Sentences with phrase «use on films like»

Northam, too, is due some attention for the work: it is further proof of his acting abilities, which have been seen in great use on films like An Ideal Husband, The Winslow Boy, and Gosford Park.

Not exact matches

For a solid hour, effervescent Facebookers quoted advertising legends like Bill Bernbach, discussed the «craft of film» and being «on brand,» and showed us heart - tugging commercials — all without once using the word «algorithm.»

In other words, the two groups both said they were testing Twitter's predictive ability; in reality, they both examined the accuracy of predictions using tweets and additional data sources like movie openings in theaters and film ratings on International Movie Database and Rotten Tomatoes.

Here are some of the resources available — let us know on the order section at the base of the licence agreement which, if any, you would like: • A5 small flyers about Fair Food & AFSA • A4 flyers with more information about Fair Food and Food Sovereignty in Australia and why we need a Fair Food movement • Scripts or guided conversation outlines are available to use to introduce the film and to use at the end of the screening to stimulate discussion

Besides watching every game on film and fielding the complaints of outraged general managers, Kuharich assigns officials to games — there are 45 NFL officials of whom 35 are used every weekend — keeps tabs on other officials, college and high school, who would like to get into professional football and, of course, makes certain that the officials he has now are always in control of the game.

I have sensitive skin and some of the other body wash brands I have used in the past have either harsh ingredients in them or they leave my skin feeling like it has a film coating on it.

A 2005 film would focus on the fact that V, who - like Dredd, his opposite - is never seen without his mask, was a terrorist and used it to chime with the «war on terror» narrative of the day.

Huntsman is cutting against the grain with his online strategy, using an unconventional web presence that places a heavy emphasis on Internet videos that look a bit like they came from the outtake reel of a documentary film.

Johnson said the idea is to train the students in film production that relies on computer technology to improve on current uses like motion - capture to create movies like «Avatar» and video games like «Tron.»

The world may someday be full of pop - up images like those imagined in the film Jurassic World, where museum patrons walk through a hall where a projected dinosaur image stands on display, or like the free - standing visuals used by the character Tony Stark in designing his metal suits in the Iron Man films.

Instead of catching light on film, digital cameras use an array of light - sensitive photodiodes that function much like the photoreceptors in an eye.

Sometimes when I'm too lazy to cleanse my face, I just use this to remove my makeup and i love how it doesn't make my skin feel oily or like there's a film of grease on it like how other micellar waters do.

On one hand, «Toy Story» had long since cornered the sincere ode - to - childhood - playthings approach, while the «Transformers» and «G.I. Joe» movies went the overkill route, all but obliterating the notion that those bombastic adventures could in any way relate to how kids use the related toy products, and treating them more like the afterthought tie - ins «Star Wars» and other films typically support.

You could almost imagine the two films, or at least their heroes, figuring in the kind of good - natured, racial - stereotype humor that used to be a staple of stand - up comedy (and was memorably parodied on «The Simpsons»): «white guys abolish slavery like this» (pass constitutional amendment); «but black guys, they abolish slavery like this» (blow up plantation).

It's a point of pride with any horror film, or any thriller verging on horror: Used correctly, a perfectly innocent song suddenly sounds like the scariest bleep in the world.

While it would be easy to shoot an entire film like this on a sound stage and use visual effects to complete the scenery, director Baltasar Kormakur (2 Guns, Contraband) wanted the cast to experience the elements firsthand by shooting on location in Nepal on the foothills of Everest, as well as the Italian Alps.

In the film's instant - classic opening, Spielberg uses little dialogue as he follows Rudolf Abel (Mark Rylance) through what looks like a routine but also includes a tiny, crucial bit of spy - craft as he picks up a coin containing a coded message on a park bench.

Look at the camera angles, the editing choices, the use of music — «The Knick» is our most film - like show on television.

The Guy Ritchie directed film will, like the series, fix on two agents Napoleon Solo and Illya Kuryakin, employees of the United Network Command for Law Enforcement, who use their gadgets and wits against the evil forces of Thrush.

