Sentences with phrase «vision of the film from»

It is with Hellboy that del Toro seems most at ease, never losing the tone or vision of the film from beginning to end, and faithfully capturing not only the essential ingredients of Mignola's creation, but also deriving much of the storyline and plot developments from the comics themselves.

Not exact matches

From the Inside Out - «Making Avengers: Age of Ultron»: A 20 - minute video going back 18 months showing what it was like on set of the film in Italy and Seoul, Sourth Korea; a look at the Avengers Tower; some of the behind - the - scenes early visual effects of Ultron; early concept work for Quicksilver, the Hulk, and Vision; and more.

One example would be Aimee Dorr Leifer's essay entitled «Teaching with Television and Film,» (TTF) published in N. L. Gage's The Psychology of Teaching Methods, a widely read Yearbook of the National Society for the Study of Education.1 Even in this essay, however, Leifer reviews what has been learned from various psychological studies of television and film narratives, and the limited range of the studies limits the vision of narrative teaching that she puts forth.

«Turning the term partnership on its head, Ne - Yo has really served as the Creative Director of Malibu Red from beginning to end — lending his «smooth» talents and creative vision to create a product experience — from flavor to film — that will push boundaries in the spirits category.»

«The nano crystals are so small they could be fitted as an ultra-thin film to normal eye glasses to enable night vision,» said Professor Neshev from the Nonlinear Physics Centre within the ANU Research School of Physics and Engineering.

Every time I said yes, amazing people who believed in me and who've had a bigger vision of what I could do in this world stepped forward — from my mom who went vegan with me after my fourth recurrence of bone cancer, to the yoga teachers who insisted I could become a yoga teacher too, to the talented woman who designed my website, to the director who brought together the crew for this film and made an idea a reality.

But Mr. Rodriguez seems to be coming from the angle of those directors nostalgic for some film that influenced their vision and, lacking the respect to leave it alone, are determined to add their name to the franchise largely out of some notion of self - importance.

Often reviled in his native United States but worshipped as a genius throughout much of Europe and especially France, Lewis took slapstick comedy to new realms of absurdity and outrageousness, his anarchic vision dividing audiences who found him infantile and witless from those who applauded the ambitions of his sight gags, his subversions of standard comedic patterns, and his films» acute criticisms of American values.

Wanda lost her accent, Vision was actually Paul Bettany for a minute, Peter Dinklage had an odd cameo; there were a few strange choices that might have kept this film from being perfection, but you have to imagine how incredibly difficult an undertaking melting all of these storylines together must have been.

The film rarely breaks away from Isabelle, but when it does the result always feels significant: when we see Duvauchelle alone on the Metro platform, for example, we may wonder if we are really seeing him or rather the taunting vision that Isabelle has of him in her longing.

By far the most intriguing element of Holmer's vision, the music stands apart from literally everything else in the film.

As the film jumps from location to location, chyron to chyron, picking up storylines listlessly while letting others lay fallow for a while, out of sight but without any sort of urgency at their displacement, the best moments emerge as those featuring Mark Ruffalo as Bruce Banner / Hulk, conveying an ocean of regret in the delivery of the word «Nat» to his lost love, Black Widow (Scarlett Johansson)-- or those between Paul Bettany's «Vision» and Elizabeth Olsen's «Scarlet Witch,» who share a stolen moment together in Scotland before what they believe will be their deaths.

Aside from Wanda and Vision, the only hero not glimpsed here that we know came to Wakanda is Bruce Banner — and several toys for the film have given us hints that it's actually him inside this new Hulkbuster, for a nice bit of irony.

Even if the main story seems oddly familiar, it's the unique vision at the heart of the film that keeps this like the pies made daily at Joe's Diner — innovative, always fresh, and made from personal inspiration.

Considering how much actual footage the movie had to work from, the most surprising thing about Devil's Knot is that it gets the look somewhat off, replacing the lived - in homes of Joe Berlinger and Bruce Sinofsky's Paradise Lost films with a posh, clean vision of suburbia.

Most recently, Gerwig co-wrote two screenplays with director Noah Baumbach («Frances Ha» and «Mistress America»), and the sense that came from those films was of visions in collision: Baumbach's pinched, insulated vision versus Gerwig's generous, expansive vision.

From the melodrama of the earlier films, Cowie distills Kurosawa's visual style and touching characterisations, finding «the flair of [a Sergei] Eisenstein» in No Regrets (p. 58), the sentiment of Frank Capra in One Wonderful Sunday (p. 59), something of «Bergman's youthful vision of the world» in Drunken Angel (p. 60), and a «meticulous creation of the urban milieu» in Scandal (p. 71).

The screenplay had originally been scripted by Edgar Wright (The World's End, Scott Pilgrim) and Joe Cornish (The Adventures of Tintin, Attack the Block), with Wright, who had cultivated the vision of Ant - Man for years, intending to direct, but creative differences saw a divorce from the project (Marvel became more controlling as they grew to massive popularity — a queen ant that expects its workers to keep the colony running smoothly), leading to rewrites by Adam McKay (Anchorman 2, Talladega Nights), and eventually Rudd himself during filming, while fluff - comedy veteran Peyton Reed had been brought in to mold it more in the shape that Marvel Studios had been seeking.

