Sentences with phrase «than a genre film»

Not exact matches

While it may seem counterintuitive, there probably isn't a film genre (excluding movies produced by Kirk Cameron, anyway) that more consistently or explicitly references Christian ideas and iconography than the...

But even more than that, absolutely no other film genre is premised on the conviction that there is such a thing as absolute morality.

While it may seem counterintuitive, there probably isn't a film genre (excluding movies produced by Kirk Cameron, anyway) that more consistently or explicitly references Christian ideas and iconography than the horror genre.

Also hard not to respect a genre film where people are evenly lit rather than typecast as good and evil.

It works for your appreciation, which is more than can be said for many similar films in the genre.

The scariest thing to be found in this pointless horror film is that its director, Rob Schmidt, has less prowess as a genre filmmaker in his third film than Eli Roth did in his first.

But that gives the film a much more realistic feel than most others from the genre.

I have gravely mixed feelings about every movie on Marc Forster's résumé, from «Monster's Ball» to «Stranger Than Fiction» to «The Kite Runner» to the 2008 Bond film «Quantum of Solace,» but the guy is undeniably a stylistic virtuoso with a Michael Winterbottom - like ability to jump around from one genre to another.

They ought to be a whole lot scarier than they are in this tepid genre offering from director Robert Harmon, whose debut film «The Hitcher» set a high bar for screen terror in the 1980s.

While she's the reason to see this movie, the plot is also well - done, and is a more positive piece than most of the films in this genre.

Box office receipts, however, were down by more than half, and Magnolia's genre film sub-label Magnet Releasing was responsible for Storage 24, which had the lowest reported domestic grosses for any theatrical release in 2013.

Mangold, a replacement for original director Darren Aronofsky, is new to the superhero genre, and hasn't directed a film since the disappointing 2010 action - comedy Knight and Day, but his approach to The Wolverine (it sounds more like a samurai film than anything else) suggests it should at least be an improvement over X-Men Origins: Wolverine.

Sure, this film possesses a better pedigree than most movies of its type — director Fatih Akin is rated higher in international film circles than «Death Wish» remake director Eli Roth, Diane Kruger won the Best Actress prize at Cannes for her performance and the movie is Germany's entry for this year's Oscar for Best Foreign Language Film — and its intentions may be nobler, but, at its heart, it is not markedly different from its genre brethren.

Once again the most prolific distributor of the year, IFC maintained a more - than - one - film - per - week pace throughout 2013, with releases in multiple genres coming through a variety of sub-brands, including the artier Sundance Selects and the horror - oriented IFC Midnight.

It's as rudimentary as slasher films go, and although it may not be fair to make the comparison, that will no longer cut it after Get Out proved that the horror genre is capable of a lot more than mechanically depicting people getting stabbed to death.

I've always maintained that it's ok to boast about one's talent if you have actual talent, and De Palma, whose work has spanned so many genres, has gifted us with more indelible moments in any given film than most directors have in their entire careers.

What makes «Very Bad Things» a more rewarding experience than other films in its genre is that writer - director Peter Berg seems to be onto the fact that he's making a piece of shock schlock and not a sociological pronouncement.

Depressing, cliche, and quite unwatchable at times, Dear John really doesn't have an interesting story to tell, and despite it being in the romantic genre, the film makes the viewer feel nothing more than annoyance.

Occupying the director's chair is Nimrod Antal, a kindred spirit of Rodriguez's whose «Vacancy» and «Armored» were genre films that turned out better than a lot of their genre - mates do — which describes «Predators,» too.

It is a film that transcends genres, it's more than a kid's sci - fi yarn.

Then, as told partly in flashback as Arthur (Harrelson) is being interviewed by a court - appointed psychiatrist (the underrated Sandra Oh), the safe distance that gives the audience derails the pace and the film becomes more serious than it ought to, no matter the subject matter and this results in it becoming every «realistic» work that looks down on the idea of either a superhero or the genre.

From A Trip to the Moon (1902) to Arrival (2016), science fiction cinema has produced a body of classics with a broader range of styles, stories, and subject matter than perhaps any other film genre.

The Look of Silence feels more like an extended DVD extra to his genre - defying previous film than a stand - alone documentary.

Occasionally, Demanges» naturalism can come across as a little contrived but this is rare with the director more often than not delicately balancing nuanced performances from his actors with all the thrills that you would expect from a genre film.

Elysium will mark the young directors second film and ever since its announcement not much has been said about the film other than it was going to be in the sci - fi genre with a lot of underlying sociopolitical messages.

