Sentences with phrase «work as a film critic»

Then I sent some follow - up emails and when that didn't lead to work as a film critic, I figured, you know, «Whatevs.»

If you want to apply for jobs to work as a film critic, film producer, film director or work with almost anything related with the film industry you can use this sample resume to help you write your own.

Not exact matches

First - time director, producer and film - maker Alison Klayman gained unprecedented access to the outspoken critic while working as a journalist in Beijing.

For National Public Radio and LA Theater Works Alma performed in the radio versions of Zoot Suit and Nilo Cruz's Pultizer Prize winning play Anna in the Tropics opposite Jimmy Smits.As a 25 year member of El Teatro Campesino (ETC) founded by Luis Valdez, she has appeared in landmark ETC productions of; Zoot Suit, both the film and play (1979 Los Angeles Drama Critics Circle Award - Best Play); Corridos, both the TV version (1987 Peabody Award) and play; I Don't Have to Show You Any Stinking Badges; and Mummified Deer (Back Stage West «Honorable Mention» for her role as Mama Chu), all written and directed by Valdez.Ms.

Dismissing the characters as crazy rednecks, most critics have skipped the work of character analysis that should be part of any review, especially of a film that originated as a stage play.

For her work in the film, Mulligan won a number of critics awards for Best Actress, as well as garnering nominations from the Hollywood Foreign Press, the Screen Actors Guild, and the Academy.

There is a tendency among film critics, programmers, and academics to dismiss filmmakers who work within genres as entertainers, not accepting them as artists.

As probably the most celebrated and beloved film critic around, a man whose work has appeared in the Chicago Sun - Times for 45 years, who co-hosted «At The Movies» with Gene Siskel for almost 25, and who was the first film critic to win the Pulitzer Prize, it's almost surprising that Roger Ebert has never been the subject of a movie himself.

Deakins spoke to Variety about his work on the new film, which has been hailed by some critics as a masterpiece of genre filmmaking.

Junge, detained in Russia for a period at the end of World War II before finding work as a magazine editor, treats the unseen Heller like a priest; one might say that her regret drives the piece, resulting in not a lurid film about Hitler (which has disappointed those critics out for something pulpier), but a deathbed confession.

After the impact of these two features (the latter screening at Cannes and championed by such critics as Pauline Kael), Schepisi moved on to directing films overseas, including such varied works as Barbarosa (1982), Plenty (1985), Roxanne (1987), The Russia House (1990), Six Degrees of Separation (1993), Last Orders (2001) and the HBO - financed Empire Falls (2005), which won a Golden Globe for Best Mini-Series or Motion Picture made for Television.

Though he'd built up a strong reputation among critics and cineastes in the 1960s with darker character work in films like Cast a Dark Shadow (1955) and the daring masterpiece Victim (1961), he was best known to the public as Simon Sparrow, the heartthrob comic lead in Doctor in the House (1954) and four subsequent sequels.

Even critics of last year's Amores Perros have admitted that an insurgence of Mexican productions into the highly populated art house distribution crowd is increasingly inevitable (the best simile that could be imagined is that the rise of Mexican cinema is like the push for Germany and Japan's permanent inclusion on the UN Security Counsil — hey, as art film distributors are saying, we're still working with the inclusion of Iran and Taiwan).

That's the only way reviews have ever worked for a mainstream audience, be it as part of the captive audience for weekly reviews as part of a newscast, as a column in a popular magazine or newspaper, on its own as in shows like Siskel & Ebert At The Movies, or even in print — Leonard Maltin, another beloved film critic and film historian, established his name writing a book of capsule reviews.

In 2004 I worked as the field producer for Boston film critic Gerald Peary's documentary about American film criticism «For The Love of Movies,» which had its world premiere at the SXSW Film Festival in 2009.

Some wag commented on Twitter during the festival that when a film is described as «soporific,» it means that the critic fell asleep during the screening, but here, we'd mean the word as a compliment; Tsai conjures up a surreal tone closest to the moments after waking where you try and work out if your dreams were real or not, and it's a feeling that lingers long after the credits roll.

