Sentences with phrase «film performance of the year»

FILM PERFORMANCE OF THE YEAR — ACTRESS Essie Davis, The Babadook — Sundance Selects / IFC Anne Dorval, Mommy — Roadside Attractions Julianne Moore, Still Alice — Sony Pictures Classics Rosamund Pike, Gone Girl — 20th Century Fox Reese Witherspoon, Wild — Fox Searchlight

FILM PERFORMANCE OF THE YEAR — ACTOR Steve Carell, Foxcatcher — Sony Pictures Classics Benedict Cumberbatch, The Imitation Game — The Weinstein Company Jake Gyllenhaal, Nightcrawler — Open Road Michael Keaton, Birdman — Fox Searchlight Eddie Redmayne, The Theory of Everything — Focus Features / Universal

Not exact matches

That's just an aside, though, to a film that's otherwise a suspenseful thriller with some of the best performances of the year from Mary Elizabeth Winstead and John Goodman.

It is believed that the video was filmed not long before the Reds would go on to beat Newcastle 2 - 0 at Anfield, largely thanks to the performance of the 20 - year - old.

Unlike previous years, Ghana recorded a lot of new faces on the nomination list; some of whom Included new actor, Joseph Otsiman who got the nod for Best Actor In Supporting Role for his performance in the drama thriller film, The Cursed Ones directed by Nana Obiri Yeboah, who was also nominated for AMAA 2016 Award For Best Director category.

When applied to photoanodes, the nickel oxide film far exceeded the performance of other similar films — including one that Lewis's group created just last year.

Preaching to the Choir seeds adequately in the very fertile genre of black films about redemption, but don't expect performances on the level of last year's Diary of a Mad Black Woman or The Preacher's Wife.

Amid the chaos of this marvelous, uncategorizable film squirms one of the year's best performances.

Many film fans assume that Mitchell won his 1939 Best Supporting Oscar for his portrayal of Gerald O'Hara in the blockbuster Gone With the Wind; in fact, he won the prize for his performance as the drunken doctor in Stagecoach — one of five Thomas Mitchell movie appearances in 1939 (his other films that year, classics all, were Only Angels Have Wings, Mr. Smith Goes to Washington, and The Hunchback of Notre Dame).

Surrounded by the 25 band members of The Tennessee Kids and featuring show - stopping performances from one of the highest - grossing tours of the decade, the film is a culmination of the singer's 134 shows and 2 years on the road.

A great deal of the impact in The Piano Teacher comes from Isabelle Huppert's performance, which comes as her finest career moment, as well as one of the year's early choices for 2002's Best Actress (personal list, of course: I highly doubt that the conservative Academy of Motion Picture Arts and Sciences will be able to make it through the film).

Though he's played his share of misanthropic characters over the last few years (including Bad Santa's Willie and Bad News Bears» Morris), Thornton - to his credit - avoids the temptation to simply regurgitate his past work and instead offers up an entertainingly mean - spirited performance that proves to be the highlight of the film.

Another float in the «People Acting Nasty Right There in Front of You» parade that's been marching through our theaters for the past couple of years, the film boasts several respectable performances.

Wonderful performances and assured and audacious direction make for one of the best films of the year.

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

Much like last year and the year before, this year's Movie Studio Report Card evaluates both the box office performance and overall film quality of the six major studios (and many indie distributors) in an attempt to determine the best and worst studios of 2011.

The film uses excerpts from Italian B movies, rare performance footage and candid interviews with Baker, musicians, friends, battling ex-wives and his children in what turned out to be the last year of his life.

The film represented Arthur Kennedy's return before the cameras after ten years» retirement; after one additional performance in the independently produced Grandpa, Kennedy died in 1990 at the age of 76.

But its breezy, wholehearted tone, combined with Franco's career - defining performance, make it one of the most enjoyable films of the year.

For the fourth straight year, we have examined both the box office performance and overall film quality of the six major studios (and many indie distributors) in an attempt to determine the best and worst studios of the past year.

