Portman's point about the white / nonwhite binary is particularly timely given the way that Garland
went about making the film.
Not exact matches
Far - right Dutch politician Geert Wilders
went on trial in the Netherlands on Monday, charged with inciting discrimination and hatred over a controversial
film he
made about Islam.
Gone Girl may have been a terrible thesis on monogamy being impossible, marriage being terrible and all people being selfish, but it was also an amazing
film that
made me think hard
about guarding my own marriage more closely.
And in Bolivia, where I had
gone to
make a
film about missionary activity, the music again was Christian, and again unique.
Even while I spent six years learning
about film production, I was mostly thinking
about what I was
going to
make for dinner when I finally got back to my Upper West Side apartment.
In an interview
about the
film with National Geographic, Paul McCartney said: «It's actually quite fun when you look at what you do, what you eat, how you live, and think, «Is this what I'm
going to do the rest of my life, or would it be interesting to try to
make a change?»
When I
made it for a large group of chefs, foodies, nutritionists, dietitians, a marketing maven, art director and budding
film school student, everyone wanted to know
about the recipe and the nutritionist and the dietitian were torn between who was
going to get to take the leftovers home.
There is a whole schpiel
about Atlanta's oddball economy that
goes here: we're the home of UPS, Delta, Home Depot and yes, Coca - Cola, but also the home of Adult Swim, the modern hip - hop - industrial complex and the pre-demolished look and convenient state tax credit that
makes filming The Walking Dead here so plausible.
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I had the privilege of watching this
film on the Disney lot, and afterwards
going behind the scenes at Disney Animation studios to learn a little bit
about how the
film was
made from story to art to animation.
YOUR LOT - are
about to
make it an offence to
film police officers
going about their lawful business of beating up members of the public.
When introducing his latest documentary at the Tribeca
Film Festival Saturday night, director Alex Gibney joked that he was leaning towards keeping the name of his «mostly finished but not quite done» work the «Untitled Eliot Spitzer
Film» because he'd never before
made a
film where he was «so uncertain
about where [he] was
going... and what the conclusions would be,» given the «divisive» nature of his subject.
So tell us
about the resource page that the National Center for Science Education has established for people to
go to get information
about the claims
made in the
film.
While there are amazing advances being
made with stem cell technology, the
film rightly cautions viewers
about the dangers of
going to a stem cell clinic abroad.
Trying to underplay conventional plotting as much as it can, this
film is seriously meditative upon the life of a man who we barely known anything
about, and
makes matters worse by portraying gradual exposition in too abstract of a fashion for you to receive the impact of the would - be remedies for characterization shortcomings that do indeed
go a very long way in distancing you from a conceptually sympathetic and worthy lead.
And in this moment, the
film makes clear what it is that is so compelling
about him — perhaps as a person but surely now, as a mythic figure who
went out into the mountains and died — the very fact that Chris
makes choices, informed and not, eventually irrevocable.
it is funny in deed but, when their is someone to cover Sandler's movie their most likely gonna never
make a
film again Oh look see Denis Dugan and Frank Coraci BOOOOOO!!!!!!!!! you suck stop
making adam sandler movies here is the problem they are directors who don't care
about cinematography or shots of using the camera all they care is comedy!!!!!!! see Tyler Perry yeah their just like this big joke.
«Miles Ahead,» actor - director Don Cheadle's unconventional
film about the jazz trumpeter Miles Davis, is odd and audacious — in other words, the kind of movie you should
make if you're
going to
make a movie
about the revolutionary and unconventional musician.
Fish - out - of - water stories can become tiresome very quickly if they're not anchored itoeither a witty script or good performances, but at the very least., most
films which
go down this route at least
make an effort to emphasise the differences in culture, even if it's just a passing, off - hand comment
about how fast people move or the fact that there's no phone signal.
Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the
film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least
make sure you have a better idea
about all of her story and life coming out and you did
going in.
Saoirse Ronan and Laurie Metcalf are terrific in this funny, charming and grounded
film about growing up a girl from a modest family discovering herself and aspiring to more than what is expected of her, and parents
making hard sacrifices and letting
go.
As an uberfan of the so - bad - it's - good masterpiece The Room and a solid admirer of The Disaster Artist, The Room co-star Greg Sestero's tell - all book
about the
making of mysterious vampiric figure Tommy Wiseau's «Tennessee Williams style melodrama as told by an alien who has apparently never seen normal human beings interact» drama - turned - dark - comedy - after - initial - audience - reactions - full - of - howling - laughter, I was a bit reserved in my excitement when I found out that James Franco was
going to direct the
film adaptation, as well as portraying Wiseau himself.
Far be it from me to expect any sort of cerebral experience from a slasher
about a doll, but it's evident that a degree of thought DID
go into this, which
makes its overall failure as a horror
film all the more disappointing.
When the
film reaches its apparent climax, there are still 20 minutes to
go, although the overwhelming finale just
about makes up for that drag.
You're not
going to learn much
about the
making of the
film, because this commentary is all
about the cast enjoying themselves and reliving favourite moments in the
film.
The second act of the
film finds Petit and his allies casing the twin towers,
making sure that they know everything
about the tower that's still under construction — the workers» schedules, which areas give access to staircases, which elevators are best to use... Essentially, The Walk becomes a heist flick in the middle — and like all good heist flicks, everything
goes like clockwork until it doesn't.
They talk
about how
film, both onscreen and those they
make, keeps them
going, keeps them from losing their minds completely.
