Sentences with phrase «visual style of this film»

Sean Penn (I Am Sam, Sweet and Lowdown) narrates, and he's fine, although a bit lackadaisical for the flashiness of the visual style of the film.

The visual style of the film impresses, it's just that the jokes never quite catch fire like they should — they are more funny in the mind than in the gut.

Can you talk a little about the visual style of the film?

I love the visual style of the film and it is well represented here.

Not exact matches

Once the fear has passed, just in time for nap, visual and musical style are sometimes played in an immersive fashion by highlights in a directorial performance by Nicolas Winding Refn that bring some life to the film, though not as much as John Turturro's inspired lead performance, which does about as much as anything in bring the final product to the brink of decency, which is ultimately defied by the serious underdevelopment, overambition, monotonously unfocused dragging and near - punishingly dull atmospheric dryness that back a questionable drawn non-plot concept, and drive «Fear X» into mediocrity, in spite of highlights than can't quite obscure the many shortcomings.

The film, which initially resembles a sitcom both in its reliance on one - liners and in its decidedly uncinematic visual style, slowly but surely wears out its welcome, however, as the affable vibe inevitably gives way to an emphasis on increasingly over-the-top action sequences - which wouldn't be quite so problematic had such moments been infused with even an ounce of real excitement by director Shawn Levy.

There was potential for this film to be melodramatic and overacted but I think, and this is typical of a lot of Argentinian films I've seen, the films are believably acted and they have a grit to their visual style that is more realistic.

This is really the actor's moment to shine after over a decade in the black wig, working that cape like America's Next Top Model, increasingly alluring visual - kei, Jrock star styling and short appearances in each of the films.

The first fantasy film that Mr McClure starred in which lead to him starring in three more out of this world flicks that are all slightly similar... in visual style at least.

Again, there's not much to the visual flavor of this film, but style is adequate enough to help liven certain elements up, even though it doesn't much serve selling the depth of this story concept.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

All in all, the film is plenty conventional, even in a portrayal of Ancient Rome that is about as thin as a lot of the characterization, and as contrived as the melodramatics which slow down the impact of momentum almost as much as dull and draggy spells, thus making for a script whose shortcomings are challenged well enough by a powerful score, immersively beautiful visual style, solid direction, and strong lead acting for Henry Koster's «The Robe» to stand as an adequately rewarding and very intriguing study on the impact Christ had even on those who brought about his demise.

Alfred Hitchcock's 1960 masterpiece blends a brutal manipulation of audience identification and an incredibly dense, allusive visual style to create the most morally unsettling film ever made.

In the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

But since the look of the film is essentially 100 % attributable to Miller and his inability to stray away from the impressive visual styles created for his previous project, «Sin City,» it can be assumed that much of «The Spirit's» shortcomings are from the mind of the notoriously morbid writer.

This film has a number of thrills, a beautiful visual style and decent acting.

It has a marvelous ensemble cast and all the visceral impact and moment - to - moment tension of a fine thriller, together with the distinctive visual style of an art film.

The result is a work that — like a whole sub-species of French films of the recent decades — fetishizes its own hyper - naturalistic visual style and performances (all but one by non-actors) while offering no original or striking insights into the world it portrays.

Hallmarks of Altman's aural and visual style are evident everywhere - overlapping dialogue, life - like improvised roles and ensemble acting, multiple means of communication to connect the characters (phone calls, tape recordings, radio and TV, and P.A. announcements), a continuously moving camera, long takes, and imaginative sound and film editing.

Saddled as she is with Rushdie's hazy historical signposting, there's little excuse for Mehta's flat visual style, particularly given the sensory vividness of her earlier films.

They sought inspiration in the era's art, specifically the work of the photo - realists, who painted photographs in a style that is both hyperreal and at one remove from reality — evoked by the variety of reflecting surfaces seen in the film — and the op artists, who deployed contrasting visual elements to create vibrating surface tensions on a single plane.

All of those devices presaged the signature visual style that Frankenheimer would refine over his next few films.

It's a film that perfectly demonstrated Anderson's talent and unique visual style, and it also gave audiences the first of Anderson's young misfits, a type of character that would remain at the forefront of his work.

Kill Bill Vol.1 (2003) Continuing with his love for heroines the director delivers his most ambitious project to date, a mixture of genres and visual styles that expanded over two films.

Given that all of Refn's films to date have provoked plenty of discussion while managing to retain a distinct visual style, we're intrigued to find out exactly where he plans on taking us with each of these upcoming projects.

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).

Visually, Shore turns out to be adept at creating a visual shorthand to his film - one that both honors the vast iconography of the Dracula character, while also managing to root that iconography in a new aesthetic (Medieval - style period tropes) that feels fresh when married to this over-exhausted source material.

