Sentences with phrase «such films act»

Such films act as gambles — they either work (see Terms of Endearment), or they fall flat (don't see The Other Sister).

Team members sprayed carbon nanotubes onto a plastic film — two such films act as both the device's electrodes and charge collectors.

Not exact matches

Before such widely available platforms existed, film makers often didn't act on the ideas they had because they weren't sure if it would ultimately be worth it.

Hollywood has made several films about Christianity that we don't really care about, but we are not that radical to kill someone for such acts.

I am very much sad and very much offended / angry on the act of making such a film against Our Beloved Prophet (PBUM).

She acted with the Williamstown Theatre Festival, the Charles Playhouse in Boston, and, with such future film luminaries as Al Pacino she appeared in several off - Broadway productions A tentative stab at film acting in The Wedding Party, filmed at Sarah Lawrence in 1963 but released in 1969, might have been forgotten save for its roster of celebrities - to - be: Jill Clayburgh, Robert DeNiro and director Brian De Palma.

A minor diplomat before he turned to acting, Hale began appearing in minor film roles in 1934, showing up fleetingly in such well - remembered films as the Karloff / Lugosi film The Raven (1935), the Marx Brothers» A Night at the Opera (1935) and the first version of A Star is Born (1937).

It's Spielberg's best and truest action film since Jaws, relentlessly paced, pitch - perfectly acted (the young Fanning is almost certain to get a Best Supporting Actress nod come Oscar time), and rife with moments of such horrifically poetic imagery that it's all you can do not to stop thinking about them long after the film has ended.

Taking the film on its own material terms, there's a perverse frisson of pleasure — of sweet, egregiously unequal justice — to be had in watching two people this immaculately beautiful finally unite in quite such accordingly beautiful fashion, and it's here where James (once more acting as producer) and the filmmakers have us right where they want us.

That narrative slyness is especially welcome in Friedkin, acting as a palliative to the sensory overdose in which he habitually deals; such a contrast was nowhere to be seen in «Bug» (2006), a film that sent me straight from the cinema to the pharmacy in search of anti-itch cream, but we find it in the first half of «Killer Joe,» thanks to the title character.

The 1990s proved a busy decade for Jeter, and roles in such popular films as Sister Act 2: Back in the Habit (1993), Air Bud (1997), and The Green Mile (1999) assured that his career would flourish well into the new millennium.

There is, as such, little doubt that the film takes a serious dive in its increasingly underwhelming third act, with Ganz and Mandel's script emphasizing elements that couldn't possibly be less interesting - including Chuck's decision to break away from both Long and Keaton's respective characters (ie it's a twist on the dreaded fake break - up cliche).

However, a combination of some nifty directing, winsome acting, and some genuine laughs make Game Night as entertaining a film as one with such limited goals can get.

Yet all of Marvel's phase three films and their tentative questioning of the underlying political ethos of the franchise feel like buildup for Black Panther, which in its second act comes very close to completely tearing down the Marvel Cinematic Universe en totale — and making viewers long for such a thing to happen.

«John Q» is a manipulative thriller, but unlike most such films, it has a worthwhile social policy point to make and some top - notch acting talent to help put the point across.

Earnestly presented and well acted, particularly by newcomer Nicole Beharie in the central role, the film shares with many other such agenda - driven dramas a complete lack of narrative surprise, merely connecting the dots.

Once the covetous pair realize the true explanation, they turn on Mary and insist that she reveal where she found the Witch's Flower, sparking a big finale in which they kidnap Peter and attempt to transform him into the kind of malevolent shape - shifter so often encountered in the third act of anime films (such as «Akira's» all - consuming atomic mass).

As Schrader's hero takes a bleaker look at life, and considers committing an extreme act as a desperate attempt to find resonance and morality in the world, he stands alongside the protagonists of such Schrader - written films as «Taxi Driver,» «American Gigolo» and «Light Sleeper,» three works the filmmaker has connected as his «night trilogy.»

By following five Atlanta - based couples, the film wants fervently to incorporate all its character's diverse fluff into one sitting, but such hopes are subverted to an emptily - flat experiment that pairs audiences with familiar faces acting out a weak script, while the experimenters stand back and pray that the audience doesn't notice just in fact how hollow it all really is.

Though she would first gain notice as the dutiful daughter of an Asian - American family attempting to bridge the gap between the past and the present in The Joy Luck Club, Tom had already been acting in film and television for over a decade — her career gradually gaining momentum thanks to bit parts in such films as Wall Street, Blue Steel, and Cadillac Man.

The inclusion of several extraordinarily melodramatic sequences within the film's second act only cements this feeling, to the extent that one can't help but wish that such moments had been excised from the final product.

Martin Scorsese's intrusive insistence on his abstract, metaphysical theme — the possibility of modern sainthood — marks this 1973 film, his first to attract critical notice, as still somewhat immature, yet the acting and editing have such an original, tumultuous force that the picture is completely gripping.

Fernandez felt grateful for the opportunity, but reportedly hated the job itself so much that he hearkened off for the greener pastures of acting.Fernandez landed his first formal acting assignments as a guest star on episodes of the network series Cold Case and Jericho in 2006 and 2007, but truly came into his own as a star of low - medium budgeted independent films such as director Marc - Andre Samson's taut thriller Interstate (2006)(as a young man trying desperately to reach his girlfriend in Los Angeles, but waylaid by drugs and the trappings of an odd motel), and directors Lucky McKee and Trygve Diesen's violent psychological thriller Red (as a disturbed young man who plays the role of accomplice in killing a senior citizen's dog).

Following her chart success, she returned to the acting world, appearing in films such as Harley Davidson and the Marlboro Man, Eraser, Soul Food and Shaft.

