Sentences with phrase «through film genres»

They learn about their country's history through film genres like classic western's and iconic movies that mark historical moments.

Headhunters is a very ambitious film that expects its audience to stick with it through a wild ride through film genres, starting with light - hearted comedy, progressing through heist film, black comedy, thriller, back to heist film before finishing back at quiet comedy.

Not exact matches

As the pioneer of this new genre in the adult industry, Buck Angel Entertainment focuses on education through motivational speaking and award - winning documentary films, while striving to spread the message of empowerment through self - acceptance.

Join me as I take a journey through the zombie genre with reviews and commentary on films and television that embrace the apocalyptic walking dead.

This carping ignores the fact that this sort of thing now seems dated and even faintly embarrassing in the genre, a point brought home through the exciting but positively antediluvian coming attractions trailer for the next Bond film, Tomorrow Never Dies, prior to the Peacemaker screening (which, in retrospect, makes the other trailer, for the Bruce Willis film The Jackal, seem even more pointless).

With an astoundingly funny vein of dark comedy running through the entire film, this film sets itself apart as a treatise of the horror genre, something that Scream accomplished a decade previously but Cabin in the Woods elevates to another level.

What I saw in my several viewings was an embracing yet acerbic melange of genres polished to a single piece through a screenplay larded with wit, superb filming, and masterful performances.

One of the central pleasures of genre cinema is running your fingers along well - worn grooves, but while Man Hunt trots out a lot of chestnuts, it's the film's tendency to burn through them with bemusing haste.

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.

Illustrated by astounding color and black - and - white images, the book presents the best of this mind - bending genre, detailing through insightful commentary and behind - the - scenes stories why each film remains essential viewing.

After breaking through with films made by an emerging avant garde — including Josh Trank's Chronicle, Derek Cianfrance's The Place Beyond the Pines and Josh Krokidas» Kill Your Darlings — this year the 28 - year - old actor has starred in two very of - the - moment genres, first playing Harry Osborn, Peter Parker's childhood pal turned homicidal supervillain Green Goblin, in The Amazing Spider - Man 2, and now appearing opposite Aubrey Plaza in the zombie comedy Life After Beth.

It's a film that bothered a lot of people, if I remember correctly, because like a lot of films I fell in love with this year it almost seemed to change genres mid way through its runtime.

Language: English Genre: Biography / Drama MPAA rating: PG - 13 Director: Nora Ephron Actors: Amy Adams, Meryl Streep, Stanley Tucci Plot: The film follows Powell, a government employee who decides to cook her way through legendary cook Julia Child's classic cookbook, «Mastering the Art of French Cooking» in one year's time out of her small Queens kitchen.

Filtering a piquantly feminist perspective on Iranian gender relations through a mesh of genre influences including low - rent horror, film noir and even spaghetti western, here's a fantasy underworld with entirely its own woozy, sinister flavour.

The film has a bad habit of dropping the psychological inquiries to dully go through the genre motions.

First - time film director Phyllida Lloyd, who also directed the original London show, creates constant visual distraction with swish pans and unmotivated zooms, but her reliance on too - frequent close - ups proves a fatal visual strategy in a genre that functions entirely through movement and spectacle.

Early in the film, we are taken through every crevice of the gay comedy genre clichés, the Ethel Merman remarks, the exercise regimes, the Judy Garland show tunes.

If the film's reach exceeds its grasp, and tone wavers through the running time, they are forgivable slights given the director's light touch with the cast and affection for the genre.

Lucy is a glorious mess, a film that casually wanders through a variety of genres.

Miike clearly enjoys shaking up movie genres, and the first half of this film is an impeccable samurai costume drama, as we learn about the characters and the politically charged situation through encounters that add increasing levels of urgency, plus a few grisly Miike touches.

Through John Logan's sharp - as - a-razor script filled with hilarious run - on sentences and oddball sensibilities, the film is at once a reverential tribute to a genre and a wholly original piece of work.

Consequences of Grief: Kent's Stunning Debut Wades Through Primordial Fears Satisfying genre films are generally few...

Yet, doing so would also require that the industry (and critics) embrace the fact that most of such films would, at least initially, be rather underwhelming if not outright bad: after all, it is only through repeatedly practicing the craft of genre filmmaking that, over time, a film industry can elevate its game and make reliably solid films in any given genre — films that can hold their own when compared to those from other nations that excel at genre filmmaking, including Hollywood (the genre filmmaking tradition par excellence), France, South Korea, or Hong Kong.

Penn Jillette writes and stars in this genre bending wild trip through the deranged mind of a crowdfounder unhappy with the film he donated money to.

From its deadly flying silver spheres through to its hooded dwarf minions, and of course, the towering figure of arch villain The Tall Man himself, the imagery conjured up by the Phantasm films remains etched in the psyche of genre fans everywhere.

A stark, brutal, yet tender prison drama starring Jack O'Connell as a violent inmate sent to the same lock - up as his jailbird father (Ben Mendelsohn), the film's shot through with a raw energy and authenticity that's closer to «A Prophet» than to most other British films in the genre, with Mackenzie making the movie feel like he's bottled up a hurricane of tension, which at any second could kick through the screen at you and hit you with a sock full of snooker balls.

