Sentences with phrase «world in films like»

Bahrani's history of filmmaking has been deep into the lower - middle class of the world in films like Goodbye Solo and Chop Shop.

The shifting floor of the white cube is reminiscent of the fantastic worlds in films like Brazil (1985) by Terry Gilliam and Playtime (1968) by Jacques Tati in which the hero reluctantly wanders through postmodern offices.

Not exact matches

In a recent interview with The Guardian, actor Christopher Eccleston opened up about filming «Thor: The Dark World,» and said it was like a «gun in your mouth.&raquIn a recent interview with The Guardian, actor Christopher Eccleston opened up about filming «Thor: The Dark World,» and said it was like a «gun in your mouth.&raquin your mouth.»

In this obscure indie film, two little read - comic books come together in a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlIn this obscure indie film, two little read - comic books come together in a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlin a subtle, dialogue - heavy character study that plays out like a slow - burning portrait of good and evil in the modern worlin the modern world.

The lead character in novel and film is Lyra Belacqua, a girl who roams from the rooftops and hidden tunnels of an Oxford - like university to the frozen northern wastes and through alternate worlds, trying to rescue children who have been captured by agents of the Church.

Characters in zombie films are willing to do terrible things to each other because of the fear of zombies and the urge for self preservation, while, in the real world, things like the use of torture (or «advanced interrogation»), preemptive war and drone strikes were being debated as options to fight a threat even scarier than zombies: terrorism.

I am a young believer, and I just love Jurassic Park so much, that when I finally re-watched the first film, it struck me when the «chaos theory» idea was shown... like «WOW, that is JUST how I view this world and why I am in such anxiety to make decisions!

not really making the news, the atmosphere on last wednesday was really strange, silent, step by step to normal football, but you can't throw away your thoughts immediately, I just got a glimpse of Enkes personality during a film of him shown before the match, I can't realize how hard it must be for his wife to lose him, tomorrow the players of Germans first Bundesliga will wear a black ribbon again, but I think it won't affect the atmosphere like it has with the national team despite of Hannover of course, people will be enthousiastic again, but there is the idea of an «Enke donation» which I like, will keep his name alive, will take some positive emotions on this tragedy and a kind of appeal for everyone to reflect the important things of life and control your own behaviour, I hope so at least, and I hope his wife will cope with that situation, and again: it was really hard for the German nationl team to play under these circumstances, to lose someone close in this way is hard to deal with, on the other hand it causes a close solidarity feeling I think, but of course the world will not change, things are returning to the old soon, but nonetheless for me this tragedy is a kind of human wake - up call, at least a call and then you continue

When the film premiered in Boston in 1984, Chasnoff recalls in the DVD interview, «It was one of those moments where you felt like something major just shifted in the world.»

Working side - by - side in a small restaurant and collaborating as celebrities on something like a TV show, with handlers and layers upon layers of pre - and post-production people, are totally different worlds; they may never even see each other while the show's filming.

Families Like Yours, a new documentary «exploring the love, compassion, sacrifice, and success of LGBT families in America,» premiered in New York City yesterday, and will soon make its way to LGBT film festivals and conferences around the world.

The film itself is an excellent introduction to Second Life and its use for education and persuasion — if you've never played in this virtual world, the video will give you a sense of what it's like and why people are drawn to it as a place to spread political messages.

To put it diplomatically, we were both operating at the limits of our understanding - sailors adrift on the Far Side of the World, at the mercy of the wind and waves, like those in Peter Weir's stirring film.

The world may someday be full of pop - up images like those imagined in the film Jurassic World, where museum patrons walk through a hall where a projected dinosaur image stands on display, or like the free - standing visuals used by the character Tony Stark in designing his metal suits in the Iron Man fworld may someday be full of pop - up images like those imagined in the film Jurassic World, where museum patrons walk through a hall where a projected dinosaur image stands on display, or like the free - standing visuals used by the character Tony Stark in designing his metal suits in the Iron Man fWorld, where museum patrons walk through a hall where a projected dinosaur image stands on display, or like the free - standing visuals used by the character Tony Stark in designing his metal suits in the Iron Man films.

According to radio host and conspiracy monger Alex Jones, also appearing in the film, «The military - industrial complex killed John F. Kennedy» and «I can prove that there's a private banking cartel setting up a world government because they admit they are» and «No matter how you look at 9/11 there was no Islamic terrorist connection — the hijackers were clearly U.S. government assets who were set up as patsies like Lee Harvey Oswald.»

