Sentences with phrase «writing style of the film»

Not exact matches

This is the BEST James Bond film ever made as it is full of style, amazing action pieces that really dazzle and entertain, Pierce Brosnan is an excellent Bond (wit, humor, action, style, brutality), Xenia Onatopp is the greatest creation of a villain and Bond girl (because her weapon is Bond» worst nightmare), the villain is truly threatening and played very well by Sean Bean, the title song is awesome and classic Bond, the script for this film is VERY well written and witty, etc..

A typical example of the mid -»80s «Rat Pack» film, Oxford Blues featured a soundtrack with several forgettable rock songs written expressly for the movie, interjected at intervals into the narrative through music video - style sequences.

In a welcome new edition of Transcendental Style, he writes of creating «an alternate film reality — a transcendent one,» in which, «The filmmaker, rather than creating a world in which the viewer need only surrender... creates a world in which the spectator must contemplate — or reject out of hand.»

In his seminal 1972 book Transcendental Style in Film: Ozu, Bresson, Dreyer (written at age 24, two years before he turned from film criticism to filmmaking), Schrader noted that, «The many statements [Robert] Bresson has made in interviews and discussions, properly arranged, would constitute an accurate analysis of his films (a statement which can be made of no other filmmaker to my knowledge)....»

As such, it recalls not only the two other sweetly appealing films written and directed by Cameron Crowe («Say Anything» and «Singles»), but also the great shaggy - dog storytelling style of James L. Brooks («Broadcast News»), one of its producers.

After a stellar career in student drama at Oxford, he had joined the BBC, but he was soon also writing film criticism and, in 1956, was one of the founders, along with Karel Reisz and Lindsay Anderson, of the Free Cinema movement, espousing a cinema free of commercial and political constraints and using a personal style to capture working - class life and popular culture, which had been ignored by traditional British cinema.

Parker writes, directs and stars in a film that initially seems mired in the familiar cliches of the Deep South, but gains real power as its violent, unpalatable story builds to its Braveheart - style climax.

The Coens» first film was this extremely well - written and well - directed neo-noir that blends violence and humor and relies on an insane amount of misunderstandings and absurdities involving its characters - something that would become their trademark narrative style.

«Afterglow» doesn't depend on a visible style as much as some of Rudolph's films; he seems so interested in the story, which he wrote himself, that he doesn't need to impose directorial distance.

With the style of directing and the way the script was written, this film wasn't trying to be something it was not; it was simply being a light British comedic romance.

Benjamin Wallfisch seemed likely to become a film composer of real note just a few years ago, writing elegant, classically - styled music of sophistication, suggesting he might follow the path of someone like Alexandre Desplat if he got the big breaks.

Mise en Scène and Film Style is a truly ambitious book, offering the most sustained «academic» piece of writing yet published by this most prodigious and prolific of Australian film critics and scholars.

Filmmaker Sally Potter combines the experimental tools and feminist approach of her earlier films with art - house style and more conventional narrative storytelling to find the cinematic counterpart to Virginia Woolf's writing in this 1992 adaptation of Woolf's novel «Orlando: A Biography.»

He wrote the original story for the film Underworld (2003), which was the start of a terribly mediocre series that was Gothic in style and heavy on demonic imagery.

«By correcting so - called flaws, one can lost the style of a film altogether,» he writes in the liner notes.

Amy Seimetz («Sun Don't Shine») Some people act, write and direct, and some people tell the story of the year in film all their own, «Zelig» - style.

SCHRADER: Before I was a screenwriter, I had written, as a post-theology student, a book of theological aesthetics on transcendental style and film.

«The game's basically a very orthodox third - person shooter,» the editors wrote, «but one that incorporates a lot of Hollywood film - style effects.

Unsurprisingly, much of «Life Itself» is given over to Ebert's democratizing and popularizing impact on the world of film criticism, with judiciously chosen clips («Bonnie and Clyde,» «Cries and Whispers,» «Raging Bull») and excerpts from those same films» respective reviews used to show how Ebert combined his encyclopedic knowledge of cinema with an accessible, plainspoken writing style that could be understood by anybody.

Part of the appeal of the first two «'' Scary Movie»» films was the comedic style of the Wayans brothers who directed and wrote them.

However, writing style aside, the primary issue here is that Tarantino's use of music in his early films is very contested.

The voice acting, writing, and slightly altered artistic animation styles reminded me of films like Anastasia or Atlantis: The Lost Empire.

Kasdan wrote both of those films, and helped imbue them with the intelligent, dare I say Hawksian style they both share (frequent Hawks collaborator Leigh Brackett also did an early version of the Empire script).

«The narrative of Linklater's flawed film, despite its flashy rotoscoping style, is overshadowed by the director's uncanny ability to write dialogue that breathes with so much life that it often transcends the images on the screen and almost leads the viewer to believe he can reach out and touch the words coming out of the characters» mouths.»

Reunion's strength over that film, other than a writing team that work their damn hardest to send American Pie off in style properly, is that a sensible amount of time had passed.