Schrader works in a stately, dark - toned style that's far more compelling than the frenetic genre hash of his last two films, «Dying of the Light» (2014) and «Dog Eat Dog» (2016).

«Schrader works in a stately, dark - toned style that's far more compelling than the frenetic genre hash of his last two films, «Dying of the Light» (2014) and «Dog Eat Dog (2016),» Variety opined in a review, coming into «First Reformed» as a summation of Schrader's work: «Paul Schrader pours all his obsessions, from Robert Bresson to pulp violence, into a grindhouse art film you can't stop watching.»

This decade has seen a significant increase in what can only be described a «prestige genre,» a Sci - Fi or Fantasy film that is treated as serious drama and, usually, with a distinctly more artistic vision than traditional commercial fare.

Yet if you forget, for just a moment, about genre pedigree, what is it, really, that makes «The Shape of Water» a «richer» film — or a better one — than «Get Out»?

At the same time, DreamWorks still has yet to make a film to put them on a par with Pixar in terms of being able to make animated family films that will last the test of time as classics in their genre, rather than populist features that work primarily in the here and now.

This is no mean feat given the terrible portrayal of cybercrime in most films of the genre, and it at least gives hope that the setting is more than merely a gimmick.

It's important to remember that these films are more than just spoofs or parodies of the genres they emulate as each film has a powerful emotional core with something to say about friendship, growing up and more.

A horror film with the power to put a rascally grin on the face of that great genre subverter John Carpenter (They Live), Get Out has more fun playing with half - buried racial tensions than with scaring us to death.

Gambit is being pegged as a heist film set within the X-Men universe, having the Ocean's director tackling it would mean it's advancing the genre rather than copying other films.

It feels like a detached exercise rather than a project which the director was passionate about, a chance for him to develop his skillset in another genre and while there is certainly nothing wrong with a stripped down action film too often Haywire feels diffuse and perfunctory.

KW: Yeah, I think there's a certain gravitas and authenticity to your films that make them feel a lot more realistic than most other examples of the ghetto genre.

At 93 minutes, the story doesn't stay longer than warranted, but still, the rest of the film clicks well enough that a bit more fleshing out would have turned a good action flick into a must - see for genre fans and even some non-fans alike.

Even more than the first film, «Deadpool 2» mocks itself and its genre while flaunting a taste for the grotesque.

Perhaps due to the choices to cover older works, they're more able than ever to produce intelligent, thoughtful, and informative criticism — while this article maligns their production value as no better than «the average Youtube video,» editing a video review to provide context via clips of the film is a step beyond what the vast majority of populist or even academic film criticism has done in the past, let alone other related films in the genre and in the director's oeuvre for context.

We're going to be seeing films of all kinds and genres within this shared universe, and more so than any of the other MCU films, Black Panther feels like an invitation for everyone to take part — to tell stories from unique perspectives and world views, and to bring cultural, ideological, and social ideals to these comic book heroes.

This is one film that only relies on jump scares to scare you, and time and time again you find yourself more bored than enjoying yourself due to the fact that it is a poorly constructed horror film that doesn't offer anything remarkable for genre fans looking for something really interesting to watch.

Director Claire Denis is choosing a more diverse range of film projects than any other time in her career - and it's best exemplified by Let the Sunshine in, a romcom that subverts genre expectations on the hunt for true love.

Though he's essentially stuck to the same genre since hitting it big with The Sixth Sense five years ago, there's no denying that each of his successive films has been completely different than the one before.

However, he seems quite befuddled as to what to do within the atmospheric horror genre, never really building solid suspense, and offering nothing more than to throw more unpleasant images at us whenever the film starts losing momentum, which is quite often.

Blade, to the fresh eye, free of the fandom surrounding the character, comes across as the kind of film that is probably closer to a B Movie in the action genre than a superhero flick, as it is branded to be.

The (very few) good ones are amazing but the bad ones are soooo unbelievably crap and, unfortunately, the horror genre seems to have a massively higher percentage of bad films than good films.

But most action films do have something of a right wing perspective (especially the super hero genre) in that they are about re-inforcing rather than challenging the status quo.

The return of Bryan Singer to the franchise and the very genre he helped popularise 14 years ago showed promise, but I had this niggling feeling that the film would be nothing more than an excuse to start afresh, à la Star Trek 2009.

Like «Coraline,» it's not your traditional children's movie, and it dips more than just its toes in the scary film genre.

Men wrote more reviews of films in all genres than women.