Sentences with phrase «very black film»

The Big Combo — Joseph H. Lewis's very black film noir stars Richard Conte as a crime boss being hunted by a persistent cop played by Cornel Wilde.

Not exact matches

This film has the very worst ending any film can have: the smash - cut to black before the protagonist's final decision is made.

«We found that a very simple process and a tiny bit of gold can turn a transparent film black,» said UC Irvine chemistry professor Robert Corn, whose group has created a patterned polymer material based on the findings, documented in recent papers.

Its basic structure is that of ordinary black - and - white film: an emulsion of silver bromide grains, which are very light sensitive, dispersed in animal gelatin.

Wondering if any more power might be available, the team turned to the film Interstellar, in which a world called Miller's planet orbits very close to a massive, spinning black hole called Gargantua.

The tale - tell signs are small churches and cemeteries, some dating back more than 100... Why «Black Panther» Is a Defining Moment for Black America — «It's the first time in a very long time that we're seeing a film with centered black people, where we have a Read MoBlack Panther» Is a Defining Moment for Black America — «It's the first time in a very long time that we're seeing a film with centered black people, where we have a Read MoBlack America — «It's the first time in a very long time that we're seeing a film with centered black people, where we have a Read Moblack people, where we have a Read More...

Preaching to the Choir seeds adequately in the very fertile genre of black films about redemption, but don't expect performances on the level of last year's Diary of a Mad Black Woman or The Preacher's black films about redemption, but don't expect performances on the level of last year's Diary of a Mad Black Woman or The Preacher's Black Woman or The Preacher's Wife.

Another well made true factual sporting film about an all star black American football star in the 50's / 60's when racism was a very hot cookie in the States.

The article quotes Jamie Broadnax, creator of «pop - culture website» Black Girl Nerds, who enthuses, «It's the first time in a very long time that we're seeing a film with centered black people, where we have a lot of agency... [The cast members] are rulers of a kingdom, inventors and creators of advanced technoBlack Girl Nerds, who enthuses, «It's the first time in a very long time that we're seeing a film with centered black people, where we have a lot of agency... [The cast members] are rulers of a kingdom, inventors and creators of advanced technoblack people, where we have a lot of agency... [The cast members] are rulers of a kingdom, inventors and creators of advanced technology.

The New York Times Magazine featured a lengthy article («Why «Black Panther» Is a Defining Moment for Black America») hailing the film for being «steeped very specifically and purposefully in its blackness.»

Yet all of Marvel's phase three films and their tentative questioning of the underlying political ethos of the franchise feel like buildup for Black Panther, which in its second act comes very close to completely tearing down the Marvel Cinematic Universe en totale — and making viewers long for such a thing to happen.

Black Panther might be Coogler's most accessible film yet, trading in some of that deeper emotional or inventive storytelling for something that's visually crazy, but structured in a very familiar manner, especially when compared to other MCU films.

People do very bad things in Very Bad Things, but in a black comedy it isn't so much what you do as how you do it, and Berg hasn't the gallows humor to turn this excursion into bad taste from a sick idea to the despicably funny film it shouldvery bad things in Very Bad Things, but in a black comedy it isn't so much what you do as how you do it, and Berg hasn't the gallows humor to turn this excursion into bad taste from a sick idea to the despicably funny film it shouldVery Bad Things, but in a black comedy it isn't so much what you do as how you do it, and Berg hasn't the gallows humor to turn this excursion into bad taste from a sick idea to the despicably funny film it should be.

It is often said that a film reflect the fears of the country that produces it, and the fact that in Man on Fire a pretty white girl is having to be protected by a strong black man against nasty South American foreigners, is perhaps very telling indeed.

Sheepish, charming, boyish, scary, this unelectable lawmaker is a piece of work, and watching other characters respond to him, particularly those in the black community, gives the film a very amusing edge.

The singing done by Black in this film is very organic and it fits perfectly with the film because it's what Bernie Tiede would have done.

It transcends merely bad, merely tedious, merely irksome and plummets into that very special category of film, the one that so tries and tortures its audience that, emerging again from the soul - sucking black hole of celluloid disaster, it no longer fears... Read More»

Yet, there is a very real risk that you will be lableled as a racist for criticizing black panther, or the work of the 29 year old director who was given the keys to a $ 200,000,000 budget after making only 2 independent films.

Ladies and gentlemen, Jack Black surpasses his stunning performance in Mars Attacks by a considerable sum in this charming and very funny film.

He didn't exactly choose an easy project for a first film, as black comedy is a very difficult style of film to pull off, and with a cast of very seasoned actors to have to tell precisely what to do, Guthe very well could have lost control and focus on the project and turned in a disaster.

The video (shown above), titled 10 Years of Fandom, takes a look at the growing fan - base of the MCU, with footage from some of the studios» biggest hits — starting with Tony Stark's very first Iron Man armour shown in his first solo film and jumping to the latest Marvel release, Black Panther.

No Escape — This was very cool; the cast and crew talk about the aesthetic of the film (the way it's largely swallowed in darkness) and director Fede Alvarez gets into one of his favorite scenes to shoot, which was the fight in the basement that he shot in black and white.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Sharing honors from the Society Dramatic Authors and Composers, given annually to a French film in Fortnight, were two very different tales of romantic possibility in Paris: Philippe Garrel's black - and - white «Lover for a Day» («L'Amant d'un Jour»), about a 23 - year - old woman who learns that her father is dating a girl her age, and Claire Denis» «Let the Sunshine In» («Un Beau Soleil Intérieur»), starring Juliette Binoche as a divorced artist looking for love in many of the wrong places.