You never quite know what you're going to get from Howard — I don't think there's ever been another major film composer who has gone through such a wide range of styles (of course lots of other film composers have written in a wide range of styles, but not like Howard, with no real sign of consistency of individual voice between them) and such a wide range of quality, with his music as likely to be dull and sometimes worse than that as it is to be compositionally and emotionally soaring and inspired.

The strangeness of these encounters, in the ambiguous writing, shift in visual style and well - calibrated performances from two old warhorses, gives a glimpse of a better, bolder film.

Lost in Paris is both written and directed by filmmakers Dominique Abel and Fiona Gordon (filmed in their «signature whimsical style»), of the films The Fairy, Rumba, and L'Iceberg previously.

Best known for his work on the sitcom Scrubs, Braff - who also wrote the film's screenplay - clearly has a natural gift for filmmaking, as evidenced by his efficient and endlessly captivating sense of style.

This time round his alter - ego Wade Wilson finds himself on the cusp of parenthood, only to have the chance tragically wrenched away during the film's unexpected opening scenes (a surprise neatly reflected in the James Bond - style titles sequence featuring credits such as: «Written By: the real villains of this film» and «Starring: someone who clearly doesn't like sharing the limelight»).

The film follows Mannix over the course of a day, which gives the Coens, who share writing, directing, and producing credits, an excuse to hop - scotch through the various screen styles of Old Hollywood.

Magic in the Moonlight is whimsical Woody, in the style of Midnight in Paris and earlier films like Alice, but the writing feels rushed and heavy - handed at times, and laden down with clumsy exposition.

As I sit here in the process of writing this sentence, I realize that I may be perceived as attempting to write one of those clever pieces that tries to imitate the style of the film at hand.

Miller edits the film using a visually appealing comic - book paneled style, as if the film were ripped right out of the illustrated pages of Punk magazine (the publication's origin itself exists as a prominent subplot of the film), which was one of the main publications that wrote at length on the CBGB scene at the time.

Written and created by Christopher Guest and Jim Piddock, the new comedy series FAMILY TREE is a single - camera, documentary - style show in the manner of Guest's acclaimed feature films (such as «Best in Show,» «Waiting for Guffman» and «A Mighty Wind»).

* This release is limited to 1000 copies only * Road to Perdition, B - Movie Style: An extensive interview with «Hellgate» director William A. Levey (HD, 35 mins) * Alien Invasion, Blaxploitation and Ghost - Busting Mayhem: Scholar, Filmmaker and fan Howard S. Berger reflects on the intriguing film career of William A. Levey (HD, 12 mins) * Video Nasty: Kenneth Hall, writer of the Puppet Master series, speaks about the direct - to - video horror boom that allowed «Hellgate» to become a classic of the cassette rental era (HD, 8 mins) * Reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys * Collector's booklet featuring writing on the film by Lee Gambin, illustrated with original artwork and stills * A DVD of the film is also included alongside the Blu - ray disc

She describes her style as cinécriture (writing on film), and it can be seen in formally audacious fictions like Le bonheur and Vagabond as well as more ragged and revealing autobiographical documentaries like The Gleaners and I and The Beaches of Agnès.

This is not an easy film to watch, and there's a part of me that wants to write the entire damn thing off as an exercise in style over substance.

Stephens has a rather overripe writing style, more expressive of his love of the films than of the films or the genre itself, but he does offer some context and background on the films and filmmakers and on the youth culture that brought younger and younger faces on to the screens.

It was written to go along with a series of essays on Lau Kar - leung, which I guess didn't materialize, but it's a kind of timeline of Shaolin - related stories, mapping all the films I could think of into a generational chronology, from San Te and the 36th Chamber through the destruction of the Shaolin Temple, the spread of its various disciples and their fighting styles throughout Southern China, folk heroes like Fong Sai - yuk, Wong Fei - hung, Wing Chun up to Lau himself.

If they usually do written book reports, allow students to write a traditional report, film a book review, or create a comic - book - style summary of the major events or themes.

«The Curse of the Wendigo,» a story about a mysterious creature set during World War I, written by Mathieu Missoffe and illustrated by Charlie Adlard, the artist of «The Walking Dead;» «Josephine,» a romantic comedy by Penelope Bagieu, the creator of «Exquisite Corpse;» «Promethee,» a science - fiction story in the same vein as «Lost,» created by Christopher Bec, with an introduction by Mark Waid; «Iron Squad,» an alternate history sci - fi story in which new technology allows the Germans to win World War II, by Jean - Luc Sala and Ronan Toulhoat; «Spin Angels,» a tale of black ops and spies, a Catholic cardinal and the Mafia, by Jean - Luc Sala and Pierre - Mony Chan; «Come Prima,» a road story about two warring brothers, done in a style that pays homage to Italian films, by Alfred.

«It soon became clear that this game would require a score that would meld the style of old horror films while invoking modern writing styles,» said Ron Fish.

Intimate documentary 16 June Danny Lyon, known for his work in the style of photographic New Journalism, has always taken an interest in tackling social and political issues, whether he's taking a picture, making a film or writing a piece.

For the new series of canvases on view in his first exhibition with the gallery, Mr. Becker portrays characters from cartoons, children's television shows and sci - fi and horror films alongside words, written in a balloon - style font, that comment on the American political landscape.