While there are standout examples — like Darren Aronofsky's disorienting, eye - opening Requiem for a Dream, or the achingly beautiful narratives of animated animal - people addicts in BoJack Horseman — sagas like this one usually work better on the page than on the screen; the brief gloss of film can make drug use seem rather too appealing, while the idea of spending eight TV seasons with an addict seems rather unappealing.

At points the film feels like a workshop, to try out techniques Ford was unable to use on his bigger studio pictures, which gives The Long Voyage Home its patchwork quality.

The mob film based on Charles Brandt's 2004 book I Heard You Paint Houses, about Frank «The Irishman» Sheeran (De Niro), a hitman who was purported to kill Teamster leader Jimmy Hoffa, has had a troubled path to production because of Scorsese's insistence on using de-aging technologies for the majority of the film — techniques that have been used sparingly in movies like The Curious Case of Benjamin Button or Marvel films.

The payoff for his method comes in scenes like the film's two very long and unbroken takes, when he calls on his actors to use the disciplines of the stage as well as the screen.

Not a complete success, Sentinel, like the stray film in the Children of the Corn and Hellraiser direct - to - video series (IV and V respectively), succeeds based on a talented director and a smart use of atmosphere.

We even looked into reviving the sound - on - film cameras Robert Drew and associates were using, like, the Auricon, which scribbled the location audio directly onto the camera negative with a pulsing, shuttered light.

The shorter pieces, which take on various aspects of the film, the story, production and special effects details (like the use of miniatures, which has become a rarity in the CGI age), range from under two minutes to just over twelve minutes.

To prepare for working on a film set in the»70s, aside from learning how to use cameras from that era, Gerwig says it was «more about trying to place more what it would feel like to encounter it for the first time.»

Basically, Spielberg saw the original West End play on the recommendation of his long - trusted producers Kathleen Kennedy and Frank Marshall (who snapped up the film rights), liked what he saw and used his endless clout and resources to make the movie as he saw fit.

I could understand someone using the pseudo intellectual line on Michael Haneke's films, like The White Ribbon (even though I liked that one too), but I don't see that applying to A Serious Man.

Forman took full advantage of this by creating a series of films, beginning with «Black Peter» (1964), which commented on the lives of ordinary people with a filmmaking that combined a documentary - like style (including the use of improvisation and non-professional actors) with a biting and deeply anti-establishment sense of humor.

Like Paul Greengrass's United 93, whose purpose was to stylishly simulate rather than make sense of the events aboard United Airlines Flight 93 on 9/11, The Impossible uses the tropes of countless horror films and thrillers before it to craft a this - is - what - it - was - like theme - park attractLike Paul Greengrass's United 93, whose purpose was to stylishly simulate rather than make sense of the events aboard United Airlines Flight 93 on 9/11, The Impossible uses the tropes of countless horror films and thrillers before it to craft a this - is - what - it - was - like theme - park attractlike theme - park attraction.

Using interviews with his siblings, college friends, «SNL» castmates (most notably Adam Sandler and David Spade) and other co-stars, the film tracks Farley's life from his childhood in Madison, Wisconsin, to his time performing at Second City in Chicago, to his quick rise to fame on «SNL» and in Hollywood with movies like «Tommy Boy» and «Black Sheep.»

From synthetic hazes to fungus - induced crazes, psychedelic drug use on film has attempted to capture exactly what it feels like to freak out and lose all control amidst sensory overload, which, as we've learned from the ten following flicks, can be life - changing or, in some cases, nothing short of terrifying.

Bad Moms is one of the more pushy raunchy comedies you'll likely come across, a film so reliant on using vulgarity as a crutch it has characters drop F - bombs at their children's schools and during PTA meetings because without them, the makers of this film feel like they won't get a laugh from audiences prone to guffaw just because they heard harsh language.

I was used to Craven giving me films like «Nightmare on Elm Street,» and this simply wasn't going to cut it in terms of horror.

