show, Check It Out!

This movie looks so great even the acting seems to have improved from the last time I watched it, confirming Blimp as the sort of film in which all the elements of style and craftsman design and acting play together in a harmony that improves when any one element is highlighted by loving treatment.

In Part 2 of our video interview, Haggis speaks with us about viewing the film as a puzzle, initially thinking Kunis was wrong for the role, why stories (not directors) should have style, whether he found the answers he was looking for in making the film, and more.

This particular journalist is reminded of the 1985 T.V. movie, which looked like its costumes and sets were stolen, Ed Wood - style, from the B.B.C.'s Dr.. Who film lot.

Now on the eve of his latest film, The Grand Budapest Hotel, Anderson looks to enhance his cinematic oeuvre, incorporating more of an ode to the staged theatrical, in addition to his trademark cinematic styles.

THE LOVE WITCH The Love Witch is absolutely a gimmick film but, unlike other works that have spoofed the antiquated style and velvety aesthetics of»60s melodrama, Anna Biller's feminist critique of genre film and the male gaze is intelligent enough to subvert expectations whilst still looking absolutely fabulous.

«The Evolution of Hulk» is a really cool look at the character's history in comics, TV and film, while «The Unique Style of Editing Hulk» shows what went into creating the comic book panel look.

The first trailer for Phantom Thread, which debuted Monday, offers a first look at Day - Lewis as Reynolds Woodcock, an English couturier designing for society ladies («dressing royalty, movie stars, heiresses, socialites, debutantes and dames with the distinct style of The House of Woodcock,» reads the film's synopsis) in the middle of the 20th century.

Anderson's first film is an interesting look back at the development of filmmaker's now signature style: the methodical cinematography, with its bright coloring and compulsive need to center - frame the actors, along with humor so dry you'd better pack a canteen.

He's dutifully sincere and in awe of the efforts that crafted the film's striking look, but with zero info on the novel, script adaptation, lead actors, memorable character actors, and Mamoulian's obvious style and use of heavy subtext in so many scenes (including the heavy religious iconography that goes bonkers in the final reel), it's a huge lost opportunity for film fans.