Sentences with phrase «white film by»

In the weeks following the Guggenheim's opening, Ivan would see Dick again at the premiere of Pull My Daisy, the grainy black - and - white film by their friends Alfred Leslie and Robert Frank, who'd cast Dick as a sanctimonious bishop in this quintessentially Beat film starring Allen Ginsberg, Gregory Corso, and Peter Orlovsky as themselves.

This is Rosebud, a sensual black - and - white film by Turner prize nominee James Richards that interweaves images of aroused flesh and censorship.

(September 2) One of the greatest heist films is this 1956 black and white film by Jules Dassin that features one hell of a middle sequence: a 30 - minute heist free of dialogue or music.

Not exact matches

About 180 auctions have been held since 2011, involving music by Barry White, Taylor Swift, Wiz Khalifa and others, along with film scores and TV theme songs.

The White House says President Donald Trump is continuing to deny allegations by adult film star Stormy Daniels that she had an affair with Trump in 2006.

Scorsese concludes his film with a simple message in white text on a black background, «For the Japanese Christians and their pastors,» followed by the Jesuit motto: AMDG, ad maiorem Dei gloriam, for the greater glory of God.

It is, as well, an antidote to Mississippi Burning, a dishonest, award - winning new film in which blacks wait patiently and fearfully in the background for deliverance by two white FBI agents, played by Gene Hackman and Willem Dafoe, who zealously bend the law in the interest of justice — a film one fears will have a profound effect on the way many Americans view their nation in the King Years («The Dream Dafoed,» as the Village Voice put it).

In Tangled, the Walt Disney Company's new animated, feature - length, 3 - D adaptation of «Rapunzel,» critic Armond White finds, sadly, that the story of the girl with the very long locks not only «has been amped up from the morality tale told by the Brothers Grimm into a typically overactive Disney concoction of cute humans, comic animals, and one - dimensional villains,» but also that the film's «hyped - up story line... gives evidence that cultural standards have undergone a drastic change» in the decades since Walt Disney first set out to charm both children and adults with his animated retellings of fairy tales.

In the 1957 film by Sidney Lumet, 12 Angry Men, 12 mostly white jurors deliberate the fate of an hispanic man on trial for stabbing his father.

The 2009 biographical film about a black high school student adopted by a white Christian family is rated PG - 13 and became something of an evangelical darling when it released, receiving endorsements from Christianity Today and Focus on the Family.

Retired NFL defensive end Stephen White was blown away by Vea's film.

The actor is set to star in a film directed by veteran stunt coordinator Nick Powell (The Bourne Identity, X-Men: The Last Stand, Cinderella Man), which centers on Frank Walsh (Cage), a big game hunter for zoos who has booked passage on a Greek shipping freighter with a fresh haul of exotic and deadly animals from the Amazon, including a rare white jaguar.

The group of young fathers who made the film met on a young dads - to - be course, run by Mike White of U-Too, a not - for - profit company.

As a teenager, I loved the Saturday afternoon black and white films on TV, with strong women characters played by Bette Davis or Joan Crawford.

The event will be an interactive talk on the metaphor of the zombie in everyday life, followed by a screening of the first ever zombie film, White Zombie (1932).

The message of empowerment in both films is the same: White people are empowered through the perceived act of «saving black people» (note: I would not argue that Invisible Children are consciously constructing this message; they are trying to humanise the heroes of their story and the heroes of their story, as constructed by them, are whWhite people are empowered through the perceived act of «saving black people» (note: I would not argue that Invisible Children are consciously constructing this message; they are trying to humanise the heroes of their story and the heroes of their story, as constructed by them, are whitewhite).

«We knew we had to be better, we knew we had to be excellent,» said Brown, 89, one of about 10 Tuskegee Airmen who attended the White House screening of «Red Tails,» a film about the airmen produced by «Star Wars» creator George Lucas which opened in theaters in March 2012.

In 2012, surviving black aviators were hosted by the White House for a screening of a film honoring their heroics.

The artifacts are part of an oral history project shown in 1986 that were digitized from black - and - white film, capturing children in the Bronx from 1895 to the early 1980s, all done by Georgeen Comerford.

The film, which premieres tonight at the University of Wyoming in Laramie, will be accompanied by a touring photo exhibit showing black - and - white shots of some 40 female scientists donning beards, by photographer Kelsey Vance.

Indeed, the researchers say that there is no evidence to suggest that the level of violence has changed in children's films since Snow White in 1937, when Snow White's stepmother, the evil queen, was struck by lightning, forced off a cliff, and crushed by a boulder while being chased by seven vengeful dwarves.

Seeing it depicted in black - and - white in French film Angel - a by director Luc Besson just showed how magnificent it still looked even when it wasn't in colour.

Night of the Living Dead is a 1968 American independent horror film directed, shot and edited by George A. Romero, co-written by Romero and John Russo, and Bobby Lee LIVE from MADtv, Chelsea Lately and Harold & Kumar Go to White Castle at Arlington Drafthouse.

A smarter film about country music would cast the would - be cowpunk as a Jack White - type, somebody who would encourage the aging legend to reject Nashville values and make an all - out roots album (similar to Loretta Lynn's «Van Lear Rose», produced by The White Stripes frontman himself), which would add creative tension to the preexisting atmosphere of marital discord between Kelly and her commercially - minded husband.