Greta Gerwig who wrote and directed «Lady Bird,» which won Best Motion Picture - Musical or Comedy, noted that «it's been such an incredible year for women in
film both as actors and also writers and directors and producers and people who are really coming to the forefront to tell their stories
about the world as they know it from where they are standing, and I think that the response to these projects and the support that these projects have gotten and the way that audiences are
going to see them or watching them in their homes, I think all of this just
makes it so much easier for the next crop of filmmakers who want to tell stories
about women.»
Emerging director Eliza Hittman
makes films about the Brooklyn that isn't seen on Girls: blue - collar, unpretentious, drawn to Coney Island and
gone - to - seed realness.
During this recent interview to discuss the TV version of Zombieland, co-creators and executive producers Rhett Reese and Paul Wernick talked
about the journey from TV series to movie and now back to TV pilot, what it's been like to work with Amazon, what motivated the decision to have the same characters from the movie on the TV show, how they envision it as a road show, how much gore they can have, what Kirk Ward (who was originally cast as Tallahassee before being replaced by Woody Harrelson) brings to this version of the character, what led them to the 30 - minute format, whether they could have any surprise cameos (Bill Murray
made a very memorable one in the
film), what will determine whether the pilot is successful enough to
go to series, and when they might know if they're picked up.
During this 1 - on - 1 phone interview with Collider, actress and filmmaker Heather Graham talked
about wanting to
make a movie celebrating women and friendship, the biggest challenges in getting this
film going, having her voice heard, as a female filmmaker, what she most enjoyed
about playing Honey, putting together this cast, funny moments on set, what she enjoyed
about the experience of directing, her hope to do it again, juggling three different writing projects, and doing the British TV series Bliss, from David Cross.
As much as we want to believe the
films will only be
about Thanos and the Infinity Gauntlet, they're
going to need other elements to
make the
films a bit more grander than other installments, with or without Spider - Man.
McDormand's inclusion rider contains specific provisions for how
film productions should
go about making hires for supporting on screen roles and behind - the - camera crew roles.
An under - seen gem of a
film, TiMER is a
film that asks the hard questions
about whether soulmates really exist, if there's a chance you can have more than one and if destiny is a fabrication we
make up as a comfort to when life
goes wrong.
The
film follows the efforts of the heroic Raqqa is Being Slaughtered Silently (RBSS), a small group of activists who have
made it their mission to disseminate information across news sites, blogs and social media
about what's
going on in Raqqa, from the strict law to executions on the street.
Okay, so to be fair... he invented the genre, changed the way horror
films are
made, blah blah blah — I'm not
going to reiterate what's already been said a thousand times
about Romero's body of work.
However, it's somewhat unusual for a buddy cop
film to
make these tropes textual, not as meta - commentary but solely to be upfront
about going through the motions of «story» and «character development.»
I personally would have liked to hear more
about the differences between the novel and the
film, and
gone into more detail
about the actual
making of the
film, but oh well.
Given that I am a fan of Smith's and hold a few of his
films in high regard, I was certainly happy to
go along with seeing how this
film turned out, but if I had no clue
about what this
film was, I am pretty certain I would have thought Tusk was a
film made as some sort of dare.
Artistically, one of the hardest things [
about «City of Ghosts»] was that unlike «Cartel Land» where there's a sort of visual feast everywhere you
went and you'd just have to
make all these choices between good options of where to
go, who to follow, where to be, this
film was very constrained.
When I was a kid I
went to Yankee games with my brother and my parents and how could I not want to
make a
film about the Yankees?
Based on Sandberg's short
film, the
film is
about a malevolent ghost that only appears when the lights
go out, which seems like a simple concept but it's done so effectively it
makes this horror completely original and very, very scary.
Several
films have already been
made about the Stanford Prison Experiment, and those intimately familiar with how it
went down — the internalization of roles, the abuse, the refusal of those organizing the study to pull the plug when it quickly got out of hand — won't be shocked by the details.
FRUITVALE STATION (2013)-- I'm not hating on the world guys... RIDDICK (2013)-- I'm not hating on the world that allows this movie to keep
going... THE EAST (2013)-- I'm hating on the world, and cinema for this movie... MUSEUM HOURS (2013)-- Let me think
about art some more... FROZEN (2013)-- Let me wish for more great musical songs per
film... THE HOBBIT: THE DESOLATION OF SMAUG (2013)-- Let me wish for shorter
films... CALL ME KUCHU (2013)-- Let me wish for equality... THE TWELVE CHAIRS (1970)-- Young Frank Langela
makes me feel weird... TOUCH OF EVIL (1958)-- Charlton Heston is badass guys...
A few outtakes embedded herein are labelled «outtake,» a costume designer
goes on like Petrie does
about how drop dead gorgeous Bullock is and how scaling Everest would be easier than
making her seem dowdy, and Caine, Bratt, et al describe their characters and their functions in the
film.
It's almost like a standoff in a western
film: you're just waiting for that one guy to
make a mistake and
go for his gun, slightly shaking in excitement for the bullet storm that's
about to manifest.
Abrams has
made a big deal that he doesn't want anyone to know much
about John Harrison before the
film is released, and he says the character's motivations won't be evident from the get -
go.
Personally, I would love to watch the
film while listening to Spielberg, Dreyfuss and gang discuss all the great old stories
about the trials they
went through while in the process of
making history.
The visual joke
about Daniel's gleaming phallus
going flaccid under seismic stress is so obvious the
film doesn't even bother to
make it, although it spares the time to follow him after he abandons Blake in a parking garage and beats a solo retreat through the wreckage, establishing his credentials as a world - class dickhole at every opportunity.
Movies
about gritty men with gritty jobs only get
made when something terrible happens (see also: Lone Survivor, Deepwater Horizon), so you know
going in that Only The Brave, a
film about a group of wildfire - fighting «hotshots», is
going to have something terrible in it.