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...could have argued that the film proceeded so slowly because every image was so beautifully composed, so full of visual drama, that it was worth contemplating as one would a Piero della Francesca portrait. The dimensions of the movie screen, Antonioni suggested, have less in common with the stage proscenium than with the frame of a painting. Films are pictures on a wall, and Antonioni was one of the first directors working within the commercial cinema to make museum movies. One didn't watch his films so much as gaze at them - at a duration determined...

Author: /time Magazine | Title: When Antonioni Blew Up the Movies | 8/5/2007 | See Source »

...another actress in the 1957 Il Grido. "We became friends," Antonioni later said. "Then things evolved. A relationship was born and a series of films." With a husky voice, a mop of blond hair and strong features that caught the camera's eye even when she wasn't center-screen, Vitti starred in five Antonioni pictures, instantly becoming their anguished or volatile face, their always human soul. She was so acute a revealer of depression, disappointment, despair, that it was a shock to see her in other Italian films as a bubbly, expert comedienne. In 1964, when Antonioni...

Author: /time Magazine | Title: When Antonioni Blew Up the Movies | 8/5/2007 | See Source »

...that I mean that there's something slightly comic in the formalities of 18th century language on screen that encourages us to look down at the characters speaking it. Poor dears! If only they could more frankly speak their desires, if only they were not so hedged by the ruling decorum of their historical moment. They encourage in us a kind of smugness, a sense that if they were only more psychologically more hip and open (as we are), their lives would be more fully human, a little less cartoonish. These films therefore miss much of Austen's satirical edge...

Author: /time Magazine | Title: An Unbecoming Jane | 8/3/2007 | See Source »

...become her debate partner, and he jumps in headfirst, hoping to master love and public debate in the same sitting. Aaron Yoo nearly steals the movie as Hal’s curiously surreal friend Heston, who casts a strange otherworldliness that would put E.T. to shame. Despite his limited screen time, Yoo delivers some of the movie’s sharpest and funniest lines with his soft-spoken delivery...

Author: By Andrew E. Lai, CRIMSON STAFF WRITER | Title: Rocket Science | 8/3/2007 | See Source »

Both men are best known for what they don't do. The star's most memorable screen moments are his suggestive silences in his roles as shadowy figures in films like The Talented Mr. Ripley and The Departed. The director's signature is his spare and painstaking re-creation of historical events, as in 2002's Bloody Sunday and last year's Oscar-nominated United 93. As individuals, Damon and Greengrass never, ever overdo it. But as a team, these gurus of understated storytelling have flourished in and elevated the most bombastic of genres, the summer action-movie franchise...

Author: /time Magazine | Title: How the Bourne Boys Keep it Real | 8/2/2007 | See Source »

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