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You know you have been around too long when you begin to count how many years you have left before you die of old age. That’s the basic premise of Going In Style, which I didn’t know was a remake of a film years ago which is no surprise of current Hollywood. Morgan Freeman, Michael Caine, and Alan Arkin who all-star in the film are all in their early 80s in real life. So when they guess they probably have 7-8 good years left, they probably aren’t joking. Zach Braff directs this film, his second film in the director’s chair, first being Wish I Was Here, a film that opened to mixed reviews. This time around he has three legendary actors to work with…and this effort is probably worse than his first one.
Going in Style is a story about 3 elderly men who get screwed out of the most reliable form of income for retirees….pension and all of a sudden, they are broke at the age of 80. After Joe (Caine) gets a bad loan from the bank he arguably shouldn’t have agreed to, he is now in danger of losing his home from the big evil bank. So after witnessing a robbery and gets screwed outta their pensions, Joe comes up with the idea of robbing a bank to get their money back. The problem with this is that they are about 50 years older than the last people to rob the bank and they only have 4 good kidneys between them. Mild hijinks occur as the
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Hidden Figures screenwriter Theodore Melfi is the writer of this movie and seeing how I wasn’t impressed by that movie, it isn’t a big surprise this one fails to connect. The motivation behind the premise is pretty weak and emotionally manipulating. Joe wants to rob the bank to save his home for his granddaughter, Willie is dying and just wants to see his family one last time, and Albert doesn’t have any motivation at all, he just eventually caves to peer
A Simple Plan is a very suspenseful film that is layered with many scenes that impact the viewer. This movie is about three men who live in Rural Minnesota who come across an abandoned plane. After searching the plane they find 4.4 million dollars in lost cash. They plan on keeping the cash if no one claims it for a long time. Along the way, there is a lot of mistrust, secrets, betrayal, and deaths. This movie is definitely a heart-
...the predominant theme of disorientation and lack of understanding throughout the film. The audience is never clear of if the scene happening is authentic or if there is a false reality.
The noir style is showcased in Sunset Boulevard with its use of visually dark and uncomfortable settings and camera work, as well as its use of the traditional film noir characters. In addition, the overall tone and themes expressed in it tightly correspond to what many film noirs addressed. What made this film unique was its harsh criticism of the film industry itself, which some of Wilder’s peers saw as biting the hand that fed him. There is frequent commentary on the superficial state of Hollywood and its indifference to suffering, which is still a topic avoided by many in the film business today. However, Sunset Blvd. set a precedent for future film noirs, and is an inspiration for those who do not quite believe what they are being shown by Hollywood.
The first thing we see is Christian Bale’s almost surreal beer belly, similar to an overdue pregnant stomach. He stands in front of a mirror and adjusting one of the most complex comb overs I have ever seen, which includes artful interweaving of glued hair extensions. Add to this a pair of smoked colored pilot glasses and a sophisticated outfit that screams out our worst nightmares of the late 1970s, and it is dangerously tempting to expect a continuation of a hard groomed freak show, populated by thoroughly ridiculous people who make and says ridiculous things. Especially as the second thing we see is one of Amy Adams countless, magnificently deep necklines. But if that's what we believe will happen, we will become thoroughly
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
My overall end thought after watching this movie was that movie production really has improved since 1980. Improvements other than ju...
Beginning roughly with the release of Stanley Kubrick’s Dr. Strangelove: Or How I Stopped Worrying and Loved the Bomb in 1964, and continuing for about the next decade, the “Sixties” era of filmmaking made many lasting impressions on the motion picture industry. Although editing and pacing styles varied greatly from Martin Scorcesse’s hyperactive pace, to Kubrick’s slow methodical pace, there were many uniform contributions made by some of the era’s seminal directors. In particular, the “Sixties” saw the return of the auteur, as people like Francis Ford Coppola and Stanley Kubrick wrote and directed their own screenplays, while Woody Allen wrote, directed and starred in his own films. Kubrick, Coppola and Allen each experimented with characterization, narrative and editing techniques. By examining the major works of these important directors, their contributions become more apparent.