Drawing a parade of colorful performances from a constantly surprising cast, the curiously titled «John Grisham's «The Rainmaker»» is Mr. Coppola's best and sharpest film in years.

Just when you thought we were done with our review of the past year in film (including our recent report on 2013's best and worst movies), we have one last look back to offer you: our annual evaluation of movie studio performance.

With stunning performances from its cast, the film occur during the First World War, and it shows us the chaos, and considering the fact that this was made in 1930, it's an impressive feat in filmmaking, as what we have here is a picture that captures the fear and agony of combat, and it's a well made movie for its time, and it still looks great after all these years.

For the sixth straight year, we have examined both the box office performance and overall film quality of the six - ish major studios and a few dozen of the larger «indie» distributors in an attempt to determine the best and worst studios of the past year.

For the seventh straight year, we have analyzed both the box office performance and overall film quality of the seven - ish major studios and a few dozen of the larger «indie» distributors in an attempt to determine the best and worst studios of the past year.

Sure, this film possesses a better pedigree than most movies of its type — director Fatih Akin is rated higher in international film circles than «Death Wish» remake director Eli Roth, Diane Kruger won the Best Actress prize at Cannes for her performance and the movie is Germany's entry for this year's Oscar for Best Foreign Language Film — and its intentions may be nobler, but, at its heart, it is not markedly different from its genre brethren.

For this isn't only one of the smartest, most sardonic performances of the year, it's also a film she helped shepherd along as producer.

Alongside Jeong, he gives the funniest performance of any film this year, and, also like Jeong, he's on screen all too briefly.

That losing streak is almost certain to be ended in February, this film and this year being the obvious vessels to recognize not just a fearless, committed, and physical performance full of snot and beard but a body of work over the past quarter - century seemingly unrivaled by any other actor.

For Hitfix, Gregory Ellwood called the film «a near - masterpiece» while declaring «it has some of the most haunting images of the year and features the bravest performance of Scarlett Johansson's career.»

It's been over a year since we heard about Greetings from Tim Buckley, a film from Daniel Algrant (director of People I Know and some «Sex and the City»), that would follow the true story of the days leading up to Jeff Buckley's breakthrough 1991 performance at his father's tribute concert at St. Ann's Church.

More than anything, this film is one of the finest accomplishments for actor Chiwetel Ejiofor, who (I must say) deserves to finally take home the Oscar for this after so many years of fine performances.

Major highlights making their world premieres include Shawn Levy's all - star ensemble drama «This Is Where I Leave You,» starring Jane Fonda, Jason Bateman and Tina Fey; Michael R. Roskam's «The Drop,» which features James Gandolfini's final performance; Liv Ullman's film adaptation of the famed play «Miss Julie,» starring Jessica Chastain; David Gordon Green's latest indie drama «Manglehorn,» featuring Al Pacino; the musical «The Last 5 Years,» starring Anna Kendrick; Noah Baumbach's latest «While We're Young,» starring Ben Stiller, Naomi Watts and Amanda Seyfried; and Jason Reitman's «Men, Women & Children,» starring Adam Sandler.

For years now, composers of all kinds have been hosting live performances of their favorite work, usually shown alongside with the film during the orchestration.

Both films follow a group of students (in 1980, Maureen Teefy, Irene Cara, Paul McCrane, and Barry Miller are the stand outs, in 2009, it's Kay Panabaker, Naturi Naughton, Walter Perez, and Paul Iacono) through their four years at a prestigious New York performance arts school where they learn to act, sing and dance.

After the unsuccessful performance of I Heart Huckabees, David O. Russell didn't make a film for 6 years, depriving the audience of his particular vision and cinematic delivery.

Not many will debate against that Woody Harrelson is one of the greatest actors of his time (this year alone he has appeared in a wide variety of films and given a pair of incredible performances in War for the Planet of the Apes and Three Billboards Outside Ebbing, Missouri), but his portrayal of Texan Lyndon B. Johnson in the biopic about the polarizing political figure simply titled LBJ (directed by Rob Reiner of A Few Good Men fame among other widely regarded classics) is a mixed bag.

