Sentences with phrase «way of narrative film»

Not exact matches

This is almost surprising given that the narrative film takes place exclusively in a large prison in the Dominican Republic, alternating machismo with romance in a wholly believable way and with the two principal lovebirds exuding quite a bit of chemistry for inmates with little physical contact.

A much more restrained Xavier Dolan after his pretentious previous film, and he displays an assured direction and firm control of this suspenseful thriller, even though the narrative seems to move too fast as the characters start to act in ways that are not always convincing.

The film, which is based on a television series (which was itself a spinoff from the Wallace & Gromit franchise), boasts a tremendously appealing stop - motion animation style that's heightened by an assortment of affable characters, and it's worth noting, too, that the movie's total absence of dialogue in no way hinders one's ability to get caught up in the briskly - paced narrative.

In similar films such as «Tinker Tailor Soldier Spy,» «The Debt» and «The Good Shepherd,» past and present are blended in such a way as to suggest the legacy of trauma, a narrative strategy that seems highly relevant to Red Sparrow.

It's the way that the movie feels so cold, and incurious, despite its incredible detail (it's a rare Netflix original film where constant pausing might make it even better) dynamic cinematography (using wide and full aspect ratios for narrative purposes) and general glimmers of newness.

Perhaps one should buck at the perceivable hubris and tastelessness of Spielberg cloaking his most revealing film in SS garb, and there's no easy way to forgive that red coat, but rarely has Spielberg's narrative and visual ideas felt so unpredictable, so distinctly different, and of such a lilting melancholy.

As the film becomes confined to Georges and Anne's well - appointed apartment, we settle in for an observation of the day - to - day as Anne's condition worsens (that's the invasion of privacy referred to in my opener above), and the narrative takes its inevitable course — minor immobility but still - bright sentience giving way to paralysis, dementia, force - feeding, loss of bodily - function control, wailing and terrified / terrifying unrecognizability leading up to the point of the unbearable for both husband and wife — we are also treated to a kaleidoscopic view of this couple's comfort with each other, their familiarity, their annoyances, their casually brutal honesty, and their reflexive care for one another.

Between his narrative and documentary features, director Kevin Macdonald is well on his way to banging out six films in the span of three years, and we now have our first look at the Last King of Scotland helmer's 2014...

A few unexpected minor pleasures: the time - travel flick Predestination, an adaptation of a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutof a Robert A. Heinlein short story that's one of those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutof those rare sci - fi movies that feels like it was made by people who read sci - fi; the horror Western Bone Tomahawk, which feels, in the best way, like someone filmed a first draft script and didn't cut anything, all its little quirks of character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutof character kept intact, narrative expediency be damned; and In The Heart Of The Sea, the cornball sea adventure of which I enjoyed every minutOf The Sea, the cornball sea adventure of which I enjoyed every minutof which I enjoyed every minute.

It is a frustrating film in the way of many parallel narratives in which one storyline clearly elevates itself over the other, rendering the unavoidable return of the inferior to centre stage an event to be dreaded.

The way the filmmaker has imbued Japanese culture and folklore into proceedings is commendable however, particularly in the Alexandre Desplat score, using drums throughout, enhancing the more intense aspects of the narrative which serve the film well.

Besides, it's not unusual for a film to excise footage used in trailers from the final product, or in other ways, edit footage to create misdirects to protect the core of the narrative.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

The real events of Amin's spectacular rise and fall in Uganda are distorted by the narrative of this movie in much the same way the events of one's life are distorted in one's dreams — or, more comically (and the best elements of this film are comic), the way a body is distorted by funhouse mirrors.

While it does fit the mold of the gimmick films that have been the norm for the last several years, Memento succeeds by making no bones about that fact, since the way the narrative is developed (each scene takes place the day before the last one) is a gimmick in itself.

The most charitable way to look at the film (or the play, since it's still being produced these days) is not as social commentary, or even as a reminiscence, but as a vehicle (literally, much of the time) for two actors to have fun with an odd - couple bonding narrative.

