Sentences with phrase «time filmmaker went»

I love when first time filmmakers go for a game changing look and feel.

This time the filmmaker goes for psychological horror with Unsane, a psych ward - set tale of compliance, paranoia, and dominance.

Not exact matches

It appears the filmmaker is going to be making a much more elegiac and sobering gangster movie this time around.

From filmmaker Steve Hoover and executive producer Terrence Malick, the documentary Almost Holy follows a vigilante pastor in the Ukraine nicknamed «Crocodile Gennadiy» who goes to extreme — at times controversial — measure to save orphaned, street children from drug addition and predators.

The filmmakers know how to craft a solid actioner, even at times if it's not truly perfect, there are a lot of things going for this film that surpasses the low points.

There's little doubt that Real Steel's biggest problem is its excessively deliberate pace and unreasonably overlong running time, as filmmaker Shawn Levy, working from John Gatins» screenplay, has infused the movie with an incongruously epic sensibility that all - too - often threatens to negate its positive attributes - with the fairly pointless (and surprisingly unpleasant) robot - vs - bull brawl that opens the picture effectively setting a tone of regrettable sloppiness (ie Charlie goes through two robots before settling on his final fighter).

The filmmakers make the time - honored mistake of going too far with animal fart and poop humor, and it takes away from the hoped - for effect of inuring Mr. Popper, and the audience, to the waddling animals.

It's a promising setup that's employed to curiously (and consistently) uninvolving effect by director Stanley Kubrick, as the filmmaker, working from a script cowritten with Terry Southern and Peter George, proves unable to wholeheartedly capture the viewer's interest right from the get - go - with the movie suffering from a stagy, talky vibe that grows more and more problematic as time progresses.

It was a time of big budget, Oscar nominated studio films like Misery and early genre work from filmmakers who would go on to become the best in the business, like Fincher's Seven, M. Night Shyamalan's The Sixth Sense, Tarantino and Rodriguez's From Dusk Til Dawn, and Adrian Lyne's Jacob's Ladder.

FIRST TIME FEST also features a retrospective series called First Exposure which showcases the auspicious and ambitious debuts by artists who went on to become major filmmakers.

After terrible test scores and some unsuccessful reshoots, Morgan Creek took control of the cut, leading Sheridan to go to the DGA to remove his name from the film (there were some suggestions at the time that the «Alan Smithee» credit could have been revived)-- it's the most high profile recent example of a filmmaker disowning his own film.

Framing the film around the definition of «Altmanesque,» Altman goes through the filmmaker's work one at a time in chronological order, starting with his work on television up to his swan song A Prairie Home Companion.

The directorial debut of Ruairi Robinson, the young Oscar - nominated Irish filmmaker who at one time was set to helm the «Akira» remake, it might seem to have a generic set - up, but if Robinson's shorts are anything to go by, we should expect to see something visually spectacular.

This low - key character study from filmmaker Joshua Marston is built around a woman who prefers to make up her life as she goes along — one new, invented identity at a time.

There's little doubt that Real Time's admittedly intriguing premise initially seems as though it's going to be squandered by writer / director Randall Cole, as the filmmaker generally stresses hopelessly quirky situations and conversations that grow increasingly tiresome as the movie progresses.

First - time feature filmmaker Cornish invests plenty of energy and humour into this alien invasion thriller, apparently going for a Shaun of the Dead tone.

What most filmmakers forget is that it takes a special brand of smarts in order to make a movie that's dumb without actually being dumb, and also be really funny at the same time («Harold & Kumar Go to White Castle,» take a bow).

Too - clever filmmaker Shane Carruth «sfascinating 2004 time - travel thriller Primer was confusing enough, but he goes a step further with this utterly impenetrable freak - out mystery.

Ready Player One has a lot going for it, namely the involvement of one the greatest science - fiction filmmakers of all time, a masterful practitioner of spectacle who has cannily updated his techniques to fit the project and the times.

This was already great and I got this opportunity to work with filmmakers who believed in me as an actor... Then I got to go back and do «American Pie 4» and I had an absolute awesome time.

His script for Get Out, a movie he said he stopped writing about 20 times because he thought it «wasn't going to work,» won the award for Best Original Screenplay, making Peele the first black filmmaker to receive that honor.

Families who bring home «A Wrinkle in Time» will go behind the scenes to meet the talented crafts persons, actors and filmmakers who brought to life every spectacular detail of this triumphant tale.

There are reports going around the web that filmmaker Darren Aronofsky is eyeing his next project, an Evil Knievel film that has been in development for quite some time.

Who'd have though such an honor would go to the filmmaker commonly (and unfairly) branded as «the worst director of all time»?

Two - time Academy Award winning cinematographer Emmanuel «Chivo» Lubezki will go to any length to capture an image, so it's clear why he gets along well with fellow Mexican filmmaker Alejandro G. Inarritu, the audacious director of last year's Best Picture Oscar winner, Birdman.

Going Back in Time: A Discussion and Q&A with the Filmmakers Behind the Back to the Future Feature Documentary Director Jason Aron, executive producer Louis Krubich, and producer Lee Leshen discuss, take questions, and show clips from their upcoming film Back in Time, the feature - length documentary that shows the films» influence on the public 30 years later.

Sure, it's been an interesting experiment of sorts, wondering just how far the filmmakers would go in creating the most complex horror franchise of all time, but I really suspect that most of the people buying tickets were like myself — feeling the need to act out the yearly ritual whilst never really believing the series was going to get any better.