From Killing Them Softly there's the setting of the film during Obama's election, from The Place Beyond the Pines we have the almost classical / Greek - Tragedy story and from Winter's Bone the vast, cold and oppressive emptiness of small - town America and its surrounding countryside which are filled with drugs and the twisted but more realistic vision of «The American Dream&raqFrom Killing Them Softly there's the setting of the film during Obama's election, from The Place Beyond the Pines we have the almost classical / Greek - Tragedy story and from Winter's Bone the vast, cold and oppressive emptiness of small - town America and its surrounding countryside which are filled with drugs and the twisted but more realistic vision of «The American Dream&raqfrom The Place Beyond the Pines we have the almost classical / Greek - Tragedy story and from Winter's Bone the vast, cold and oppressive emptiness of small - town America and its surrounding countryside which are filled with drugs and the twisted but more realistic vision of «The American Dream&raqfrom Winter's Bone the vast, cold and oppressive emptiness of small - town America and its surrounding countryside which are filled with drugs and the twisted but more realistic vision of «The American Dream».

Each title gets a full - length audio commentary from Travis Crawford, a dogged film critic and programmer with the instincts of a historian, who goes into detail on the background of just about every lead and significant supporting player who appears on screen, in addition to the producers and financiers behind the scenes who allowed (or more likely didn't allow) Romero to realize his vision on screen.

They really are about, from what I've seen so far, supporting up and coming artists, artists who have a strong vision and voice and perspective, and they really wan na permeate the films with those kinds of voices.

As different as it is from Craven's vision, it is still marred by being derivative of other horror films, especially in The Amityville Horror, The Exorcist and Carrie.

At once genre movie and psychodrama, Nichols's film unfolds in a stretch of rural Ohio where a blue - collar husband and father (brilliantly played by Michael Shannon) finds himself suddenly plagued by visions of the rapture: strange clouds darkening the sky, acid rain sheeting down from the heavens, flocks of birds in panicked flight.

These rich visions of metaphorical, political chaos were all but absent from the last big journalism film, Spotlight (2015), also scripted by The Post's Liz Hannah and Josh Singer, but less imaginatively directed.

What follows is a series of increasingly insane events that take suspension of disbelief to impossible extremes and leave you stupefied wondering when this stopped becoming a film that aimed for a prescient vision of where our reliance on technology was headed and became a corny after school special from the»80s warning us of a future that's never going to happen.

This is an abstract making - of alternating B - roll shot in a variety of media, watermarked outtakes (including one from a deleted scene between Phoenix and Amy Adams), and snatches of dialogue from the film that gives the impression of a tight - knit cast and crew there to serve Spike's vision.

From the moment the first trailer for director Ryan Coogler's film hit, audiences have been captivated by the bursts of breakneck action, the tangible world of Wakanda, and a sci - fi vision that unabashedly draws from non-Western source materFrom the moment the first trailer for director Ryan Coogler's film hit, audiences have been captivated by the bursts of breakneck action, the tangible world of Wakanda, and a sci - fi vision that unabashedly draws from non-Western source materfrom non-Western source material.

While Kore - eda's vision for this story about a woman's trauma was assuredly original, Roger was particularly excited about the obvious influence from Yasujiro Ozu, a filmmaker that Roger called «one of the four or five greatest film directors of all time.»

Far from frustrating, the mystery is as haunting as the film's vision of Bangkok — a place of dark, encircling streets and interiors that are soaked in bold hues of blue, yellow, and, naturally, red.

For the supplemental materials, there's an excerpt from the documentary Michelangelo Antonioni: The Eye That Changed Cinema; Blow - Up of «Blow - Up», a new documentary about the film; two interviews with David Hemmings, one on the set of Only When I Larf from 1968, and the other on the TV show City Lights from 1977; 50 Years of Blow - Up: Vanessa Redgrave / Philippe Garner, a 2016 SHOWstudio interview; an interview with actress Jane Birkin from 1989; Antonioni's Hypnotic Vision, featuring two separate pieces about the film: Modernism and Photography; both the teaser and theatrical trailers for the film; and a 68 - page insert booklet containing an essay on the film by David Forgacs, an updated 1966 account of the film's shooting by Stig Björkman, a set of questionnaires that the director distributed to photographers and painters while developing the film, the 1959 Julio Cortázar short story on which the film is loosely based, and restoration details.

The subjective tendencies of Bertolucci's films have always been evident, but Luna provides a perspective from which we can more fully grasp the dynamics of the earlier films that groped so eloquently for a vision that somehow always ended up out of reach.

