Sentences with phrase «what modern films»

Not exact matches

Every one of 2015's 10 top grossing films worldwide was released somewhere in IMAX form, indelibly attaching its brand to what is arguably the last, greatest communal experience in modern culture.

His Romeo and Juliet and Moulin Rouge movies are practically required viewing for modern film students, but his flashy, excessive style strikes some as the wrong tone for what might be rightly considered the Great American Novel.

I also wanted to talk up what is perhaps John Sayles» greatest film, the very play - like Sunshine State, as a beautiful illustration of the fact that in modern times especially, some need to heed the Berry-esque call to stay (or return) and build the community, but others need to sell and go, and get free of a community, or mere arrangement, that is holding them back.

In this modern day, anyone with a camera, a body, and an internet connection can create an adult movie, and a lot of them are pretty normal people just filming what they do normally.

First published anonymously in 1818, the book and subsequent films and plays have become what Jon Turney, author of the book Frankenstein's Footsteps: Science, Genetics and Popular Culture, calls «the governing myth of modern biology»: a cautionary tale of scientific hubris.

Also, while the pages devoted to dissection of classic modern films such as Performance, Alien and Full Metal Jacket make compelling reading, they defeat the utter disposability so crucial to the modern: what can't be instantly forgotten becomes an impediment to what can next be accessed and experienced.

This idea, of social commentary illuminating an absurd aspect of modern life, is precisely what director George Romero was stating with his pivotal film, Dawn of the Dead.

Here Whedon and Goddard look like they're abandoning their convictions for what their film should be, and pandering to modern blockbuster viewers and their incessant craving for elaborate action sequences and expensive special effects.

Birdman or (The Unexpected Virtue of Ignorance) is a brilliant directed film by Alejandro González Iñárritu, who manipulates the camera to give the illusion that the film is one continuous long take (which can get dizzying at times) giving a film that is resonate to a modern day audience as it examins these fictitious characters and their commentary on what it means to stay relevant.

Now that newer Jurassic World film series has hit movie screens, it is time to look back at what started the modern dinosaur film craze — the original Jurassic Park Trilogy.

Instead he stands on the threshold of what modern America is turning into and spends the film struggling to reconcile the conception of how he has lived (as seen through his aging, dying father) and how that may have to be adapted or abandoned to survive.

His last decade of films «W.» (too soon), «World Trade Center» (way too soon), «Alexander» (a disaster) and the sequel to his 1987 «Wall Street» proved he is completely out of touch with what modern audiences want in a cinematic experience.

Also understandable is Paramount not expecting customers» tastes to extend more than a generation; from 1983, Trading Places may be many viewers» cut - off for «modern» films, a cut - off many observe either deliberately (and foolishly) or, more likely, based upon what cable television exposes them to.

To Ron Magliozzi, associate curator, and Peter Williamson, film conservation manager, of the Museum of Modern Art, for identifying and assembling the earliest surviving footage of what would have been the first feature film to star a black cast, the 1913 «Lime Kiln Field Day» starring Bert Williams.

It's a film designed for the modern family, or that's what all the posters and adverts seem to suggest but to be honest the idea that this film is something for the modern family is completely absurd.

They direct Jared Bush's screenplay with a clarity that's been lost on so many modern animated films, concerned with what makes their characters tick over what makes toddlers giggle.

Author Duncan Wall on modern circus at BAM, the 2013 Independent Film Forum, five - time Tony winner Audra McDonald in L.A. for one - night only, James Toback's latest film (with Alec Baldwin) premieres on HBO, and «The Nose» in theaters via the «Met: Live in HD» series are what we...

I was wondering what you guys would think of a sequel to THE GODFATHER PART III taking place in modern day in which the grandson of Michael Corleone is forced into the family business paralleling the arch of the first film in which Michael was forced into the mob.

Here is a film that possesses all the hallmarks of what can make modern American comedy so lazy.

The boisterousness of the film's finale, with its sieges and rescues, its lightning bolts and flash floods, relieves what would otherwise be an almost unbearably sad evocation of what is least preservable about youthful experience: not so much the loss of that «innocence» that is such a hackneyed motif of modern American culture (and for which summer camps have always been a favored location) but the awakening of the first radiance of mature intelligence in a world liable to be indifferent or hostile to it, an intelligence that can conceive everything and realize only the tiniest fragment of it.

A spry, sun - bleached and often rather sexy study of what makes a family in modern America, «The Kids Are All Right» breezes by so pleasurably it's easy to forget what a daring and very necessary film it is.

What is most striking about this and the film's structure is its use of modern technology to silently help tell the story.

This is the way with modern romantic comedies, you see: no matter what contrived bullshit the writers can come up with to make their film seem «fresh», it still ends up being a two hour movie with an ending that is entirely predictable.

Just as other films of its ilk (The Phantom, The Shadow), the updating of the material involves keeping the core of what makes the Green Hornet the Green Hornet, while stuffing it into a modern - day action and comedy style.

But indeed, I'd argue that Rob Zombie's film is a more accurate representation of what it means to be a human being in our modern era, because we still feel dread, fear, pain and love.