The wardrobe and setting were excellent. The clothes the actor wore were so authentic and representative of the times. I had a conversation with my grandmother and she reminisced with me about the times in which this movie took place. She told me stories of her youthful days. She raised her nine children on Long Island in the state of New York. She witnessed the power of the mafia in the time when the mob ruled. While watching the movie she pointed out several things she had remembered from her youth. There were signs on restaurants and businesses that read, “we have air conditioning” a sign of the times. Signs that advertised things that are either not available today or completely obsolete filled the background. Air conditioning was in its early stages of development. Today I don’t think anyone would patronize a place of business that did not have air conditioning.
Of all the 1980’s films, that can be described as “Eighties Teen Movies” (Thorburn, 1998) or “High School Movies” (Messner, 1998), those written and (with the exception of “Pretty In Pink” (1986) and “Some Kind of Wonderful”(1987)) directed by John Hughes were often seen to define the genre, even leading to the tag “John Hughes rites de passage movies” as a genre definition used in 1990s popular culture (such as in “Wayne’s World 2” (1994 dir. Stephen Surjik)). This term refers to the half dozen films made between 1984 and 1987; chronologically, “Sixteen Candles” (1984), “The Breakfast Club” (1985), “Weird Science” (1985), “Ferris Bueller's Day Off” (1986), “Pretty In Pink” (1986) and “Some Kind Of Wonderful” (1987) (the latter two being directed by Howard Deutch). For the purpose of this study, “Weird Science” and “Some Kind of Wonderful” shall be excluded; “Weird Science” since, unlike the other films, it is grounded in science fiction rather than reality and “Some Kind of Wonderful” as its characters are fractionally older and have lost the “innocence” key to the previous movies: as Bernstein states “the youthful naivete was missing and the diamond earring motif [a significant gift within the film] was no substitute” (Bernstein, 1997, p.89). Bernstein suggests that the decadent 1980s were like the 1950s, “an AIDS-free adventure playground with the promise of prosperity around every corner … our last age of innocence” (Bernstein, 1997, p.1). The films were very much a product of the time in terms of their production (“suddenly adolescent spending power dictated that Hollywood direct all its energies to fleshing out the fantasies of our friend, Mr. Dumb Horny 14 Year Old” Bernstein, 1997, p.4), their repetition (with the growth of video cassette recorders, cable and satellite with time to fill, and also the likes of MTV promoting the film’s soundtracks) and their ideologies.
There are famous people all around and their fans are loving every second of it. The fans' faces are full of joy and awe as their favorite actors and actresses enter the large building that will soon be showing the new movie. Soon, the two people that everyone in Hollywood is dying to see, appear in their stretched Rolls Royce and bring the crowd to its feet. As Lockwood and Lamont exit their luxurious ride they are received lovingly by everyone. They walk to the front of the building and are introduced to the crowd.
... film producers will look for other ways to adapt filmmaking. Filmmaking has gone through many changes over the years, such as the New Wave movements, Dogma and_________. Writers and producers have looked for ways to make their films standout and they will most likely continue to be inventive in the future.
It was the Swing era of jazz music, big bands, and flappers, as well as the birth of the silent movie and silver screen charm where celebrities reveled in lavish indulgence. As a result of the considerable reforms in social, personal and economical matters of post World War 1, expensive, hand crafted and formal Art Nouveau lost its support and was replaced with a new design concept of mass produced modernism. The jumbled floral patterns, pastel colors and the overly decorative curls and designs of Art Nouveau were cleared down to angular geometric shapes, uncomplicated, vivid and striking colors, crisp shapes and stylish, elegant characteristics of the new style Art
The ‘New Hollywood Cinema’ era came about from around the 1960’s when cinema and film making began to change. Big film studios were going out of their comfort zone to produce different, creative and artistic movies. At the time, it was all the public wanted to see. People were astonished at the way these films were put together, the narration, the editing, the shots, and everything in between. No more were the films in similar arrangement and structure. The ‘New Hollywood era’ took the classic Hollywood period and turned it around so that rules were broken and people left stunned.
Has anyone ever stopped and thought about why movie remakes exist? There is always a simple explanation to this conception, and it’s either that Hollywood directors are “lazy” or that Hollywood wants to destroy our childhood scares. For the most part, Hollywood isn’t literally attempting to become futile or destroy the integrity of films, but it’s much for the profit of recreating former popular movies. In addition to that, the revamp graphic quality allows for older movie plots to compete against their modern counterparts, but there still remains an issue. In order to reestablish an older horror film, a newer one has to take its place for the sake of pleasing the current technologically adept generation; however, alterations may completely
been in movies for my generation and I can relate with the stuff going on in his