Nevertheless there has been a discernible change in Leigh's work since his last dysfunctional - family opus, Life Is Sweet — a change well described by Australian critic Adrian Martin in a recent letter to me: «I think that as a certain angry anti-Thatcher 80s politics has drained from Leigh's work, he has gravitated to either the bombastic nihilism of Naked (a film I have incredibly mixed feelings about) or the soft - heartedness of Secrets and Lies.»

I suppose he doesn't really have to worry about repeating himself to a certain extent, as many audiences in the US and other countries may not be intimately familiar with his previous works, though they certainly have been lauded by critics and film buffs alike.

In my 20 + years as a film critic I think Roger's approach to his work is probably the closest to what I was aiming at in my fumbling attempts to write about cinema.

Though he got many fine reviews for his work in such films as «Chasing Amy,» «Dogma» and «Changing Lanes,» he said he often felt critics judged him too harshly because of his gossip value.

As possibly the only film critic in the world who has two business degrees, used to work in the financial services industry, has been through tech IPOs and also happens to be female, I approached Equity with great interest.

«Life Itself,» Steve James's film about the life and work of iconic film critic Roger Ebert, joins «Finding Vivian Maier,» co-director Charlie Siskel (nephew of Gene Siskel, Ebert's co-host on «Siskel & Ebert») and executive producer Jeff Garlin's portrait of the Windy City nanny who was secretly a genius photographer, and «Red Army,» Gabe Polsky's exploration of the hockey team's rise and fall and how it mirrored that of the Soviet Union, as three of the top contenders eligible for the Best Documentary Oscar shortlist.

What some critics have described as a novelistic quality in his films has worked for and against Sayles.

Mann was honored to see her work used as the central piece of a film like this, and besides the critics» praise, her work gained recognition in the form of an Oscar nomination for Best Original Song («Save Me»), one of three Academy nominations the film received (Best Original Screenplay for Anderson, Best Supporting Actor for Cruise).

I've already discussed how many critics seem to be misinterpreting Mike Leigh's «Happy - Go - Lucky» and its protagonist, Poppy, by interpreting it as a sheer feelgood work — and in doing so, missing much of the film's complex, subtle social observation.

You often hear critics talk about certain films as being «personal» works, but what does that really mean?

After growing up in the political tumult of France in the sixties and seventies, Assayas followed a path similar to the one traveled by several titans of the French New Wave, first working as a critic for Cahiers du cinéma, then moving on to film projects, including collaborations with André Téchiné and his own feature directorial debut, the 1986 Disorder.

I finally saw «Doubt» this week, and as other critics are making clear, Streep does some of her best work in the film.

I almost didn't post them because this is the kind of thing that makes me really hate film critics or even fake film critics masquerading as real film critics; don't tell me how your collective minds work because I don't really want to know!

-- «Belle de Jour» (1967): Hailed by critics as an erotic masterpiece, Luis Bunuel's first big - budget film, about a fantasy - obsessed young wife, holds up nicely and works well without the typical DVD audio commentary.

Although his reputation waned after the Cahiers du cinéma critics fingered him as one of the makers of retrograde «cinéma du papa» films, his work today looks formidable, even groundbreaking.

She has worked as a freelance entertainment writer and film critic since 2005.

As to the tone of the film and the kind of performance Phoenix has delivered, the artists had to work from clues left by the world's critics, the Studiocanal UK promotional campaign, and the filmographies of Phoenix and Ramsay.

The last time the critics» awards converged on one film to such an extent was in 1997, when they rallied behind «LA Confidential» as the discerning voter's alternative to «Titanic» — it didn't work that time, of course, but let it never be said that critics aren't as collectively calculating as the savviest Hollywood publicists.

He also hosts movie clubs and gives film studies lectures throughout South Florida, and has worked as a theatre critic for various publications.