For my taste McQueen lingers too long on scenes of brutal floggings and assaults (though the sex is not tastelessly explicit), which may be what white viewers need to be reminded of — except excessively explicit violence is a staple of many modern films, where the old saying that «less is more» has long been forgotten.

VanBebber's strategy of fabricating a new antique is in line with Guy Maddin's stated attempt to do the same — the distinction being that The Manson Family actually resembles what people were watching in Texas drive - ins circa the 1970s whereas Maddin's films look like the state in which modern viewers can see silent and early sound pictures.

What's more, it's refreshing to hear the young filmmaker talk honestly and passionately about such a traditionally maligned industry, while also finding a moment to namedrop Downey's Putney Swope and ruminate on the state of modern action films.

But it indicates what much film comedy has become: a slightly sourish cocktail of bad behavior, wry observation, and commentary on how difficult modern life can be, especially for characters who feel entitled to a better one.

This documentary from Serge Bromberg and Ruxandra Medrea explores the film that could have been, with some insightful archival and modern interviews that tries to piece together what would have Clouzot's most ambitious work.

Rare is the modern film that understands the consequences of what it depicts and how it achieves this to the level of First Reformed.

Even when, while watching, I noticed modern «news reporters» on television got a lot of their interviewing technique from McCarthy... I'm not sure how Clooney got away with it — some of the footage is cleaner than the rest and it's all supposed to be on television, but it presumably would have looked better — maybe he made it part of the black and white film agreement... you're watching Good Night, and Good Luck and it's in black and white and so you're going to accept what follows.

The Mummy is a poor first film in what could have been a great modern - day horror franchise.

But for all of those problems with translating the film to a modern, and presumably newer, audience, not much else would actually need to change to retain the impact of the humor and what pathos the film tries to create.

But they're allowed to wither as the film focuses its attention on three non-professional actors doing their best to transform ridiculous, sweet - sixteen romantic imbroglios into Chekhov and Shakespeare, with the combined might of what seems the entire pantheon of great modern British movie actors milling around behind them.

Though overt at times in its humour, the film is grounded by its pertinent portrayal of modern day left - wing politics in Britain, injecting a farcical edge to proceedings, where it seems nobody quite knows what it is they're doing.

Skype, Facebook and Chatroulette all make appearances in the film, but this glossy, modern Inter-web sheen feels tacked on to what is essentially a lowest - common - denominator horror flick.

You're deciding what movie to see on a Saturday night and wonder: What if someone took the suburban spookiness of many a Steven Spielberg or J.J. Abrams movie and combined it with the captive - prisoner subgenre of the modern horror fwhat movie to see on a Saturday night and wonder: What if someone took the suburban spookiness of many a Steven Spielberg or J.J. Abrams movie and combined it with the captive - prisoner subgenre of the modern horror fWhat if someone took the suburban spookiness of many a Steven Spielberg or J.J. Abrams movie and combined it with the captive - prisoner subgenre of the modern horror film.

It's misogynistic, which is not really a surprise as almost all of Jackie Chan's modern - era films are virulently so, but it does what I wouldn't have suspected to be possible: it makes Chan a smarmy, oafish reptile.

I thought it an interesting film, what with the modern updates by contemporary artists bringing a similar energy to the original in the tracks played.The music also explained pieces of the jig - saw: the multi-personae that he adopts - the psychic trickster, the outlaw cowboy, the mystic savant, the Cassandra of doom.

But, what I am saying is that Hillcoat is a master at creating an intriguing and compelling world in his films, and Triple 9 is just the latest example, with this time a modern but grimy setting being at the forefront.

While I've always wanted to see a modern screen adaptation of Lord of the Flies, this film creates something that closely resembles what I'm looking for.

I wonder what a He - Man tent - pole film would look like in our current comic book - obsessed, event picture landscape we call modern - day Hollywood?

What and how much was changed is going to have to wait until we see the original cut, but whoever's idea it was to add a modern political viewpoint on Jack Finney's novel The Body Snatchers (now adapted to film four times) had the right idea.

The film finds its roots in the 1970s experience and explores what happens when a group of students attempt to emulate it in modern day New Orleans.

Gibson has taken what is arguably the most famous story of all time and gives it a universal and modern relevance that far overshadows whatever equally hollow positive or negative attention the film has received.

Artist BossLogic took a stab at creating what he could look like in the film, and it's a pretty straightforward adaptation from the comics with some modern touches thrown in.

Also included is Basket Case at MoMA, a Q&A from the 2017 restoration film premiere at the Museum of Modern Art with Henenlotter, Hentenryck, Bonner, Maryellen Schultz, Florence Schultz, and Ugis Nigals; What's in the Basket?

There's a «Modern Family» episode, a really great short film called «Noah»... we watched every one of these to see what they did successfully and unsuccessfully.»

The lack of physical evidence of Christine's life may begin as a source of frustration for Kate on a purely professional level, but as she learns more, interviewing friends and coworkers, getting even a tangential sense of what might have driven Christine to her decision (with many of those moments eventually acted out in wonderfully campy excerpts from this nonexistent film), she learns that the exploitation of media and its desire to show the worst of society, offering the most broken aspects of the world to the altar of ratings (this of course being the aspect of the story that helped birth Network) hasn't changed much from the 70's to the modern day.