Sentences with phrase «while fiction films»

Not exact matches

District 9 is an incredibly effective parable about human rights abuses against refugees, while also functioning as a thrilling science - fiction action film.

More than science fiction, this film is intriguingly spiritual, while being completely compelling as a film experience.

While engaging in some of the compression and conjecture that mark any enterprise in historical fiction, the film tacks closely to the established record, including a piquant third - act reveal that will surely send curious audiences to Google for more information.

While Glazer's latest is indeed a totally trippy experience, you only need to relax and let the film glide over and pull you in to finally realize it's a pretty straight forward science - fiction story told in a completely unique way.

While never the most conventional screenwriter to begin with («Pulp Fiction» is a sprawling, ambitious jigsaw puzzle, for one), in recent years Tarantino's screenplays have pushed the envelope further, eschewing most cinematic narrative conventions, with his movies becoming more like filmed novels that don't bother with traditional structure.

Lucas» only previous experience was TH 1138, a science fiction thriller, which he had developed from a student film he had made while at USC.

With his debut feature, he never misses a beat while infusing the story with quirky insights and pulp - fiction antics that lift this genre film to a new level.

I guess that Portugal is rapidly becoming the country du jour of cinema, with Tabu being the finest new fiction film I saw in 2012, while I finally got to see the 4 1/2 hour version of Raúl Ruiz's amazing Mysteries of Lisbon (on Blu - ray discs): it has still never had a theatrical screening in Montreal!

Very exciting, it's been 8 years since Primer (a science - fiction favourite in these parts), and while the writer / director's screenplay for «A Topiary» never got made into a film, he whipped out this surprise to many earlier this week by way of the festival announcement and a very shiny bit of key art which confirms that Carruth will star in the film along with Amy Seimetz (A Horrible Way To Die).

While cult films range from campy science fiction to highly graphic horror movies and just about everything in between, there are a few characteristics that most cult films share:

If the opening credits wasn't enough, the rest of the film looked and sounded like a Carpenter film while also felt like an homage to some of his science fiction themes.

Q: A lot of science fiction films have to balance being informative about their worlds while also not pandering or relying too heavily on exposition.

The biggest difference between Carver's fiction and Altman's film is that while the sexual and ethical tensions that are rife throughout the stories rarely come to the surface, they find collective and catastrophic catharsis in Short Cuts's earthshaking finale.

So while I do know of his science fiction work, I almost like to praise him more for his dramatic films, i.e..

All that time hanging out with Nolan has obviously rubbed off: Franklin's directorial debut, The Escape, is a handsomely filmed science - fiction short that wears its influences on its sleeve: it feels like something that Nolan might make over a few days while waiting for Hans Zimmer to finish scoring his latest blockbuster.

That said, while at times uneven, Grabham and Sharp's tone nevertheless creates something unique for both a genre exercise and a documentary: a science - fiction film that doesn't contain an ounce of fiction.

So while Vernon, Florida has become something of a Medium Cool for a new generation of film brats (All the Real Girls director David Gordon Green cites the work as one of his all - timers), The Thin Blue Line has become the moment that many point to as the definitive modern reintroduction to the debate about the matter of degrees that separates fiction from non-fiction cinema.

While Wright was making «Scott Pilgrim Vs. the World,» Pegg and Frost enlisted the help of «Superbad» and «Adventureland» director Greg Mottola to help them make the science - fiction answer to the zombie film homage «Shaun of the Dead,» and the buddy cop love letter «Hot Fuzz.»

This Is Not a Film (directed with Mojtaba Mirtahmasb, 11), shot while Panahi was under house arrest in his Tehran apartment, is a tantalizing hybrid of documentary self - portrait and contemplative fiction, at once an act of rebellion and a singular example of film as legal loophole: Panahi was effectively telling his persecutors, «You never specified that I couldn't make a film like this, because you never could have anticipated me making it.»

David Bordwell contends that Tarantino deliberately signals his sources to his audience, «in order to tease pop connoisseurs into a new level of engagement,» while Aaron C. Anderson writes that by using framing markers and calculatingly phony distancing devices (like, for example, the black - and - white process shots in Pulp Fiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simuFiction), «Tarantino draws attention to his film's status as a film, as a constructed work of fiction, and as a «simufiction, and as a «simulation.

While I feel it has been a drip - drip - drip flow of quality releases this fall / Oscar season, easily one of the most anticipated films (along with the new Coen Brothers and new David O. Russell) is Spike Jonze's near - science fiction romance, Her.

What with all the Twilighting going on lately, we should be thankful that once in a while a film like Easy A comes along: a film that honestly and unwaveringly addresses what it means to be a teenage girl in this image laden, information drenched age, rather than resorting to archaic romance fiction techniques with passive heroines who do nothing but wait for inherently violent men to make all the hard decisions.

While still making documentaries, Kawase began to turn her attention to fiction films.

Pre-Star Wars director, USC graduate, and writer George Lucas had begun his career as director of the science - fiction film THX 1138 (1971), an expanded version of a prize - winning feature film he made while studying film at USC.

Dorothy B. Hughes was one of the great crime fiction writers; with an eclectic career that allowed her the time to pen some of the strongest material for film noir adaptations while also writing serious film criticism.