Amy, On the Corner Films and Universal Music Best Of Enemies, Sandbar Cartel Land, Our Time Projects and The Documentary Group Going Clear: Scientology And The Prison Of Belief, Jigsaw Productions He Named Me Malala, Parkes - MacDonald and Little Room Heart Of A Dog, Canal Street Communications The Hunting Ground, Chain Camera Pictures Listen To Me Marlon, Passion Pictures The Look Of Silence, Final Cut for Real Meru, Little Monster Films 3 1/2 Minutes, 10 Bullets, The Filmmaker Fund, Motto Pictures, Lakehouse Films, Actual Films, JustFilms, MacArthur Foundation and Bertha BRITDOC We Come As Friends, Adelante Films What Happened, Miss Simone?

At first glance American Graffiti appears to be a nostalgia trip back to the early 1960s, the teenage years of its now legendary filmmakers — producer Francis Ford Coppola who at the time had just directed The Godfather and writer / director George Lucas who would go on to create the Star Wars franchise.

It's a ridiculous and flat - out dumb premise that's employed to terminally underwhelming effect by Cronenberg, as the first - time filmmaker, working from his own screenplay, has infused the proceedings with a cold, sterile atmosphere that holds the viewer at arm's length right from the word go.

It's clear right from the get - go that Joe Johnston is looking to emulate the feel of an old - school horror flick, and although the filmmaker does succeed to a certain extent (ie the movie boasts a decidedly atmospheric sense of style), The Wolfman suffers from an egregiously deliberate pace that slowly but surely renders its overtly positive attributes moot - with the pervasively stuffy vibe holding the viewer at arm's length for the majority of the running time.

Director Xan Cassavetes blends interviews with clips - often devoting entire portions to specific films (including an intriguing look at the whole Heaven's Gate fiasco)- and although the filmmaker occasionally goes overboard with her the of stock footage, Z Channel: A Magnificent Obsession is a highly effective documentary that doesn't shy away from some of the more difficult times in Harvey's life.

But even I can only take so much when it comes to this sort of lunacy, and there were times where I felt the filmmakers were going out of their way to work every one of my last nerves almost as if I'd personally wronged them all somehow.

Villeneuve is one of the rare commercial filmmakers who's not afraid of stillness and silence, and if anything, he goes a little overboard with his lugubriousness at times; the film runs just shy of three hours and could stand to lose a few moments of moody staring.

There are times when the film seems like a defiant statement from the filmmakers: If this stuff is eventually going to get old and tired, it's not going to happen on their watch.

Filmmaker Damien Power delivers a slow - burn opening stretch that certainly holds plenty of potential, as the writer / director does an effective job of establishing the various characters - with the promising vibe heightened by his somewhat innovative decision to spend time with the assailants before things go awry (ie the bad guys, particularly in movies of this ilk, are rarely developed beyond their most superficial attributes).

What's interesting as you work backwards through films we've made about traveling to Mars is: the further back in time you go (and therefore, the less scientific knowledge about the planet with which the filmmakers would have been working), the more Mars ceases to be a cold, inhospitable ball of red mud and becomes a brash, romantic fantasy world onto which stories more and more achingly mythic can be grafted.

So it is with A Tribe Called Quest, the subject of debut feature filmmaker Michael Rapaport's bracing documentary — a reminder, part «Behind the Music» and part something better, that even artists professing love and togetherness have a hard time keeping it going.

Erin Simms: But when you have a first - time filmmaker, you don't have any proof, right, that it's going to turn out the way that it did.

Mandated by our Founder Robert Redford, the Institute has nurtured and supported Native filmmakers going back to a time when almost none existed.

It is a case of diminishing returns on these scenes, and the filmmakers go to the well about three too many times.

In one of the few overlaps of jury and press enthusiasm, the Jury Prize (or third place) went to another U.K. filmmaker, Andrea Arnold, who has now won this particular prize three times at Cannes.

For the first time, all four of the festival's directing prizes went to female filmmakers.

For his last picture - the much maligned Nic Cage crime ditty Dog Eat Dog - Paul Schrader eschewed any playbook he'd ever used, going as far as to employ first time filmmakers behind the scenes to try and free himself of any preconceived notions regarding the creative process.

Any time a sequel is announced to a movie where all of the main characters were killed off at the end, you have to wonder what direction the filmmakers are going to venture in with the follow up.

Cheers erupted every time Sacramento native and filmmaker Greta Gerwig, who went to middle school across the street from the Raven, appeared on screen during the broadcast of the 90th annual Academy Awards.

In that time, I went to tapings of Jeopardy!, an episode of Everybody Loves Raymond and a screening of a new Paul Reiser sitcom that never made it to TV; met the phenomenal Michael Weatherly and Sasha Alexander when NCIS was filming part of an episode at College of the Canyons in Valencia during its second season; and went to the 20th Century Fox lot one evening with an independent filmmaker...

Earlier this month, The New York Times ran an article with the headline, «As Studios Cut Their Budgets, Indie Filmmakers Go Do - It - Yourself.»

I started out with a political magazine in Chicago, In These Times, as an editorial intern, moved up to the role of associate publisher, and went on to an organization called The Media Consortium, where my job was to not only foster editorial collaborations among the 50 different media outlets from book publishers to documentary filmmakers to daily news organizations but also to help them strategize for the future and help them shift their planning so they were able to not get knocked on their heels by the internet, when the internet happened.

A non-chronological presentation of the filmmaker's time in German forced labor camps and displaced person camps, the film details a story that begins in 1944 and goes on until 1949.