If there were a movie in which I would cite worthlessness of all opinion on film if someone were to say they didn't like this movie, Rear Window would be the litmus test I use.

Mann approaches this film almost like poetry, using fine camerawork and editing to focus on internal emotions and relationships while keeping things low - key and authentic.

The film does work a bit hard by the end to play up the tale's inspirational qualities (best exemplified by its use of one of my chief cinematic pet peeves: closing on - screen text that goes beyond mere reportage of fact to make a labored statement), but it really did not have to, as the film's virtues and messages, much like man whose story it tells, speak plainly for themselves.

Another writer - director who was himself, like Fuller, at the forefront of a particularly important moment in the history of American independent film, John Sayles, used his time introducing Park Row to eloquently characterize the film, in one of the overall best, most informed, beautifully delivered speaker presentations I've ever seen at TCMFF, as «Citizen Kane printed on butcher paper.»

Bertolucci's production is sweeping and lavish — this was the first foreign production granted access to film within the walls of the Forbidden City — and cinematographer Vittorio Storaro uses color like a painter on an epic canvas.

If at times «The Old Man and the Sea» looks like an animated version of those lame megabudget nature documentaries they used to show at IMAX theaters, that's partly because it is an IMAX film — the first animation to be shown on that huge screen, in fact.

She uses very different skills when shooting an Alex Gibney doc, where she relies on reactive instinct, than the more intellectual planning of a narrative film like Todd Haynes» «Velvet Goldmine,» Ryan Coogler's «Creed,» or Darren Aronofsky's «The Wrestler,» which requires that «when you go into a room, you know where to put the camera,» she said.

Movie - tie - in games like Over the Hedge usually lean heavily on the source material for substance, which makes the use of homegrown CG story sequences, rather than short clips from the actual film, a bit of a head - scratcher.

The two - disc release of «Inglourious Basterds» isn't quite as heavy on bonus material as fans would probably like, but it's still better than we're used to seeing from a Quentin Tarantino film.

Like Moon, The Martian involves a Starman (David Bowie's space anthem of the same name is used tremendously in Scott's film) contending with crippling solitude and psychological tremors when he's left for dead on Mars.

However, while Weerasethakul's films are obtuse in ways vastly more surreal, Suwichakornpong's film is more grounded in reality, while using its focus on memory and one's relationship to it to give a more dream - like atmosphere.

Never wanting to rest on its breathless trip around the ancient historical landmarks, things begin to pick up again in time for an explosive Istanbul climax that effectively uses sites previously featured in From Russia with Love — an appropriate touchstone for a film whose hero acts more like a globe - trotting James Bond than a fusty book - scented academic.

Stop me if you've heard this one before: a gruff CIA agent who suffers from PTSD and sees re-animated corpses at random moments is ordered to travel to the UK and hire Stanley Kubrick to film a fake moon landing that the American government can use in case the Apollo 11 mission turns out to be a tragic failure, only the agent (who is played by Ron Perlman, by the way) ends up giving a suitcase full of cash to a failed band manager and his perpetually stoned friend who looks a little bit like Stanley Kubrick, and those two idiots get robbed by the local mafia thugs right before Agent Ron Perlman realizes his mistake and threatens to kill everyone involved — and THEN the idiotic band manager (who is played by Rupert Grint, by the way) proposes that they all head off to film the fake moon landing with the help of a artistic hippie commune run by an egotistical dolt who can't understand why he can't put giant jellyfish on the moon.

Director Tim Miller hasn't made a film before, and the writers on board haven't necessarily perfected their craft yet, but like Ryan Reynolds, they shared a passion for bringing this unique superhero (a term I use loosely considering Deadpool straight up murders his enemies instead of opting for the moral high route) from comic strips to the silver screen with respect for the fans.

While films like Jean - Luc Godard's Breathless and François Truffaut's The 400 Blows were being celebrating for their use of real locations, arrhythmic editing, live sound and hand - held camerawork, Cassavetes had already been there and done that on the streets of New York City with Shadows.