With an approach that emphasises internal feelings and character journeys, over more obvious things like narrative structure and story arcs, this Brazilian - German film challenges audiences to explore a series of important issues in ways movies...

It seems Shuji Terayama «s films are hardwired to reject anything in the way of narrative coherence, yet their undeniable efficacy lies in that bizarre, anything - goes atmosphere.

As we watch the main character studiously examining the sound and trying to connect it to the photographs of the crime scene, he engages in a process of creating a narrative in a way that echoes the very production of films.

Despite these shortfalls, the film does successfully manage to explore some interesting themes of diplomacy and leadership along the way, and even though it could be argued that the narrative itself is bland and unimaginative, barely moving from its starting point to its conclusion, the weight, intensity and emotional journey Caesar and his comrades evoke, more than make up for its few short comings.

The particular way in which John and Beatrice Henderson occupy and control space figures as much of the film's vision of success and happiness as its narrative and dialog.

On his third film, Waititi has refined his humour and storytelling to near - perfect level: his deadpan ways are beautifully connected to the most human moments of a genuine father - son narrative and emotions that flow gently but powerful underneath the funnies.

Splashed in jukebox colours, filmed with flash but wisdom that allows for the action to be comprehensible at all times (even if the ethos isn't), Atomic Blonde suffers because it doesn't have a strong narrative justification for what it does and spends way too much time looking at female bodies in various states of undress, arousal, and injury.

This is one of the few purely comedic scenes in an otherwise bleak film, yet it sets the mood perfectly for a narrative of displacement, in which a woman tries to find herself in another country's ways.

Much of this is how its narrative is knowledgeable by way of eighteen different films — the movie makes use of assumed familiarity with the former entries to nice impact — however there are franchise considerations too which might be a little bit extra advanced.

Yet with every single narrative event given with the same level of intensity — way up to 11 — the film eventually grows tiring and never truly lifts off.

By moderating the driving force within the core narrative and littering the film with sexual metaphors in its place, leaves the film with very little in the way of plot development and it has simply nowhere to go.

IMAX movies differ from ordinary narrative films in a number of ways.

While I'm still hoping this film will do justice to the Biblical Mary Magdalene and not play into the same false, sexist narrative she's had to deal with since the Middle Ages, I also hope that we eventually get a Biblical movie that depicts the events of the Bible in a more racially accurate way.

Director Lav Diaz's slow, patient approach opens the film up in a way that lets viewers feel every small detail of the world Diaz creates, teleporting them into characters» lives in ways a more traditional narrative feature couldn't do.

There's a moment about three - quarters of the way through BPM — this crucial shot's placement in the narrative, neither too early nor too late, is another mark of this film's exacting delicacy — when we get a glimpse into the dream world of Sean, a passionate lover of both life in general and his new boyfriend in particular, who's unrelievedly furious at the prospect of dying this far before his time.

With the new film comes a new director, Francis Lawrence, who gives us less character touches but more emphasis on action (thankfully, with less of the shaky - cam effects of Gary Ross), which may please those looking for the dystopic film to just keep moving, even if it seems to skip some narrative steps along the way.

Nevertheless, The Place Beyond the Pines contains a commendable attempt to experiment with film narrative in a way that emphasises the themes of the film.

That it messes with structure and medium is nothing new, but as with the casting of Downey Jr. and Monaghan as grammar - school classmates (even as it's commenting on Hollywood's treatment of women, it's guilty of it), as it's fucking with the way we look at film and understand narratives, it's indulging in the topsy - turvy, smart - alecky vogue of Guy Ritchie / Christopher Nolan chic.

Since then, some of her other films, such as 2004's «Yes,» have feature abstracted narratives, but in «Ginger and Rosa» Potter tells a relatively straightforward story in a relatively straightforward way.

