Sentences with phrase «than any other film from»

In that lofty regard, The Royal Tenenbaums succeeds as well as or better than any other film from 2001.

Not exact matches

In addition, as Spielberg's shop moves more into the family space, it could run up against part of the deal that forbids DreamWorks from making animated films for any company other than DWA.

The movie, from Time Warner's (TWX) Warner Bros., won awards in categories such as costume and production design, as well as makeup and two sound categories on its way to scoring more total Oscars than any other film Sunday night.

I can't even begin to describe the guest list — other than the head of any arts, music, film etc organisation you can think ofwas there — from Sir John Tusa, Alan Yentob and Sir David Putnam to Michael Wolff, Sir Christopher Grayling and Mark Thompson (and loads more).

The technique is much faster than existing methods and can perfectly transfer the atomic scale thin films from one substrate to others, without causing any cracks.

Straight from Julian Fellowes, the creator of Downton Abbey, Gosford Park is a 2001 British murder mystery film starring none other than Violet Crawley (the amazingly talented Maggie Smith).

Black Panther's fight scenes are better than in other Marvel films, but they're still a disappointment from the maker of Creed.

I didn't expect much from this movie, in fact I expected to hate it, but Spiders is a much better movie than many other horror films that has been released this year.

Reservoir Dogs: Bloody Days by Big Star Games is a third - person top - down shooter with few connections to Quentin Tarantino's film other than it being about gangsters with color - coded names; and yet Bloody Days partially succeeds in its aspiration to revive a classic for crime and gangster films, while offering a time - rewind mechanics that helps the game distinct itself from the pool of titles in the top - down shooter category.

It's built from stock, salvaged from bits of countless other films, but rather than disguise that fact, Corbijn incorporates the rust of those worn - out parts into his design.

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

However, despite releasing more films than any other major studio, Lionsgate earned the bulk of that money from just one title: The Hunger Games: Catching Fire, which has collected over $ 850 million to date.

Other than that split screen scene, no convincing argument is made to translate the story from the stage to film.

Not perfect - the film is made on a tight budget and sometimes it shows - but this is so much better written than every other American comedy this year (apart from Burn After Reading) that it is embarrassing.

Bay is at his best, paradoxically, when he's at his worst, if for no other reason than the fact that the most enjoyable and the most offensive parts of his films (which are often the same scenes and sequences) extend from the mind of a man with a very particular visual sense.

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 action is a horrible muddle of skating, blood, fighting and stupid bike stunts all crammed within this tiny arena, at the same time you have other players skating down from higher levels or platforms for no apparent reason other than to look cool in the film.

By cleverly tying the film in with real world events, like the nuclear testing at Bikini Atoll in the 50s, the film feels a teensy bit more believable than any of the other Godzilla films, aside from maybe the original Gojira.

From the finished product, I'm uncertain how much time and effort really went into making the film, and what the real impetus was, other than perhaps an exploration into independent productions.

The film strains credulity even for a vid - game fantasy by letting the leading lady recover awfully quickly from bad injuries, but other than that Vikander commands attention and is the element here that makes Tomb Raider sort of watchable.»

Though it's evident that Marina comes from a different class than most of the film's other characters, A Fantastic Woman is withholding about her background and family — and this would be less of a problem if Lelio and co-screenwriter Gonzalo Maza offered her much in the way of motivation or aspirations.

From USC and a dazzling student film, he caught the eye of none other than Steven Spielberg who tapped him -LSB-...]

(1) The Intouchables, an $ 11.5 million dramedy, based on a true story, that was co-written and co-directed by Olivier Nakache and Eric Toledano and has become the second highest - grossing French film of all - time in France and grossed more than $ 355 million internationally (more than any other French film and, for that matter, any non-English-language film, save for The Passion of the Christ); and (2) Rust and Bone, a fictional drama that was co-written and directed by Jacques Audiard, a best foreign language film Oscar nominee three years ago for France's Un Prophet, and features tour - de-force performances from Marion Cotillard, the best actress Oscar winner five years ago, and Matthias Schonaerts, the star of last year's Belgian nominee Bullhead.

It's a simple but extraordinarily effective trailer, selling the film's creeping sense of dread without revealing a single thing about where it comes from — other than the time of day, of course.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

More than any other film in the Marvel Cinematic Universe, Black Panther addresses the world today in ways that, while not distracting from the action and adventure, fills the movie with deeper meaning and moral weight.

Other than the possibility of teens and children balking at an apparently dry premise, the film presents only minimal content concerns from a parent's perspective.

However, I've yet to hear much personal discussion on it from anyone other than the critics and it would seem that Farhadi has still some way to go before he gets the recognition he deserves among your average film enthusiast.

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.

Madonna plays Amber Leighton, the rich - bitch wife of an entrepreneur (Bruce Greenwood, in an understated turn frankly better than anything he's done in American pictures up'til now) whose business is chemicals, a profession intended to draw his conservatism in neon lights: Not only does he prove to be a capitalistic pig, but his profit comes from a dangerous - sounding line of products that would be the MacGuffin in any other film, too.

It's interesting to see a film about a space alien that doesn't resemble anything we've ever seen before, as most others have some sort of humanoid appearance, (or reptilian, etc.) Indeed, it's a much more plausible depiction of an alien threat than most other sci - fi efforts have featured, almost the opposite in terms of story as The War of the Worlds which featured aliens defeated from exposures to germs and viruses of our own.

On the other, Paramount made it clear that this was a «spiritual successor», not a sequel, to Cloverfield, that the film had been repurposed from a kidnap thriller screenplay called The Cellar, and was achieved with a lower production cost than its predecessor.