Unfortunately, the film's final act (all the way up through the end credits) nosedives into the maudlin and saccharine instead of trusting its story to do the emotional heavy lifting, which is disappointing because the rest of the film handles this topic with such tact and level - headedness.

Directors put comedic spins on heist films and called them capers, allowing us to laugh at the absurdity of a group of fairly inept individuals attempting to pull off such a massive robbery, and some flicks even started leaving out certain acts to allow us to fill in the blanks and create a more compelling, unique story.

Alongside his continued voice acting on The Simpsons, Azaria became more widely known through his appearances in films such as The Birdcage (1996) and Godzilla (1998).

By placing at the centre of the narrative a white woman who believes she belongs to the land, against a set of people who see her presence as oppressive and who want to brutalise her, yet who also carry out acts of violence against one another, Denis returns to the core themes of her earlier films (such as Chocolat, 1988)-- the highly problematic issues inherent in the processes of colonisation and decolonisation (2).

While the subject matter is the stuff that good films are made of, and the quality of the direction and acting are worthy of admiration, where The East fails is in the contrivances involved in the farfetched plotline and the unevenness in the thriller elements (such as a scene in which the cell dresses up to the nines to infiltrate a party for pharmaceutical bigwigs that would feel more at home in a Mission Impossible movie) that undermine what could have been a chilling and realistic story of corporations run amok.

Offered a job as assistant director by Marco Modugno after appearing as an extra in Modugno's Bambule (1979), Soavi continued to act in such films as Alien 2 and City of the Living Dead (1980) while serving in multiple capacities including assistant director to filmmaker Aristide Massaccesi in the early»80s.

However, where the first film surprised us with how far it was willing to go, showing such envelope pushing acts like a boy screwing a pie, a boy down a beer with semen in it, and another with uncontrollable defecation, we know they are going to try to top these moments with the sequel.

Though beautifully acted by Freeman, Kinnear and other veterans, the film has uneven work from newcomers such as Davalos, who defines her character with pretty - girl preening.

Wright has been acting since 2011 on UK shows like «Top Boy,» «Doctor Who» and «Humans» and in films such as «The Commuter» and «Urban Hymn,» which led to a BAFTA nomination in the most promising newcomer category.

Aronofsky, didn't make her into a great actress all of a sudden and her acting ability is just fine as demonstrated by such films as Leon and Closer (career best work so far).

Collette's acting career began in the early 1990s with comedic roles in films such as Spotswood (1992) and Muriel's Wedding (1994), for which she was nominated for a Golden Globe Award for Best Actress.

And while the film throws some shadows reminiscent of recent Greek «Weird Wave» cinema (Papoulia also starred in Yorgos Lanthimos's Dogtooth and Alps), such as its unhinged, barking mad, and eyeball - rolling style of acting, this is a bigger, bolder, and angrier work.

Gerwig talked about how Lady Bird evolved into what it is now, whether she ever considered acting in the film, that she's not Lady Bird, putting together such a terrific cast, and whether acting or directing is her priority.

I've seen this film twice already and I have to say what fine acting from the whole cast, hailee steinfeld was exceptional and jeff bridges managed to pull off such an iconic role, matt damon was there but surprisingly restrained in his bit.

Since the inception of the SAG awards, we've never had a year in which all four acting winners have come from films lacking a corresponding Cast nomination (minus 1994, since there was no such category in its first year).

Also great (and everything Smith does in this film is great) is Dench and Smith's relationship where the two legendary actresses get to play off of one another with such naturalism that you wouldn't be surprised if they'd been acting together their entire lives.

Her 60 year acting career included plenty of great films (such as the «Taking Of Pehlam One Two Three «-RRB- and TV shows («The Sopranos «-RRB-, including one Woody Allen credit — Crimes And Misdemeanors.

Swayze, veteran of such critically acclaimed films as Black Dog, Steel Dawn and the inimitable Road House, will bring to bear his acting prowess and take up the role of Garth, a noble knight and betrothed of the fair maiden.

What makes The Act of Killing such a sickening film to watch is the realization that, as bone - chilling and incomprehensible this world is, it isn't too far off from ours.

Wiazemsky continued to act in art - house films by other avant - garde directors, including Marco Ferreri, Alain Tanner, Marcel Hanoun and Philippe Garrel, and in works by mainstream directors such as Pierre Granier - Deferre and Michel Deville.

While not the most widely recognized name, Mara is quickly building up her resume, acting in films such as Youth in Revolt and the A Nightmare on Elm Street remake earlier this year.

Though most of the action is set in and around a Los Angeles skyscraper, the film manages to wring many convincing sequences out of such a claustrophobic setting, from one - on - one fights to an explosive last - act rooftop setpiece.

During the fun conversation Bonneville joked about how Grant has changed since making Notting Hill, when they knew the sequel would be such a special film, what it was like filming the big train chase sequence in the 3rd act, and more.

None of Johnson's «triumphs» are played as such — the Civil Rights Act is passed midway through the film, and the whole thing ends on an almost bitterly interior note.

Starring the bandleader Paul Whiteman, then widely celebrated as the King of Jazz, the film drew from Broadway variety shows of the time to present a spectacular array of sketches, performances by such acts as the Rhythm Boys (featuring a young Bing Crosby), and orchestral numbers overseen by Whiteman himself (including a larger - than - life rendition of George Gershwin's «Rhapsody in Blue»)-- all lavishly staged by veteran theater director John Murray Anderson and beautifully shot in early Technicolor.

Perhaps acting is a labour of love for him, and he only does a film to pay the bills (such as the Oceans films) every now and again.