The Woods, releasing through Lionsgate who made their name in the horror genre, is a horror film to rival The Blair Witch Project, at least that's the hope.

From his attention - grabbing debut with «Reservoir Dogs» (1992), a deviously clever heist film where the heist is never seen and the drama is all in the conversation and the ingenious structure, to his acclaimed «Inglourious Basterds» (2009), his thrilling rewrite of World War II history as a magnificent movie fantasy, Tarantino has gone his own way, snatching up ideas strewn through decades of film history and hundreds of genre movies like a magpie, rethinking them completely, and weaving them into entirely new stories that unfold at a leisurely pace so he can enjoy every word and gesture along the journey.

Cinema and horror especially owe a lot to Universal's monsters — they paved a legendary path through film, leaving an undeniably influential print on the genre starting way back in the early 1920's.

Our reaction: «A trio of expertly judged performances glide through this enigmatic, discombobulating film which is at once a genre piece, a disquieting character study and a haunting reflection on Korea's socio - economic divide.»

It gets to a certain point in the film that when he goes through the withdrawal, time away with his family, part of the film (yet another staple of the recovering drug addict genre), we don't want him to have that triumphant return to music.

After suffering through countless overtly serious genre films at this year's SXSW, I was saved by Tyler MacIntyre's fiercely entertaining Tragedy Girls.

Part of the problem with the genre is that many of the films are practically interchangeable, and that's something that «Fury» attempts to address with its unique premise, following a solitary tank unit through the final days of World War II.

After suffering through countless overtly serious genre films at this year's SXSW, I was saved by Tyler MacIntyre's fiercely entertaining Tragedy...

From its starkly arresting beginning, in which an act of violence is perpetrated against a housewife while her young daughter looks on, only for the daughter to become an active participant in the revenge taken on the assailant once Dad comes home, the film plots a highly original, beautifully shot course through a genre that often feels overgrown with familiarity.

The special features that have been provided by The Criterion Collection will entertain fans of the genre for hours, with many scholars discussing the film at length through various interviews and featurettes.

Horror films in the public eye aren't the most seat - packing bookings and often a lot of the great genre work throughout the year slips through the cracks.

Turkish horror Baskin, which Ryland calls a midnight movie «through and through» in his review, is accompanied by I Am Not a Serial Killer (Peter's review here), The Love Witch (above); an ultra vibrant trip into sexy exploitation cinema, Train to Busan, the Cannes hit that's just opened to record seats in South Korea, and a film Pierce called in his review «a tense and inventive mix of genre thrills and social anxiety.»

From this pattern, Polley's film seems to forward an argument about autobiography and documentary filmmaking: that these are plural, collaborative genres most effectively and truthfully made through a chorus of many and diverse voices, a «medley» as her other sister, Susy, describes it, each given freedom as well as equal weight.

League explained — through his fake and sometimes - dangling beard — that we were all there to celebrate the «sword - and - sandals» genre, and that David Gordon Green's film was an homage — rather than a parody — of movies like Dragonslayer, Legend, Krull, or The Sword and The Sorcerer.

Although at times channeling Malick — even featuring Sam Shepard early in the film — and carefully utilizing western genre convention, Dominik broke through in his sophomore effort with an elliptic reverie on obsession and notoriety that displayed an assured patience well beyond his relative inexperience.

It just puts monsters on display like zoo animals, then mostly looks away when it's time to turn them loose in either a sad (and failed) attempt to win a PG - 13 rating or more likely an attempt to pander to every audience except the horror audience that would see right through it, and instantly, as another slam on genre films by a larded gentry too delicate to see them first.

Eastwood's film is dark and brutal, leavened by some deadpan comedy, a tour de force performance from Gene Hackman, and a sly encapsulation of the history of the Western genre, as seen through the eyes of a pulp writer played by Saul Rubinek.

And yet Corbucci, who helped define the the amoral tone of the genre in Django, develops a streak of idealism that builds through the film until it blossoms as a defining theme without any sense of irony or insincerity.

Bridge of Spies seeks to differentiate itself not only through the pedigree that comes with Spielberg and lead actor Tom Hanks, but by approaching the genre from more of a cloak and dagger / back alley dealing sense of a spy film than the explosives and gadgets and hot women that has come to define the rest of these releases this year.

Made in 1993, Cronos was a fresh approach to the vampire film created just as the Anne Rice books was reviving the moribund genre and long before the Buffy the Vampire Slayer TV series made vampires hip and the «Twilight» novels spread them through popular youth culture.

Starting with the first Saw movie in 2004 and accelerated by Eli Roth's Hostel in 2006, this genre confronted the audience with films that puts its characters through horrific, gruesome ordeals.

The Girl with All the Gifts (Colm McCarthy, 2016) This film is an interesting reimagining of the zombie genre where the «living dead» are ultimately redeemed through education.

Anderson has worked in a variety of genres — noir, screwball comedy, historical epic, and straight - up relationship drama — but his films always bear his distinctive fingerprints: sharply drawn characters (some of whom are uneasily at odds with the world around them); a sense of humor filtered through dark situations; and a stable of actors with whom he works regularly.

Since Reichardt's film starts with the land, with people silently, slowly, moving through it, and since the land and the landscape are enormously important to the Westerns genre, let's start there.