• The Man Who Wasn't There was the Coens» first (and to date only) foray into black and white, and it's a stunner, among the very best - looking of all their films.

But those very defects give the film a special mood, lucid in its nastiness, but not too far from black surrealism.

His work with Barry Sonnenfeld two years ago in Men in Black was right for the work, but Sonnenfeld took a very slight direction to the film and it somewhat tanked in the realm of enjoyability (I'm sorry, with the exception of Full Metal Jacket, Vincent D'Onofrio has never been able to fit in a film with out screwing it up).

Last night, my wife, daughter and I took in Black Narcissus at the AFI Silver and enjoyed it as much as we always have (only more so because it was in the gorgeous main theater projected on a huge screen) and afterwards I started thinking about movies with very famous scenes, so famous that most casual film goers might know it (or have a vague sense of familiarity with it) even if they don't know the movie.

WEDNESDAY - THURSDAY The African Storm The African country in this very entertaining film is, like Black Panther's Wakanda, fictional.

Infidelity is something we are shown as very black and white, the film segues a bit too simply into the affair and might have felt richer had it explored in more detail the emotional circumstances of that segue - it just looks too easy.

Black and white in 1967 was very rare, but for this film it works for an added effect that would later be used by Scorsese in raging Bull and Spielberg in Schindler's List.There is no color because this life is colorless.

It's not that I couldn't understand the base of the film being a revenge tale; this is very much clear as day, but it is the film's sense of humor that borders on being dry and black, to other points I feel it's just a Norwegian thing.

On a visual level the film is very pretty, its colour scheme being rooted in pale pinks, dark blues and deep blacks with an underlying watercolour sensibility.

A very broad comedy — certainly not black in hue, but perhaps a mild shade of gray — set in Queen Anne, Volunteer Park, and other picturesque locations with views of the Space Needle, plus the (film insider joke!)

They weren't catching the wave of excitement Selma's mere presence brought to audiences — not because history was about to be made with the first black female director in the Oscar race, but because Selma was such a very good film, such a moving film, such a sensual, breathtaking, wholly original work that no one really knew what to do with it.

His character, Lazarus, is a «very serious Oscar - winning actor» who is cast for a role originally written for a black man in the most expensive Vietnam war epic ever filmed.

Gulliver's Travels is very much a film for the most ardent Jack Black fans, but even these may be disappointed.

Thanks to leaked pictures of the film, we already knew that Sam Wilson / Falcon is going to be at Steve's side through thick and thin, and that a now - very blonde Black Widow — who is likely hiding under a new identity — will join the duo.

I left my dream of being a director behind long ago, and I think that was because, while I have a great respect for film, I didn't really believe there was a place for very many black directors.

The Black Panther film will be sporting a regular comic book villain, Wakandan's very own Erik Killmonger, one of King T'Challa's rivals.

I guess its the very vivid and explicit recreation of the black mass that is still the most shocking and compelling part of the film (along with the amazing atonal choral soundtrack from the anonymous library archive of CAM) and the committed performance of exploitation queen, Helga Line (best remembered for her role in Paul Naschy's Horror Rises From The Tomb).

This film may look like one of those annoyingly mannered independent films, with its wacky young cast and arty - farty black and white photography, but it's actually a fresh, smart and very funny comedy.

Previous sequels in this franchise haven't remotely approached the quality of John McTiernan «s 1987 classic, but the main reason we're excited about this one is because it's co-written and directed by Shane Black, the guy behind movies like Kiss Kiss Bang Bang, The Nice Guys, and one of Marvel Studios» very best films, Iron Man 3.

Bad Teacher walks a very fine line: its black humour is always consistently dark, and yet director Jake Kasdan (Zero Effect, Freaks and Geeks) keeps the film bright and light on its feet.

While others did not make the connection to the Star Wars film, they spoke very highly of crossover film, which will see characters from Guardians of the Galaxy, Doctor Strange, and Black Panther folded into the Avengers fold.

What's left is this appreciation of a film that is delighted with cinema and experimental without being a jerk about it (very much like Lars Von Trier's Zentropa, specifically in a black - and - white rear - process cab ride with none of that feeling that Tarantino's trying to make a point as opposed to recognizing something that looks cool and feels right)-- a film that is Tarantino in all his gawky, hyperactive, movie - geeking, idioglossic splendour, fully - formed and trying only a bit too hard.

Above all, The Black Balloon feels a very real, authentic Australian film and the strong script is aided by all - round fine performances.

Black described his work on the film to Empire Magazine, saying, ``... [we] were to take this very small script, where not a lot happens, and beef it up into a summer movie, with lots of set - ups and pay - offs and reversals.

Although it can be traced all the way back to the early»60s, it was films like Mario Bava's gruesome Bay of Blood (1971), Tobe Hooper's The Texas Chainsaw Massacre (1974), and Bob Clark's holiday classic Black Christmas (1974) that mapped the very future of the slasher.

So I don't know whether bad word of mouth kicked in afterwards to dampen the film's box office takings, but I was rather reluctant to go see Men in Black II after hearing some very poor things about it.