Bresson's films are frequently based on literary texts; Hanoun, by way of contrast, begins Une simple histoire with a title card that signals his concern with narrative film's documentary possibilities:

There is a special power to the drama of this film, in the way its narrative is constructed.

That is not to say that the director compromised his style in any way; many will still find his glacial pacing, aversion to traditional narrative and the film's almost total lack of action an agonising ordeal, but for those willing to open themselves up to Hou's cinematic majesty, the results are intoxicating and mesmerising in a way no other film could accomplish in 2015.

In this way, the film gives a shape and a thematic emphasis of its own to its adapted narrative materials.

It's Diane Lane road tripping through France on the way to Paris, guided by the script and direction of Eleanor Coppola, in her narrative film debut (at age 80!).

Maybe it's reading too deeply into Netflix's The Fundamentals Of Caring to wonder whether the film's initial attempts at a new kind of disability narrative eventually giving way to sentimentality are an attempt to mirror the personality of Trevor (Craig Roberts), a wheelchair - using teen who puts up a jaded front, but.Of Caring to wonder whether the film's initial attempts at a new kind of disability narrative eventually giving way to sentimentality are an attempt to mirror the personality of Trevor (Craig Roberts), a wheelchair - using teen who puts up a jaded front, but.of disability narrative eventually giving way to sentimentality are an attempt to mirror the personality of Trevor (Craig Roberts), a wheelchair - using teen who puts up a jaded front, but.of Trevor (Craig Roberts), a wheelchair - using teen who puts up a jaded front, but...

Unfortunately, the film is also overblown and scattered in its telling, sacrificing some of the story's thematic and narrative potency along the way.

Manohla Dargis, The New York Times: To say that Charlie Kaufman «Äôs «ÄúSynecdoche, New York «Äù is one of the best films of the year or even one closest to my heart is such a pathetic response to its soaring ambition that I might as well pack it in right now... Despite its slippery way with time and space and narrative and Mr. Kaufman «Äôs controlled grasp of the medium, «ÄúSynecdoche, New York «Äù is as much a cry from the heart as it is an assertion of creative consciousness.

Much of the way the film lays out is the way I would see a narrative playing out.

The movie definitely earns it's cathartic final moments, and if along the way there are a few narrative touches that don't quite work, it is still a film of great power, and well worth watching.

The film, directed by way of Jake Castorena, will adapt the comedian guide narrative of the similar title from 1992.

«The Book of Henry» is bound to put off — or even gaslight — audiences expecting a heartwarming family film the whole way through and / or to be seen as misguided or even recklessly irresponsible, and yet in its ever - changing narrative trajectory, it does have a little of everything to appeal to everyone.

You can kind of see why Netflix ended up with the third film, the narrative matching their slow - burning roundabout way of telling stories.

The flashback, circular structure of a narrative about a doomed man is an essential feature of film noir (see Sunset Boulevard, Out Of The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness of the protagonist, condemned to replay the tragic events of his life in an endless looof a narrative about a doomed man is an essential feature of film noir (see Sunset Boulevard, Out Of The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness of the protagonist, condemned to replay the tragic events of his life in an endless looof film noir (see Sunset Boulevard, Out Of The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness of the protagonist, condemned to replay the tragic events of his life in an endless looOf The Past, Detour, Double Indemnity, etc) and Lost Highway is structured like a Möbius strip, coiling back on itself in a way that reflects the disturbed consciousness of the protagonist, condemned to replay the tragic events of his life in an endless looof the protagonist, condemned to replay the tragic events of his life in an endless looof his life in an endless loop.

These narrative films ``... would help to break ground in Hollywood in terms of funding women storytellers and women who were directing the films...» The 2018 Sundance Film Festival will premiere three Gamechanger films: The Tale, a story about sexual abuse written and directed by Jennifer Fox; Nancy, a dramatic story blurring the lines of fact and fiction written and directed by Christina Choe; and The Long Dumb Road, a road trip movie filled with detours and bumps along the way, written and directed by Hannah Fidell.