But in the end the taste of H.K. filmmaking dominates in the film's deliberately chaotic visual style, a circular narrative that heads nowhere, and lyrical song interludes that abruptly interrupt the non-stop action and camera movement.

By far the best part of the film are the scenes set in the Judge Dredd style mega city which owe a great visual debt to Blade Runner and the idea of a futuristic society ruled by the church is a really interesting one.

Typically, the films have favored visual flair over an intriguing story, but Self / less gives us the rare case of an outwardly interesting premise becoming underwhelming, while the anticipated avant - garde style is all but nonexistent.

Topics will range from thematic undercurrents and visual styles (I hope to show how the films develop a serious, even challenging visual language that both reflects and informs current traits of the modern blockbuster) and will also touch on more subtle or obscure details that deserve heightened focus.

The films are swathed in his bedrock style of deadpan comedy and aching melancholy within meticulously constructed visuals.

The film is shot in a lurid, colourful style that, besides looking gorgeous, effectively gets us into the minds of the characters, especially when Araki uses visual trickery to portray dreams, drug trips and sexuality.

At least the strong all - star cast makes the most of the vivid characters, and the film's visual style keeps...

But it's still a cut above the majority of family entertainment, and director Paul King, who got his start helming the surreal cult comedy series The Mighty Boosh, continues to prove himself a confident and comparatively sophisticated stylist, employing cutaway sets, Rube Goldberg slapstick, animated sequences in different styles, and loads of visual gags to create the film's dollhouse - storybook world; the aesthetic influence of Wes Anderson is especially pronounced in the scenes set at the prison, where an early mishap involving a red sock and the prison laundry dyes the convicts» uniforms a Grand Budapest Hotel shade of lavender pink.

Though it boasts a similar visual style to a lot of Mann's films, the tension is almost non-existent, and despite an interesting dynamic between McAvoy's cop and Strong's robber, it's never fully explored, nor does it have the same allure of seeing Hollywood heavyweights like Robert De Niro and Al Pacino face off.

Perhaps it's a question of shot selection, as Gray — who has a painterly, shadowy visual style, often reminiscent of the great American films of the 1970s — has stuck to a largely emotional logic in earlier films; his compositions are wide or tight to reflect how characters feel.

The film, which kicks off Directors» Fortnight at this year's Cannes, initially feels as though it might possess Noah Baumbach's knack for human observation given its curious mix of Frances Ha's visual style and While We're Young's dynamic.

Agnes Jaoui infuses the film with a distinctive visual style, peppering the film with impressionistic paintings which fade into the drab surroundings of the world of the film — the entrance to the driving school, a concrete slab of a building — neatly linking into the film's idea that romance fades into humdrum mediocrity.

It's a film filled with lush visuals and fans (like me) of Francois Ozon's 2003 Swimming Pool will recognize the stylings of cinematographer Yorick Le Saux.

Ridley Scott's visual flair has led to a number of handsome - looking films (and a great deal of success), but his tendency to go for style over substance often leads to a slightly unsatisfactory feel to his films.

The opening shots imply that the floridly romantic «style» is not necessarily that of the film as a whole, but an idea of the kind of visual representation a group of isolated, intelligent, impressionable, hormonal young women might make.

While it boasts a similar visual style to a lot of Mann's films — saturated in a slick and steely blue hue — the tension is almost non-existent, and although there's an interesting dynamic at play between McAvoy's cop and Strong's robber, it's never fully explored, nor does it have the same allure of seeing Hollywood heavyweights like Robert De Niro and Al Pacino face off against each other.

The cinematography displays some beautiful visual style and along with the cast is one of the films strongest statements.

Ever since Alfred Hitchcock popularized the director cameo, audiences expect to see certain filmmakers pop up in small roles within their own films; from Quentin Tarantino to Spike Lee to M. Night Shyamalan, the faces of the directors are as expected as their distinct visual styles.

Yet, like all the cinematographers of his era, he worked on films from all genres, in all visual styles.

The film is gratifyingly on point with its gender politics and styled to perfection, with Caroline Koener's costumes offering a carousel of visual pleasures.

I've been sceptical about this film - maker's pictorial sense in the past, even in the widely admired Pan's Labyrinth from 2006, which called to my mind Tarantino's shrugging response to a certain kind of film infatuated with its own visuals: «Pretty pictures...» But Crimson Peak has more narrative sinew and black comic style than this.

Yet it's in style and tone that the film comes alive, its prowling, dreamlike atmosphere, down - to - earth performances and unerring visual confidence echoing early Terrence Malick or the best of Harmony Korine.

The relationship between Joaquín and his wily brother Martín is beautifully handled, and the atmospheric visual style, with its grey tones and subdued lighting, expertly captures the emotional pulse of the film.