Word: filming
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Damned United,” by the mere nature of its theme, is unlikely to attract American audiences. Despite the growing interest in soccer in this country, a film about Leeds United in the 1970s, featuring faded stars whose names are now familiar only to Leeds fans, is a minor enthusiasm. After their explorations of epochal moments in British and American history in “The Queen” and “Frost/Nixon,” this is a decidedly quiet triumph from Peter Morgan and Michael Sheen. Yet it underscores their masterful ability to bring characters...
...often, or even that there was more than one like them to begin with. Wayne Coyne and his merry band of psychic minstrels have wandered the earth together for nearly 30 years, and in that time they’ve produced 12 studio albums, 2 documentaries and a feature film; they’ve ridden the crest of approximately three musical waves; and they’ve recorded exactly one song—Okla. state rock song “Do You Realize??”—whose sheer transcendence has insured the band immortality beyond...
...film begins with the same mischief that introduces the protagonist, Max, in the book. After a heated argument with his mother (Catherine Keener)—who goes unseen in the book—Max dons a tattered wolf costume, runs to the woods behind his house, and escapes by sea to an imaginary island. Residing there are nine enormous monsters known as the Wild Things. Though seemingly barbaric at first—upon Max’s arrival, they are destroying their homes by bonfire—these Wild Things are charmingly naïve and quickly proclaim...
...young Max Records, who was all of 9 when shooting for the film began, deserves special praise for his expressive portrayal of Max, convincingly presenting him as both obnoxious brat and benevolent dictator. Max emerges as a much more nuanced and developed character in the film than his literary counterpart. He is less impish and more thoughtful, and he experiences a more profound realization at the movie’s end. The creation and destruction of the home is a recurring motif. Max is seen building forts, igloos, and king’s quarters, but none of these endure...
Jonze imitates Sendak’s cramped illustrations of Max’s life at home with up-close, claustrophobic frames in the first part of the film. As the book continues, Sendak’s illustrations grow larger, eventually encompassing two pages; in the film, these expansive depictions of Max’s imagined realm become vast frames of striking deserts and forests that swallow viewers whole...