Sentences with phrase «upon films like»

The divorce of multiplex and Nokia Theater has never been more perilous, and odds are that only teens like me (and, if you've read this far, probably you) have actively sought out and liked such critically - fawned - upon films like Amour, Beasts of the Southern Wild, Life of Pi, and The Master.

Not exact matches

Working side - by - side in a small restaurant and collaborating as celebrities on something like a TV show, with handlers and layers upon layers of pre - and post-production people, are totally different worlds; they may never even see each other while the show's filming.

However, unlike something like Doomsday which simply ripped off old films with no wit or subtlety, this film actually develops upon its ideas.

Running 131 minutes, this film of limited consequence still goes dragged out, with excess filler and material that, rather than livening things up, allows you to further meditate upon things like the natural shortcomings and sentimentality, through all of the genuinely strong aspects.

Much like Cameron Crowe's Almost Famous, Pirate Radio stacks classic rock song upon classic rock song in a party of a film.

Elizabeth: The Golden Age doesn't offer anything new, and it doesn't feel like it builds enough upon the previous film to be a worthwhile endeavour.

The fifth and last of the original series of motion pictures based upon author Pierre Boulle's imaginative novel Monkey Planet, this science fiction film was the least - liked by the series» legion of fans.

Upon first viewing «Alice Sweet Alice» it comes across like you average Italian Gaillo / Slasher type film but as it slowly unfolds you begin to realize that it's an indictment of how religious fanaticism can effect the minds of those who are not that stable to begin with.

Upon his return from military service, Damone resumed his film career, enjoying featured or co-starring roles in major musical productions like Hit the Deck (1955) and the screen adaptation of Kismet (1955).

Yet the horrific circumstances of his chemical castration and the very real realities of his life as a gay man are sidestepped by the faux thriller set - up of the film, a device that conveniently allows a heterosexual writer like Moore (who's Oscar acceptance speech granted us insight into how his version of Turing lacks any on - screen interiority as a gay man) to touch upon the subject as a clichéd trope.

At the beginning of the film, Thorpe is at a personal crossroads: he's recently single, suddenly aware that same - sex marriage has become a thing (i.e. the pressure to get hitched is upon us all), yet he feels a bit like an outsider in the larger community.

In his eloquent fulmination on «the De Palma Conundrum,» The New Yorker's Richard Brody says, «De Palma's peculiar fealty to the history of cinema — his overt dependence upon the films of Alfred Hitchcock and his plethora of references to other classic filmmakers... results in zombie - like movies.»

Considering how that film was not exactly a commercial success, this may not sound like a big deal to many of you but as someone who believes that bleak and bruising comedy - drama to be one of the great unsung movies of the decade — the kind of film that the great Billy Wilder might have made once upon a time — I went into the screening with the kind of over-the-top sense of anticipation that many felt as they walked into «Avengers: Infinity War.»

Once upon a time, noted the doom - mongers, before the likes of it got squeezed by low - cost, high profit fare like horror movies and mega-budget, T.V trumping spectacle, like your average $ 200m blockbuster, a film like Annihilation — mannered and mysterious — that 30 years ago might have shared a double bill with John Carpenter's Starman, would have done very well.

Like the traditional fairy tales from which the film takes its title, Once Upon a Time in Venice has a storyteller, in the form of John (Thomas Middleditch), a nerdy intern / protégé for ex-LAPD cop Steve Ford (Willis), a not - very - successful private - eye sliding further into the underworld morass he mostly frequents.

It falls short of the original film, but clearly improves upon its immediate predecessor and ends on a strong note to restore luster to a franchise that previously felt like it should be just a single film.

Because Doctor Strange is going to be dealing heavily with concepts only touched upon in other Marvel movies — like the Quantum Realm, which was introduced in Ant - Man — I asked Feige which character will serve as the eyes of the audience to introduce them to this film's new world.

Like a pulp riff on Luigi Pirandello's play «Six Characters In Search Of An Author,» the film adds layer upon layer of meta - fiction to the hilariously slight premise of a gangster chasing after the three petty dognappers who swiped his Shih Tzu.

Days of Heaven is, of course, exactly that, and Malick's film now seems like a peak moment in a tendency that began with Coppola's Godfather films and Chinatown and saw its final flowering with Ragtime, True Confessions, and Leone's Once Upon a Time in America, where nostalgia reaches a frozen end point.

So much of the film was like this — half - thought - out ideas that might have worked with better writers and actors but upon completion didn't work at all.

Concurrent with the release of its sequel (which makes Miss Congeniality look like fucking solid gold) and this single - disc reissue, the studio has decided to release yet another edition of the film on DVD: a Deluxe Gift Set that bestows upon us a copy of the soundtrack CD.

But it really takes unique talents to make a film like this, which doesn't rely upon hullabaloo or history to bore its way into your heart and tickle your soul.

The long Labor Day holiday weekend is upon us, and between that and the Venice and Telluride film festivals, it seems like a lot of Hollywood has shut down in anticipation of the last relaxing days of summer.

The film is another piece of horror - tinged, genre filmmaking — this time the main inspirations are hyper violent»80s action films like Big Trouble in Little China and The Terminator (again)-- but like the duo's preceding film, it knows what it is, recognizes the flaws of its ancestors, and tries to improve upon them while holding onto that sense of reckless abandon that makes those movies so fun.

Though an entire subplot devoted to homosexuals in a film like this is usually cause for trepidation, American Wedding distinguishes itself with a refreshing affection for its gay characters — enough so that a few same - sex smooches are shown without irony, a same - sex dance is left uncommented - upon at the reception of the wedding in question, and a gay character named Bear (Eric Allan Kramer) is allowed to be a key figure in two set - piece gags.