From the start of the film, the camera constantly works from Starling's POV, shooting both Dr. Chilton (Anthony Heald) and Jack Crawford (Scott Glenn) as if they're filling her frame of vision — which, of course, they From the start of the film, the camera constantly works from Starling's POV, shooting both Dr. Chilton (Anthony Heald) and Jack Crawford (Scott Glenn) as if they're filling her frame of vision — which, of course, they from Starling's POV, shooting both Dr. Chilton (Anthony Heald) and Jack Crawford (Scott Glenn) as if they're filling her frame of vision — which, of course, they are.

The film equivalent of a stroll through the Louvre, the documentary Visions of Light: The Art of Cinematography collects interviews with many of modern - day Hollywood's finest directors of photography and is illustrated by examples of their best work as well as scenes from the pictures which most influenced them.

The film's commitment to Cormac McCarthy's dark vision may prove too unyielding for some, but the film benefits from hauntingly powerful performances - including Theron, whose memory comforts a man on a mission of survival.

All the bits and pieces — like the music (primarily from the Kinks» Lola vs The Powerman and the Moneygoround album and the films of Satyajit Ray) and like the art direction — make for a very particular vision of India.

A well - crafted film, richly deserving of the honors it has received, No Country for Old Men nevertheless too often feels like a collection of highlights from Cormac McCarthy's novel, sometimes about one guy, sometimes about another, never matching the novel's more focused vision.

Speaking of that other Valkyrie, obviously the version that Tessa Thompson plays in the film is different from the original Marvel version of the Valkyrie, as the Marvel version intentionally evoked the mythological version of the character, which is very much a Norse vision of what a woman would look like, complete with the name Brunhilde (Brunnhilde also was a major part of Richard Wagner's famous operatic «Ring» cycle).

Where much talk of film culture necessarily targets the social conditions enabled (and disabled) by government, institutions, big business, etc, an older tradition in film criticism takes a step away from this «materialist» fray, to revel in the visions of special auteurs.

The financial realities facing movies often have no place in my reviews — I find it boring if not depressing to bring up numbers and statistics, and I'm sure I've already lost people here — but I feel an obligation to come to the defense of producer Scott Rudin, who said damn the torpedoes and pushed through Garland's original vision for the film, despite fears from Paramount over Annihilation posing too much of an intellectual challenge for the general moviegoing public.

He began his career in film criticism with a very positive review of Sylvester Stallone's debut as a director, Paradise Alley (1978), which in itself revealed something of Carax's particular vision, a special feeling of urgency he was demanding from cinema and filmmakers — an embryonic version of the «smile of speed».

Being that a large part of the film is essentially silent, the towering and conflicted performance from Daniel Day Lewis and the searing score lurking around every corner loom large in creating the tension that creeps up and down your spine when viewing this bold cinematic vision from Paul Thomas Anderson (Hard Eight, Boogie Nights, Magnolia, Punch Drunk Love.)

This newly pieced together version of Clive Barker's own adaptation of his book Cabal, created from footage found on a VHS work print, the «Cabal Cut» of Nightbreed is not quite a «lost masterpiece» but it's interesting to see the painstaking work gone into restoring the film to what more closely resembles Barker's vision.

Still, even if much of «Blade Runner 2049» feels like well - trod territory by this point — cribbing as much from sci - fi like «Ex Machina,» «Her» and «A.I. Artificial Intelligence» as Scott's original film — it's a beautiful revisit to one of sci - fi cinema's most striking visions that does right by its predecessor.

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.

Costume designer for Tron Legacy is Michael Wilkinson, with likely input from original Tron director (and creator) Steven Lisberge (now co-writer) and Jean Giraud's vision as engineer of the first film's game environment.

Born from the creative vision of filmmaker Zack Snyder («Watchmen,» «300»), «Sucker Punch» features an ensemble cast of young stars, including Emily Browning («The Uninvited»), Abbie Cornish («Bright Star»), Jena Malone («Into the Wild»), Vanessa Hudgens (the «High School Musical» films) and Jamie Chung («Sorority Row»).

Contrary to what he said after the fight was over, Creed wants a rematch, but Balboa, at the urging of his girlfriend (turned wife in this film) Adrian (Shire, The Godfather Part II), wants to retire from the ring, suffering from limited vision in one of his eyes as a result of the repeated blows he took from Creed's fist.

Sarchie's visions (represented by quick flashes of disgusting things, the lamest kind of scare tactic) stem from an ancient evil brought to the Bronx from Iraq by a group of soldiers who discover evil looking Latin inscriptions in a cave, as is seen in the film's prologue.

Indeed, a description of footage from the film screened Saturday at Disney's D23 Expo indicated Winter Soldier and Black Panther were seen in a series of quick shots that also depicted Star - Lord, Doctor Strange, Spider - Man, The Vision, Captain America, Iron Man and Black Widow.

Those who have seen Ringu will obviously know why, but the film feels very much like a mixture of Feardotcom, Minority Report, D.O.A., and Stir of Echoes, with visions from Salvador Dali as directed by Luis Bunuel in Un Chien Andalou.