The film is set in a dystopian world that makes 1984 look like a walk in the park.

It's been an inspiring week getting to screen and talk movies / film with like - minded and diverse people from all over the world in this beautiful city.

M * A * S * H is a 1972 — 1983 American television series developed by Larry Gelbart, adapted from the 1970 feature film MASH, which, in turn, was based on the Oh, I really love mash - up games like this where characters from two different worlds are put together!

Like all good art, films should reflect the world we live in, and like it or not - the world can be a mighty depressing place sometiLike all good art, films should reflect the world we live in, and like it or not - the world can be a mighty depressing place sometilike it or not - the world can be a mighty depressing place sometimes.

For apart from ensuring the film an audience on both sides of the Atlantic, it enables Himelstein to import a theme more usually associated with Henry James than Wilde — the corruption of the New World by the Old — and also to introduce some amusing cross-cultural digs (like Darlington's mock approval of America as a society «that's gone from barbarism to depravity without bothering to develop civilisation in between»).

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

But John's command does push the film further into the old science - fiction, doomsday territory of films like Five; The World, the Flesh and the Devil; and Night of the Living Dead, where the only way in the world the races could commingle was at itsWorld, the Flesh and the Devil; and Night of the Living Dead, where the only way in the world the races could commingle was at itsworld the races could commingle was at its end.

You can admire a movie like Steven Soderbergh's «Contagion» (2011), a realistic rendering of civil breakdown caused by a spreading pathogen, but the horror - film version of disaster in «World War Z» stretches the senses to take in more than you may expect.

For all the value of his three most recent period pictures, they feel less vital as direct responses to the world around us than as filmed civics lessons, like popcorn Rossellini in his historical films era.

It's a lot like watching a movie and having someone interrupt you to tell you about something else that's happening in the film's world, without thought for pacing or narrative flow or whether you should even care.

The film's sleek moodiness and visual sophistication are so effective that there's even a scene here that makes Detroit look like the most romantic city in the world.

Some of the establishing shots, for instance, are filmed in a way that makes everything look miniaturized, giving the world an appropriately board game - like look.

As it happens, the Ireland - based studio was also responsible for producing world - class Oscar nominees «The Secret of Kells» and «Song of the Sea,» and though Nora Twomey worked on both films, «The Breadwinner» marks her solo directing debut, employing a similarly bold graphic style in its telling («hand - drawn» via a program called TVPaint), augmented by colorful story - within - the - story interludes designed to look like stop - motion.

After Lake Bell's smart, unconventional debut, «In a World...» (2013), her new film, I Do... Until I Don't (she apparently likes ellipses in her titles), is disappointingly ordinarIn a World...» (2013), her new film, I Do... Until I Don't (she apparently likes ellipses in her titles), is disappointingly ordinarin her titles), is disappointingly ordinary.

But unlike the rigorous skepticism of films like Blood Simple, Fargo, and Burn After Reading, I Don't Feel at Home in This World Anymore uses its allegorical narrative to further a simplistic political message meant to give it an aura of timely social commentary.

In 2003 Fanning could be spotted in The Cat in the Hat, and it wasn't long before she was gearing up to appear alongside Denzel Washington and Christopher Walken in the Tony Scott thriller Man on Fire.As the 2000's continued to unfold, Fanning appeared in a number of films, like Hide and Seek, War of the Worlds, and The Secret Life of BeeIn 2003 Fanning could be spotted in The Cat in the Hat, and it wasn't long before she was gearing up to appear alongside Denzel Washington and Christopher Walken in the Tony Scott thriller Man on Fire.As the 2000's continued to unfold, Fanning appeared in a number of films, like Hide and Seek, War of the Worlds, and The Secret Life of Beein The Cat in the Hat, and it wasn't long before she was gearing up to appear alongside Denzel Washington and Christopher Walken in the Tony Scott thriller Man on Fire.As the 2000's continued to unfold, Fanning appeared in a number of films, like Hide and Seek, War of the Worlds, and The Secret Life of Beein the Hat, and it wasn't long before she was gearing up to appear alongside Denzel Washington and Christopher Walken in the Tony Scott thriller Man on Fire.As the 2000's continued to unfold, Fanning appeared in a number of films, like Hide and Seek, War of the Worlds, and The Secret Life of Beein the Tony Scott thriller Man on Fire.As the 2000's continued to unfold, Fanning appeared in a number of films, like Hide and Seek, War of the Worlds, and The Secret Life of Beein a number of films, like Hide and Seek, War of the Worlds, and The Secret Life of Bees.