Charlie Kaufman went from TV scribe to red - hot screenwriter in 1999 with «Being John Malkovich,» and his timing couldn't have been better: That's a year the industry looks back upon as being a flashpoint of American indie cinema, with rule - breaking, ambitious films like «Pi,» «Boys Don't Cry,» «The Blair Witch Project,» «Three Kings» and «Fight Club» in multiplexes.

Dark City failed to gain much attention upon release, overshadowed, like so many films, by the box office stranglehold of James Cameron's Titanic.

The film retains several sequences and elements from Stone's script, refashioned to Milius» liking and emphasis, including the Tree of Woe, upon which villain Thulsa Doom has a beaten and bloodied Conan crucified and left for dead.

What's seldom observed is that films like Taxi Driver and The Godfather don't look the way they do without pioneering pictures like The Wild Bunch first understanding how colour could be used in noir to glorious, nasty effect.4 The Wild Bunch does it well enough that it was threatened with an NC - 17 rating upon its re-release twenty - five years later in 1994.

Sean Baker directs fiction films like a documentarian hesitant to work within a journalistic framework, often casting nonprofessional actors in roles that draw upon marginalized experience.

But the film doesn't seem to have been well - liked at the festival, and while Matteo Garrone's Dogman wasn't exactly a cause célèbre either, its central performance, by Marcello Fonte, offers a palatable showcase for put - upon schmuck earnestness.

Though he's only made seven films, Paul Thomas Anderson has nonetheless made an indelible mark upon American cinema, evoking the likes of Robert Altman and Stanley Kubrick, but able to form a voice all his own.

I'm sure many of us, upon hearing that a film about the operation that led to the death of Osama Bin Laden was set to be released during the holidays, were likely expecting a film more like Act of Valor, all rah rah and bald eagles, wallowing in the success of freedom and revenge, the catharsis was all wanted after September 11.

His attention to detail in such films like «Far from Heaven» and «I'm Not There» are simply superb, and one can not overlook the vision he engulfs upon as he directs each one of them.

«There's an argument to be made — and indeed which is made by film - makers like Michael Haneke or Jean Luc Godard — that says that since the advent of television, computers, mobile phones, etc, the image has lost its power to impact upon us,» says Dr Catherine Wheatley, a lecturer in film studies at King's College London.

When not required by a film script to dress like a crazy person, Taika Waititi... still sometimes dresses like a crazy person, because God only gives you one life and it's incumbent upon you to live it to the utmost.

Most famous for films like «The Good, The Bad & The Ugly» and «Once Upon A Time In The West», he spent over ten years planning «America».

Solondz agreed to an interview upon the release of his fifth feature, Palindromes (he asks folks not to track down his directorial debut, Fear, Anxiety & Depression, which my editor, Bill, describes as something like a satire of Solondz films), another picture garnering an extreme amount of political fallout following the similarly - tumultuous receptions to his Welcome to the Dollhouse, Happiness, and Storytelling.

Like Michael Dubo de Wit's remarkable film that draws upon the pastel naturalism of Hayao Miyazaki's Studio Ghibli for what might be their best film in a line of classics, Del Mar's music is the equivalent of those soft brushstrokes on a big screen canvas of visual poetry, a score that profoundly captures a life at first seemingly lost at sea, only to soar under, and above it though its graceful music that touches the silent tides of nature's life force.

Although I'm in the camp that would like to see the film in 1.66:1 if that's what it was intended to be seen in, it's a judgment call that the filmmakers decide upon.

How something so indebted to dozens upon dozens of other films can't get the imitation right buggers the imagination, providing a nation of yearning hacks that dulcet feeling of hope that results in a few more horrifically inept screenplays (produced and directed with commensurate incompetence) just like this one probably in the first half of 2004 alone.

Based upon the novel «The Invention of Hugo Cabret» by Brian Selznick, this film is a complete departure from past movies of his like, Raging Bull, Good Fellas, and The Departed.

These are words NO ONE should have to use in relating a film based upon one of the true classics of English literature like «Alice In Wonderland,» but Burton, who has directed some of my favorite films («Batman,» «Beetlejuice,» «Sleepy Hollow,» «Ed Wood,» «Edward Scissorhands») somehow manages the impossible.

For sheer transference of experience upon the audience, I can think of no film quite like it.»

From Jamie Foxx to Christoph Waltz to Leonardo DiCaprio to Kerry Washington to Samuel L. Jackson — even to Don Johnson as a plantation owner named Big Daddy — the cast raises the film to great heights, even when Tarantino gives in to too many juvenile urges, as he does upon occasion (it's like he just can't help himself — and who's going to tell him no?).

I'm not decrying the stunt - casting of a statuesque blond in the role of the tiny Minnesotan mine worker the life upon which this film is ever - so - loosely based, nor am I begrudging, per se, the natural instinct of Roger Ebert and the Academy to foam over turns like this from starlets undergoing extreme make - unders.

I was reflecting upon this recently — and in particular an interview with the director of an American independent film, with major stars, that released last year — and it struck me doubly disheartening because it's (generally) not like these people are complete idiots.

For the uninitiated, or those who perhaps haven't come upon the text since high school (like me), the film opens with the arrival of Don Pedro and company to the home of the wealthy and charming Leonato (a never - better Clark Gregg).

As the tortures inflicted upon the characters in the film - within - the - film intensify, Francesco's behaviour also gets worse as do his strategies for getting the women to scream the way he would like them to.

Mike: There are certain films that require discussion upon leaving the theater, it seems impossible to just go on with your day after seeing something like Jean - Marc Vallée's Café de Flore.