«Beatriz at Dinner,» a new film directed by Miguel Arteta and written by Mike White, unflinchingly addresses that question, and declines to provide a comforting answer.

Mike White, who scripted biting, edgy satire of this sort («The Good Girl,»» Chuck and Buck») before making his fortune with «School of Rock,» serves up an unsettling and generally deft comedy of manners with this clash, a film that greatly benefits from subtle, stinging performances by Salma Hayek and as her opposite number, John Lithgow.

Director Sylvain White, whose last film was the equally unnecessary I'll Always Know What You Did Last Summer, manages to take the joy out of a dance movie by jerking the camera around and speeding up the dance moves so much.

Wenders is clearly intrigued by the connection between Francis and his namesake saint, opening the film with a gorgeous time - lapse shot of the Umbrian village of Asissi, and even recounting the life of St. Francis in recurring black - and - white vignettes.

At the center of the film is a recurrent scene in which Lena is being interrogated by a man in a white hazmat suit.

It was shot in black and white by Subrata Mitra, otherwise known as Satyajit Ray's cameraman; Ivory had befriended Ray, who reportedly acted as the film's uncredited editor and music supervisor.Shakespeare Wallah (1965), the trio's second film, was the one that first gave the filmmaking team international recognition.

One of many interesting stylistic choices by director Irvin Kershner and cinematographer Haskell Wexler, who shot the film in gorgeous high contrast black - and - white with the warts - and - all insouciance of a documentary, is to present this reunion scene sans dialogue (which is buried by train noise)-- with Billy and Pio framed in the oval window of the train door.

But then the action is muddled by some unnecessary and meaningless CGI pyrotechnics, a holdover character from a previous MCU film (a white dude, naturally) is shoved into the spotlight, and we all brace ourselves for the typical post-credits stinger.

Spielberg rushed this film, about the pressures brought upon by the Nixon administration on newspapers seeking to publish the Pentagon papers, owing to the man who occupies the White House now.

It is often said that a film reflect the fears of the country that produces it, and the fact that in Man on Fire a pretty white girl is having to be protected by a strong black man against nasty South American foreigners, is perhaps very telling indeed.

The short - statured, middle - aged Haven, who throughout the film is always dressed in white with rhinestones and gaudy designs, is distracted by the unauthorized entrance into the control room audience of a BBC journalist Opal (Geraldine Chaplin), a flea - market dressed, tattered, nit - wit, opinionated reporter who is «doing a documentary on Nashville» and lugging a tape recorder at her side.

It's all wonderfully illustrated with red, white, and blue renderings of images from the film, like Opal surrounded by school buses.

Though a child of the colonial civil servant caste, Denis is by sentiment and inclination one of the last viable working - class filmmakers in the white - collar west, and so it is only appropriate that her film should be capped off with an appearance by Depardieu, the hulking star of Maurice Pialat's Loulou (1980), that bruising film of interclass love.

This aspect could be mitigated as being part of a period attitude: this was in the day when The A-Team filmed Mr. T's stunts by covering a white stunt double in make - up and filming him from far away.

by Alan K. Rode Academy Award ® - winning director Michael Curtiz (1886 - 1962)-- whose best - known films include Casablanca (1942), Yankee Doodle Dandy (1942), Mildred Pierce (1945) and White Christmas (1954)-- was in many ways the anti-auteur.

But that «last customer» line plays like an old Schwarzenegger kiss - off, and the lawless killing is followed by equal - time commentary from black and white talk - radio hosts — the film's explicit attempt to defuse any racist overtones.

Filmed in striking black and white with a crew comprised of the tunnel's inhabitants and scored by legendary turntablist DJ Shadow (Endtroducing...), Dark Days remains a soulful and enduring document of life on the fringe.

Co-directed by Ben Cotner and Ryan White, the film is an almost overly thorough look at every single step along the way in the battle to bring Prop 8 down.

Illustrated by astounding color and black - and - white images, the book presents the best of this mind - bending genre, detailing through insightful commentary and behind - the - scenes stories why each film remains essential viewing.

This year's biggest downer — which is not to take away from the qualities of the film — «Amour» represents a change for director Michael Haneke, whose «Funny Games» is a remarkable thriller about the takeover of a household by two psychopathic youths and whose «The White Ribbon» looks at mysterious goings - on in a feudal village in Germany prior to World War I.

The star - studded heist caper «Widows,» from director Steve McQueen and set to begin filming in Chicago this month, is looking to hire two sets of twin infants — one set biracial (unspecified), the other white — who are between the ages of 3 months and 6 months, according to a flyer posted by 4 Star Casting, which specializes in background actors, aka extras.

Bonus features include: - Logan Noir: a black - and - white version of the film - Audio commentary by director James Mangold - Deleted scenes with optional audio commentary by Mangold - Making Logan — behind - the - scenes documentary

Your assumption that the critique of the film is by a black hating white person is juvenile and insulting.

Directed by Jonathan Glazer, who co-wrote the screenplay with Walter Campbell based on the novel by Michel Faber, the film finds Johansson prowling the Scottish highlands in a white van, seeking lonely men.

For example, in his references to The Last Wave, he does not critique the way that Aborigines are stereotyped in this film as savages who are discussed, watched and feared by the white male protagonist (played by Richard Chamberlain).

Ford's film explores the 1992 shooting of his unarmed brother William by a white mechanic.