I'd say the true star of the film is Josh Brolin, who has proved in the past few years that he can do many things, such as giving an Oscar - caliber performance in Milk (which also stars Gangster Squad's Sean Penn), do an uncanny Tommy Lee Jones impression in Men In Black III, and proves here that he can dish up a good dash of old - fashioned rough - and - tough heroism.

Last year's Jackie was a psychologically devastating look at the widowed Jackie Kennedy boasting one of the absolute best performances of the year by Natalie Portman, whereas in comparison LBJ is a film that will be thrown on in American History classes only for teenagers to fall asleep.

I think Fassbender should win because of all the films that he has been in this year and how amazing every performance has been.

That's not to say the performance wasn't great and that the film wasn't one of the best of the year — it just wasn't the type of film that garners awards for its actors as it was far more concerned with docudrama authenticity than it was with giving its actors full - bore characters to develop.

Look to this film for it's powerful performances and beautiful scenery; the story may be a bit lacking for some, and it's likely this will become more obvious on repeat viewings; however it's more than easy to overlook simplicity for the sake of some of the year's most provocative performances.

(1) The Intouchables, an $ 11.5 million dramedy, based on a true story, that was co-written and co-directed by Olivier Nakache and Eric Toledano and has become the second highest - grossing French film of all - time in France and grossed more than $ 355 million internationally (more than any other French film and, for that matter, any non-English-language film, save for The Passion of the Christ); and (2) Rust and Bone, a fictional drama that was co-written and directed by Jacques Audiard, a best foreign language film Oscar nominee three years ago for France's Un Prophet, and features tour - de-force performances from Marion Cotillard, the best actress Oscar winner five years ago, and Matthias Schonaerts, the star of last year's Belgian nominee Bullhead.

In the 20 years since, his career has been defined by a remarkable wealth and variety of interesting characters and intense performances in films as diverse as Lone Star, American Beauty, Seabiscuit and Capote.

His breakthrough year was 2001, however, with standout turns in a pair of indie films: a haunted adolescent in the cult classic Donnie Darko and a gawky teen in love with an older woman in Lovely & Amazing, a performance he more or less repeated the next year opposite Jennifer Aniston in The Good Girl.

«Toast» enjoys what is likely the best comic performance of veteran British actress Helena Bonham Carter in the role of Joan Potter, a cleaning woman who becomes the second wife of Nigel's dad, played by Ken Stott, and stepmother of nine - year old Slater who morphs suddenly about two - thirds into the film as the older Nigel Slater, played by Freddie Highmore.

Part of what makes German director Christian Petzold's pulp psychological thriller so special is the way it wrings complex shades of suspense and disquiet out of very basic techniques, and its finale — the most sublime gasp moment of the year in film — is a master class in simplicity of form, cut almost entirely from just two angles and carried by stars Nina Hoss and Ronald Zehrfeld, whose performances have been building to this one exchange of subtleties.

Yet The Danish Girl fails on both counts, and some of the best performances of the year by Redmayne and Vikander are the chief victims, along with a trans community that will have to wait a bit longer for a film that tells their story and connects with audiences.

If you saw any boxing film in the last 30 years, you'll see some of the well - worn plot turns coming a mile away, however it's worth stepping into the ring for all the fine performances.

Pirates of the Caribbean is the first film ever released under the Walt Disney Pictures brand to receive higher than a PG rating (the film is rated PG - 13), and the team assembled to make the film is a virtual Who's who of hot properties: Director Gore Verbinski had a huge hit last year with the spook fest The Ring, Writers Terry Rossio & Ted Elliott were the writing team behind Shrek, Actor Johnny Depp is so extremely selective in his roles no one would ever imagine he'd do a Disney film, Orlando Bloom is fresh off the Lord of The Rings Trilogy, Geoffrey Rush has at least one Academy Award under his belt, and Keira Knightley has become a hot property after her performance in the run away indie hit Bend It Like Beckham.