Nobody has ever seen anything like «Black Panther» — not just an entire civilization built from the metal stuff inside Captain America's shield, and not even just a massive superhero movie populated almost entirely by black people, but also a Marvel film that actually feels like it takes place in the real world.

Ridley Scott is a fine director for work like this, although in another world, Hollywood would let him make smarter films.

Yet like the thunder god himself, the film is stuck between two worlds: the one where you want to tell a lively fantasy - adventure story, and the one where you have to make it tie in with the other movies.

Her next major film assignment was Lady Anne in Olivier's Richard III (1955), which led to a steady stream of costume roles in films like Alexander the Great (1956), The Brothers Karamazov (1959), The Buccaneer (1959), and The Wonderful World of the Brothers Grimm (1962).

It turns out that the film's villain — a Canadian Nazi (played by Haley Joel Osment in fake archival footage, and Ralph Garman in the present day) who's managed to stay alive by freezing himself for 75 years before the two Colleens accidentally wake him up — isn't at all interested in Hitler - like world domination through racial genocide.

Both Thor and Thor: The Dark World presented us with something drastically different than what was before it, including expanding beyond the cosmos and accepting the God - like characters as normal, which really pushed the medium of comic book films, while also blending humor and action in a way that made the character both interesting and viable.

The hyper - conservative agenda in this film is so pronounced that it almost renders parodies like Team America: World Police redundant.

By cleverly tying the film in with real world events, like the nuclear testing at Bikini Atoll in the 50s, the film feels a teensy bit more believable than any of the other Godzilla films, aside from maybe the original Gojira.

Black Panther's cast and creators trod carefully around the movie's connection to current politics in the press conference attended by Screen Rant, with Chadwick Boseman saying that anything that seems like a reference is just coincidence, and Marvel Studios President Kevin Feige saying that «things have happened in the world which make the film seem more relevant.»

It's a point of pride with any horror film, or any thriller verging on horror: Used correctly, a perfectly innocent song suddenly sounds like the scariest bleep in the world.

Rihanna's «We Found Love» is the grandest of the musical juxtaposition this film has to offer, but other tracks like Sam Hunt's «Take Your Time», The Raveonettes» «Recharge and Revolt», and E-40's «Choices» help build the world and characters in which filmmaker Andrea Arnold is creating here.

The lab is one of those classic Brutalist - fortress - looking monstrosities; it seems to be located deep in the bowels of the earth but is revealed in helicopter shots to be within biking distance of the U.S. Capitol (seems like a bad idea, but this isn't a film that puts a high price on real - world plausibility, so whatever).

A visually - rich film like Ghost in the Shell that's filled with futuristic sets and cyborg characters could have easily relied on green screens and digital effects to bring its entire world to life.

I liked some aspects of the film, but the finale was bizarre, well I suppose that's to be expected; the whole film is based in a Strange parallel world and so one has to expect the bizarre and the unexplained but the way the villain was dispatched with was forced and his eye make - up was, well eye make - up when in fact it was meant to be the partial disintegration of his body... If there is a sequel it will be interesting to see where they go.

With Netflix distributing odd and offbeat movies like Okja and I Don't Feel At Home in This World Anymore, could it become a new haven for indie film?

Soderbergh's cinematography is, as ever, superb — a shot of Carano and Tatum in the LED light of an airport departure lounge has the world - weary blearily - lit hum of a John Le Carre film updated for our digital age, while a climactic fight under the morning sun on the beachside shore feels like someone dropped a Donnie Yen battle into a Michelangelo Antonioni art film.

Abel Ferrara was already in firm control of his art - sleaze style by the time of 1984's Fear City, a film that looks like it occurs at the darkest corners of the sex - funk world of Purple Rain.

This may keep her tied up (and away from the Coppola's and Jonathan Glazer's of the film world) till her 40s, which is a damn shame since she (and Dunst) are so much better in challenging movies like Under the Skin than lame ones like Ghost in the Shell.

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.