Sentences with phrase «tradition of films like»

Genius and mental illness can feed off each other — if you're to believe a strong tradition of films like Shine and A Brilliant Mind.

Not exact matches

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

Continuing the tradition of brutal Australian horror films like «Wolf Creek,» «Killing Ground» is an effective indie creeper that unnerves the audience with its all - too - realistic violence.

His very early movies were great fun and laid in the tradition of American slapstick like «The Three Stooges «and The Marx Brothers, and afterwards he changed course and made some extremely profound films in the 60s and 70s.

In fact, the film draws on a long tradition of deadly video game movies (encompassing the likes of Tron and eXistenZ), although it ultimately fails to add anything new to the genre, despite its apparent potential.

This may work in the spaces of Anderson's meticulously crafted universe of films like «Rushmore» and «The Royal Tenenbaums,» but «Isle of Dogs» is set in an actual foreign country whose culture and traditions Anderson unwisely commandeers.

The results have been encouraging, with Disney both embracing its tradition of fairy tale musicals and also succeeding with creative original storytelling on less conventional films like Wreck - It Ralph and Big Hero 6.

Of the more than 40 films he's directed this century, I've only seen a handful, but Yakuza Apocalypse is firmly in the tradition of earlier films like Sukiyaki Western Django, 13 Assassins and his remake of the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narrativeOf the more than 40 films he's directed this century, I've only seen a handful, but Yakuza Apocalypse is firmly in the tradition of earlier films like Sukiyaki Western Django, 13 Assassins and his remake of the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narrativeof earlier films like Sukiyaki Western Django, 13 Assassins and his remake of the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narrativeof the Maskai Kobayashi classic Harakiri in their critique of the psychotic masculinity that underlies the ideology of Japanese action narrativeof the psychotic masculinity that underlies the ideology of Japanese action narrativeof Japanese action narratives.

European films have a long tradition of full frontal male nudity even in movies you least expected it; like in the classic 1980's slasher «Pieces»

It gives the idea of consumerism run wild the short shrift that it deserves (and the cynicism that an intervening quarter - century demands), touching on the original's explanation of the zombies» affinity for the shopping mall and the human heroes» delight at their newfound material wealth before becoming a bracing action film that, like Marcus Nispel's reworking of The Texas Chainsaw Massacre (the source of which didn't need updating as much as Dawn arguably did), is more firmly entrenched in the James Cameron Aliens tradition than the Seventies institution of disconcerting personal horror film.

Although its plot is by and large in the Asia pulp tradition — that is, of an elusive logic — the film wins us over with phenomenal artistry and energy, and its breathers from the mayhem don't feel like conceptual U-turns.

Building on the tradition he had established in films like Alps and Dogtooth, he there brought his obsession with societies built on arcane systems of governance to glorious fruition in a mesmerizing tale anchored by a deliriously deadpan performance from Colin Farrell (Seven Psychopaths).

If critics have a function anymore besides carving their own gravestones on the marble of modern cinema, it's to point a finger at films like Junebug, which sounds like a thousand other pictures but is actually something all its own: a Southern Gothic in the tradition of Flannery O'Connor that treats its characters as more than plot - movers or cardboard caricatures.

Although Vikander has spent the majority of her acting career so far appearing in «serious» films like 2015's The Danish Girl, for which she won her Oscar, she carries with her from childhood an affection for the cinematic tradition Tomb Raider taps into.

question is a rich cinematic tradition and the backbone of so much good psychological horror, so I'm excited to see what a filmmaker like Soderbergh can do with the concept — especially when he's mixing it up even further by filming the whole damn thing on a smartphone.

Christian Bale is fantastic, and I hope he continues his tradition of mixing the more alternative films (like American Psycho) with the mainstream stuff (Batman Begins and Reign Of Fireof mixing the more alternative films (like American Psycho) with the mainstream stuff (Batman Begins and Reign Of FireOf Fire).

In the great tradition of one - night - in - the - life - of - a-teenager films like Dazed and Confused or American Graffiti or Can't Hardly Wait, this one follows Javier as he tries to hook up with Valentina, convinced that his best friend Nicolas, who's already sleeping with Javier's ex-girlfriend Francisca, will get to her first.

Like Tangerine, Baker films with a sun - dappled luminosity that's all but anathema in the European art house tradition of films about poverty.

Paintings and prints frequently carry particular meaning within Petzold's films, as examples of the ancient tradition of ekphrasis, probably none more so than in Phoenix's immediate predecessor Barbara (2012) with its conspicuous Rembrandt print, but likewise in much earlier works like Die Beischlafdiebin (The Sex Thief, 1998) with a Gerard Richter on the wall — another artist conspicuously engaged with multiple forms of peculiarly German afterness.4

In the film's first third (roughly till Louis XV dies), Coppola paints the world of Marie Antoinette like the original Paris Hilton: the little dog constantly in her arms, the frivolous clothes and the constant pouting over the traditions of French royalty.

Every year they program the best upcoming genre and Asian films, and this year it looks like they are keeping up with their long - standing tradition of kicking ass.

«A dodgeball movie is uncharted film territory,» says Rawson Marshall Thurber, the film's writer / director, «but at the same time it inhabits the same tradition of great underdog movies like «Stripes,» «The Bad News Bears» and «Meatballs,» which follow an archetypal comedy framework: scrappy underdogs take on the socially, financially or athletically gifted and prevail against all odds.»

Why, the film noir, one of the richest veins in our movie mines, bears a French moniker; and French cinéastes have emulated that particular tradition time and again, from the commercial likes of Borsalino to the more personal genre work of the recently deceased Jean - Pierre Melville to the radically stylized, self - aware poetry of Godard's Breathless, Band of Outsiders, Alphaville, and Pierrot le fou.

With its thatch - roofed skyscrapers and bird - shaped hovercrafts, its pastel - hued, Zulu - inspired costumes and bulletproof, energy - absorbent suits, the Wakanda of the film exemplifies this vision: it looks and feels like a society where scientific advancement occurs not at the cost of, but in harmony with tradition and culture.

This time, however, working with an impressive acting quartet (Ben Stiller, Naomi Watts, Adam Driver, Amanda Seyfried), Baumbach has given us something thoroughly amusing, a film he's described as «in the tradition of the adult comedies the studios used to make when I was growing up, like those that Jim Brooks or Mike Nichols or Sydney Pollack or Woody Allen made in the»80s.»

Including references ranging from popular TV sitcoms like Living Single to MTV's Real World to Edwin S. Porter's early 1907 short film Laughing Gas, Syms's videos and performances look closely at representations of blackness, and their relationship to self, narrative, vernacular, feminist thought, and activist traditions.