The temptation to brand the film as «autobiographical» is hard to resist: Baumbach did grow up in Brooklyn in the 1970's, one of four siblings, to a pair of parents who both wrote for a living (his father Jonathan wrote novels and short fiction, while his mother Georgia Brown contributed regularly to the Village Voice).

Screenwriters Roberto Orci, Alex Kurtzman and Damon Lindelof do an admirable job juggling all the characters while working in enough humor to show that science fiction films can be fun, but not at the expense of detracting from the action.

What it attempts is no more offensive than trying to glom together A Few Good Men with The Usual Suspects while returning McTiernan to the jungle setting of his Predator and reuniting the two stars of Pulp Fiction, neither of whom frankly has been in a film nearly as good as that in the nine years since.

It's when the film reaches Candie's plantation that it drops off considerably, largely due to less dramatic tension as well as an unconvincing performance by Samuel L. Jackson as Candie's trusted house slave (while the other actors at least make some attempt at period verisimilitude, Jackson sounds as contempo as he did in Jackie Brown and Pulp Fiction).

While it took more than 40 years for the 1973 science - fiction film Westworld to become an HBO series, it didn't have to be that way.

While science fiction and horror films can be filmed in an artistic manner, they do so at a risk.

In one stranger - than - fiction occurrence, Albert attends the premiere of the film «The Heart is Deceitful,» directed by and starring Asia Argento, based on her book, but is banished from the red carpet, while Savannah, as «JT,» basks in the limelight.

While it definitely qualifies as such, the film had a sizeable impact on science - fiction cinema.

While it's true that Wise explored a variety of genres including horror, science fiction, noir, westerns, musicals and war dramas, his best films frequently share a gloomy nihilistic worldview and he possessed the extraordinary ability to elicit career - defining performances from many of the actors he worked with.

This story, while fiction in the film, has actually happened before and that alone makes this film all the more terrifying.

We've been told that our film deals with the survivor issues directly and honestly, allowing viewers to relate emotionally to the fiction story being told while at the same time allowing them to intellectually objectify the familiar struggle being presented and to help them get distance and perspective on their own situation.

While others called it 2017's best, ScreenCrush's Matt Singer added it «looks like someone dared director Denis Villeneuve and cinematographer Roger Deakins to make the most visually spectacular science - fiction film of the century — and then they actually did it.»

This all helps Ex Machina to be a unique science fiction film while tackling familiar science fiction themes.

Dorothy B. Hughes was one of the great crime fiction writers; with an eclectic career that allowed her the time to pen some of the strongest material for film noir adaptations while also writing serious -LSB-...]

Ghost in the Shell, on the other hand, is a rare breed of tech - minded blockbuster that radically engages with the conditions of the zeitgeist, while also working as a pastiche of notable science - fiction films from the last 35 years, including Mamoru Oshii's 1995 anime of the same name.

Isiah Medina enters the mix in the Best Director category for 88:88, his incendiary experimental film, while Sofia Bohdanowicz's Never Eat Alone, a docu - fiction portrait of an elderly matriarch played by the director's own grandmother, is up against Werewolf and Hello Destroyer for Best First Film by a Canadian Director.

So, while the movie The Maltese Falcon is considered film noir, the book from which it's derived is hard - boiled fiction and not literary noir based on the characteristics described above.

They are for the most part perfectly amiable in contemplation of this putative reader, whom I imagine is reading a flash fiction while texting a friend with one hand, playing Angry Birds with the other, and filming her breakfast behind Google Glass.

While fans of Gone Girl, The Girl on the Train and Alfred Hitchcock's films will feel right at home in Anna's wine - addled reality, the unusual backstory behind its provenance bears a touch of suspense fiction as well.

For the series Wonder, 1995, she photographed identical twins who long for individuality; in the Rashomon - like film Erasers, 2005, twelve girls each tell their version of a single event; an argument between three children is reenacted by adults in Replayground, 2009; while Swimming Lessons, 2012, twists fact and fiction in the story of a group of evangelical teenagers; in echokinetic manor Gaskell herself mirrors a dancer's movements in the video Balletomane, 2014.

Rooted within the discourse of mid-twentieth century experimental film, Smith draws equally from the tactics of structuralism, third world cinema, and science fiction in an attempt to make things that nod to these references while offering a phenomenological experience for spectators and participants.

Bronwen Buckeridge's film installation follows performers at the Peking Opera, exploring how fictions take shape, while Amy Stephens» collection of spindly wooden frames looks like it might form a stage set — or perhaps a series of portals into another world.

While notions of utopia are common in popular culture, such as through science fiction novels, films, and television, the concept remains an ideal outside of our reach.

Ofili was inspired by Quentin Tarantino's 1994 film, Pulp Fiction, in which, in one famous scene, Samuel L. Jackson's character, the hitman Jules, kills a man while proclaiming biblical verse.

Inspired by direct experiences and observations of her surroundings as well as the films, plays, and novels of such luminaries as Alfred Hitchcock, John Cassavetes, Roman Polanski, Jack Smith, Jorge Luis Borges, Tennessee Williams, and Samuel Beckett and mainstays of popular culture like soap operas and science fiction, her work is carefully scripted and produced while maintaining an immediate sense of spontaneity and unpredictability.