Universal has included a slightly less - boring menu than is typical of other studios» no - frills discs, in that it includes various stills from the film and graphics (notebook clippings and such) consistent with the setting of the film.

But there's one other film for it to take place in, and unless Infinity War opens with Thanos stealing it from another location, that would be none other than February's Black Panther.

It's clear that Masters of the Universe is a derivative film, from the very Superman - like opening credits and theme song, to the Star Wars type confrontations, and some even cite Jack Kirby's «New Gods» comic books as a primary source, although my belief is that the film's creators merely ripped - off other sources that were influenced Kirby's creations rather than a direct lifting of characters and themes.

But while the film shows more promise than its spiritual predecessor in the early stages, its overdependence on the love story between its two leads prevents «Beautiful Creatures» from distinguishing itself as anything other than an unfortunate «Twilight» wannabe.

If we have one major regret from the festival (other than being shut out of Miguel Gomes «new short film «Redemption,» which we were told is terrific), it's that we feel we initially underrated Xavier Dolan «s «Tom At The Farm.»

Directed by Edgar «Spaced» Wright, co-written with Wright by Simon «Spaced» Pegg (who also stars as Shaun), and featuring other comic stars from «Spaced» (Nick Frost, Jessica Stevenson), as well as from «Black Books» (Dylan Moran, Tamsin Grieg) and even «the Office» (Lucy Davis), «Shaun of the Dead» is like a who's who of talent from the most cutting - edge British TV sit - coms of recent times, which is why it is much funnier than British comic films like «Bridget Jones» Diary», Johnny English and Love, Actually — and unlike those other films, «Shaun of the Dead» is nightmarish for all the right reasons.

But don't expect much from it other than the film's star, Paul Rudd, sporting a perplexed look for most of it, Michael Douglas looking a lot like his father...

Shot (with one exception) in black and white by Florian Ballhaus (son of Michael), the film is set to a score that is more industrial sound than music; yet, it is the combination of the clinically clean black - and - white cinematography, the disturbing score, and the narrative's single - minded focus on the protagonist's actions (there is no moment when the film seeks to psychologise him) by which the film manages to simultaneously solicit, on the one hand, our fascination with and, increasingly, horror about the events depicted — even long after Herold has proven how scarily easy it is for him to order mass murder (and, whenever necessary, to set an example by killing himself)-- and, on the other hand, to ensure that we keep some intellectual distance from the diegetic events.

I'll provide a complete inventory below, but the point is that the main attraction of this set, other than the HiDef presentation of the trilogy itself, is a 7 - part, feature - length HD documentary spread across the three films / platters called Tales from the Future.

The film starts with a wonderfully devised set piece, as a confused, kidnapped professor (none other than Mark Hamill) finds himself rescued from a ski chalet over and over again, each time by a spy more outrageous than the last.

Through his personal account of programming and researching Japanese cinema for more than two - and - a-half decades, Nornes raises important questions about the reception of Japanese films in Western film festivals, and the role of Japan as a site where filmmakers from other Asian countries can learn more about Western filmmaking.

Rather, his motivations stemmed from a desire to explore «the mystery of faith» which created a story that sought greater underlying meaning than other films lumped into the genre.

Our other release for the week to join the Collection is another film from none other than G. W. Pabst.

The only redeeming quality to the film (other than the aforementioned running time) comes from the quality performances by the lead actors, especially Peter O'Toole, who exudes devilish charm in one of his best performances in years.

Other than the fact that this movie doesn't shy away from crude humour and things go horribly wrong this has no real relation with the Todd Phillips» film.

Lady Bird, as it happens, was one of the two films to win multiple awards from NYFCC; The Florida Project was the other, and as far as I'm concerned there are no two films more deserving of multiple awards than those.

Other highlights in this strand include: Miguel Gomes» mixes fantasy, documentary, docu - fiction, Brechtian pantomime and echoes of MGM musical in the epic ARABIAN NIGHTS; the World Premiere of William Fairman and Max Gogarty's CHEMSEX, an unflinching, powerful documentary about the pleasures and perils associated with the «chemsex» scene that's far more than a sensationalist exposé; the European Premiere of CLOSET MONSTER, Stephen Dunn's remarkable debut feature about an artistic, sexually confused teen who has conversations with his pet hamster, voiced by Isabella Rossellini; THE ENDLESS RIVER a devasting new film set in small - town South Africa from Oliver Hermanus, Diep Hoang Nguyen's beautiful debut, FLAPPING IN THE MIDDLE OF NOWHERE, a wry, weird socially probing take on the teen pregnancy scenario that focuses on a girl whose escape from village life to pursue an urban education has her frozen in mid-flight; LUCIFER, Gust Van den Berghe's thrillingly cinematic tale of Lucifer as an angel who visits a Mexican village, filmed in «Tondoscope» — a circular frame in the centre of the screen; the European premiere of KOTHANODI a compelling, unsettling fairytale from India; veteran Algerian director Merzak Allouache's gritty and delicate portrait of a drug addicted petty thief in MADAME COURAGE; Radu Muntean's excellent ONE FLOOR BELOW, which combines taut, low - key realism with incisive psychological and ethical insights in a drama centering on a man, his wife and a neighbor; and QUEEN OF EARTH, Alex Ross Perry's devilish study of mental breakdown and dysfunctional power dynamics between female best friends, starring Elisabeth Moss.

There are two possible effects that come from lifting the title of a respected movie classic: on the one hand, it can be perceived as an audacious, assuring wink to savvy viewers that you're aware, as a filmmaker, of your movie's debt to hallowed classics of the medium; on the other hand, it can serve to accentuate how much more desirable revisiting older, better films would be, than to sit through a pretty bad new one.