A dark - edged fairy tale as lovingly steeped in vintage movie magic as it is in hypnotic water imagery, this captivating creature feature marries a portrait of morally corrupt early - 1960s America
with an outsider tale of love and friendship... Full Review
Not exact matches
When finally confronted
with the truth, groupthink becomes fiercely defensive because there's been too much investment of time / energy to risk a demoralizing
tale told by a long - gone
outsider.
Del Toro's fairly conventional
tale of underdog forbidden romance — between a fish - man creature in government captivity and a mute cleaning lady, Eliza (Sally Hawkins), facing off
with a hateful investigator (Michael Shannon)-- was nonetheless warm, sumptuously shot and designed, and barbed
with semi-subversive asides from Eliza's
outsider buddies, fellow worker Zelda (Octavia Spencer) and a closeted illustrator neighbor (Richard Jenkins).
It's a
tale of the consequences of rampant fear of the
outsider, filtered through the lens of a dystopian future, filled
with an abundance of jokes, and set against the meticulously crafted worlds of an island of garbage and the pristine order of an engineered metropolis.
Still under the production company name of Vulcan films, they, along
with first - time director John Llewellyn Moxey, put together this simple
tale of a Satanic coven of witches in a small village, led by the reincarnation of Elizabeth Selwyn, who sacrifice virgin
outsiders to Lucifer.
He's now one of the best - known young directors in the world, but French - Canadian Xavier Dolan was a 21 - year - old
outsider when he made this smart, artsy
tale of two friends — a girl and a guy — who both fall in love
with the same person.
Chronicling the
tale of a bunch of misfit
outsider superheroes
with no real superpowers who has to save the day when a real superhero is kidnapped by supervillain, Mystery Men tries to be camp (at times) and vulgar (at others).
After writing Kids, Larry Clark's cautionary
tale about violent and anti-social youth, Korine skirted the line between
outsider horror and jet - black comedy
with his directorial debut, Gummo, about glue - sniffing, cat - killing kids in rural Ohio.
With behind - the - scenes reporting, observations in classrooms and conversations with teachers, parents, reformers, funders and others with a stake in Newark schools, Russakoff tells the tale of how moneyed outsiders failed in the end to turnaround a failing urban school distr
With behind - the - scenes reporting, observations in classrooms and conversations
with teachers, parents, reformers, funders and others with a stake in Newark schools, Russakoff tells the tale of how moneyed outsiders failed in the end to turnaround a failing urban school distr
with teachers, parents, reformers, funders and others
with a stake in Newark schools, Russakoff tells the tale of how moneyed outsiders failed in the end to turnaround a failing urban school distr
with a stake in Newark schools, Russakoff tells the
tale of how moneyed
outsiders failed in the end to turnaround a failing urban school district.
This Ripley-esque
tale is told from the point of view of Martin — an
outsider in a world of wealth and privilege — as he recalls his friendship (and obsession)
with classmate Ben, whose family comes from old money.
The exhibition is structured in chapters whose themes are the man - eating
outsider or non-human; the relationship
with others and construction of an individual and group identity through a dual movement of incorporation and rejection; the body as an organism capable of transformation, and which feeds on and feeds others; eroticism and all - consuming passion; violence and horror; ritual and sacrifice; and images from childhood, derived from
tales and legends.