He moved back to So Cal after earning his M.A. and currently works as a writer and editor, as well as serving as a film critic for The Sci - Fi Movie Page He lives in the suburbs with his very patient wife, along with a colorful menagerie of endearing / exasperating pets.

Publications: Punch Drunk Movies Twitter: @DanHudak Email Dan A lifelong film lover, Dan Hudak has worked extensively as a film critic in print, radio and television.

Thanks to the many other websites who link back here on occasion, and who help boost traffic, as well as inspire us to do better work — that would be Craig Kennedy and Living in Cinema, Anne Thompson and Indiewire, Kris Tapley and In Contention, Steve Pond at The Wrap, Melissa Silverstein at Women & Hollywood, Jennifer Merin at Alliance of Women Film Journalists, Jeff Wells and Hollywood Elsewhere, David Poland and Movie City News, Erik Childress at Cinematical, Ed Douglas as ComingSoon, Katey Rich at Cinemablend, Scott Feinberg of Scottfeinberg.com, Phil Contrino of Boxoffice.com, Vulture, Vanity Fair's Little Gold Men, Metacritic, Rotten Tomatoes, and other sites that we depend on daily, Variety, the New York and LA Times, the New Yorker — we also love to read Glenn Kenny, Owen Gleiberman and Lisa Schwarzbaum, AO Scott and Manohla Dargis, Andrew O'Hehir, Roger Ebert, David Carr at the NY Times, Marshall Fine, and the many other film critics who contribute so much to our movie watching.

Critics are already hailing the film as one of Joaquin Phoenix's landmark performances with the The UK Telegraph raving, «Joe comes to life in an almost gruelingly subtle and interiorised performance, up there with Phoenix's very best work for James Gray or Paul Thomas Anderson.»

Prior to his work as a freelancer Thom was host and producer of TVO's Saturday Night at the Movies and the on - air film critic for CBC's PLAY with Jian Ghomeshi.

Indeed, despite the various critics who chided earlier Haneke films for their supposed finger - wagging moralism and chilly Protestant air, and who are now falling over themselves to praise Amour as the director's most compassionate work to date, Amour is as much of a home - invasion horror show as Haneke's earlier Funny Games.

But our work as film journalists is far from done — particularly because women still are only 20 percent of the movie critics out there.

After studying on a journalism program at Contra Costa College, Rob Blackwelder began working as a freelance film critic for a small Californian town's local newspaper.

The film continues the Coens» work as secular theologians whose body of work one astute critic described as «the most sneakily moralistic in recent American cinema.»

Wood's film work led renowned critic Roger Ebert to rave, «Elijah Wood has emerged, I believe, as the most talented actor, in his age group, in Hollywood history.»

The Cannes Film Festival in May saw the premiere of the French film Rust and Bone, and critics were quick to praise previous Best Actress winner Marion Cotillard for her work as a double - amputee whale trainer (if that doesn't qualify as «Oscar bait,» I'm not sure what does).

Marco is a 28 - year - old writer who lives in San Francisco and has been working as a professional film critic for over 10 years.

Lindsay Duncan enters the film in the second half as a close minded theater critic, much more interested in ruining Riggan's comeback on principle than bothering to view the work from an unbiased perspective.

Edinburgh International Film Festival There's a slightly condescending tendency among many critics to brand almost any British film set on a working - class council estate as «miserablist» simply by virtue of the aesthetics of its setting, despite the fact that many thousands of people live functional, three - dimensional lives in precisely such conditions.

As for the Hollywood bias, I think that's an institutional problem: the foreign film market in the US seemed to die - off in the blockbuster boom of the 80s, while the kinds of critics who worked as a corrective to those market forces remain focused on the foreign films they grew up admiring in the 50s and 60As for the Hollywood bias, I think that's an institutional problem: the foreign film market in the US seemed to die - off in the blockbuster boom of the 80s, while the kinds of critics who worked as a corrective to those market forces remain focused on the foreign films they grew up admiring in the 50s and 60as a corrective to those market forces remain focused on the foreign films they grew up admiring in the 50s and 60s.