Sentences with phrase «what other characters in the film»

What other characters in the film reform?

Not exact matches

At one point in the film, a character is accused of «profiteering off the miseries of others» and that is exactly what Zombie will do to you if you see this movie.

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

Having all just finished college, each is deciding on what path to take in life, and its Jim who has chosen the most shocking path for the group of friends as he has chosen to ask his girlfriend Michelle, the infamous flutist of the first two films (the wonderful Alyson Hannigan, which, ya know, she is so good in it, we did nt need the other girl characters, which is sad to say, but eh, this was always about the guys so who cares?).

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Not only do the lead characters in the new drama, «As You Are,» strive for continued approval from each other throughout the story, no matter what obstacles they're forced to overcome, but its first - time feature filmmaker, Miles Joris - Peyrafitte, is also seeking acknowledgement in the film community.

Speaking of that other Valkyrie, obviously the version that Tessa Thompson plays in the film is different from the original Marvel version of the Valkyrie, as the Marvel version intentionally evoked the mythological version of the character, which is very much a Norse vision of what a woman would look like, complete with the name Brunhilde (Brunnhilde also was a major part of Richard Wagner's famous operatic «Ring» cycle).

But in other ways, Cool Hand Luke is vaguer about what it stands for — it's the beginning of a decade - long run of films in which being an individualist is valorized in the absence of any particular information about exactly what kind of an individualist a character is, or why.

The film adaptation of the musical combines characters from several stories including Cinderella, Little Red Riding Hood, Rapunzel and others in a cautionary tale about being careful what you wish for.

He films his characters» conversations at right angles, a two - shot with them facing each other, perpendicular to the camera, followed by medium close - ups of each actor as they face the camera directly and speak in turn, Green not cutting until they've finished what they have to say.

At the film's recent press day, Carrey and Daniels talked about reprising their roles in the sequel, how it was driven by fan demand, what it was like getting back into character and finding their chemistry again, the love between the characters, which one is Dumb and which one is Dumber, how the characters hold a special place in their lives as they do for the fans, the return of the Mutt Cutts van and other callbacks from the original film, working with Kathleen Turner, their favorite scene, and where they see their characters in another 20 years.

At the recent press day, Tarantino and his actors talked about the advantages of shooting in 70 mm, how a Tarantino set differs from other movie sets, how Leigh and Russell played off each other while chained at the hip for 4-1/2 months, why Russell remained in character after his character met his demise, the decision to stay close to the script, Tarantino and Jackson's take on race relations in America, why a period film affords a filmmaker the opportunity to comment on the present in ways a present day film does not, what their filmmaking adventure was like for the veteran actors who have been with Tarantino from the beginning, and why Tarantino doesn't mind dancing on the edge of political correctness.

The Cloverfield Paradox is an unholy mess... The characters here never feel like they could exist in a world outside of this space station, all of them barking in tech - speak at each other, rarely acting in what could be classified as recognizably human behavior... As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom... The Cloverfield franchise is rumored to grow even more later this year with a second world war - set thriller potentially unspooling in October.

There are a few things to like about the movie, mostly in the way the two lead characters interact with each other and how the film isn't afraid of being what can only be considered offensive to some in terms of the issue of disability.

In other words, the film represents what can be possible when filmmakers take the characters and the worlds of comic books seriously.

This is the set - up for a crime saga unlike any other, McDonagh's film a foul - mouthed mystery brimming with colorful characters, its jet - black tone and surprising emotionality capable of causing fits of laughter and bouts of urgent somberness in what is one of the best films of 2017.

What sets it apart from so many other «quirky» independent films are its appealing characters and the skill in which their relationships with one another are developed.

What you don't see in the trailer is what constitutes the other 75 % of the film, namely, the highly predictable brother - helping - brother side stories of families and strangers coming together in their time of great need, and all of the usual wafer - thin archetypical characters you expect in an ensemble film such as tWhat you don't see in the trailer is what constitutes the other 75 % of the film, namely, the highly predictable brother - helping - brother side stories of families and strangers coming together in their time of great need, and all of the usual wafer - thin archetypical characters you expect in an ensemble film such as twhat constitutes the other 75 % of the film, namely, the highly predictable brother - helping - brother side stories of families and strangers coming together in their time of great need, and all of the usual wafer - thin archetypical characters you expect in an ensemble film such as this.

Blu - ray exclusives will be familiar to loyal Universal customers, beginning with three core U-Control features: a Picture in Picture option that includes cast and crew interviews, set footage, and pre-production art (like storyboards); the Bourne Dossier, which give access to high - tech superspy information technology (like pop - up Agent Status, Character Dossiers, Field Reports with «GPS - enhanced satellite views of the locations,» and other «top secret training material»); and Bourne Orientation, which jumps out of the film to provide literal orientation (globally speaking) and figurative orientation: information about what's driving Bourne at key junctures in the story (answering that eternal actor's question: «What's my motivation?&raquwhat's driving Bourne at key junctures in the story (answering that eternal actor's question: «What's my motivation?&raquWhat's my motivation?»).

Although there are certain events in which we get to see the men as more than just one - dimensional characters, by the end of the film we realize they are just as enigmatic as they were in the beginning, as we rarely are afforded a glimpse into just what makes them tick, other than external suppositions.

In this 21 - minute and 51 - second chat, Gere goes over his career at the point Days came to him, what appealed to him about the project, the film's visual style, cast and crew, working with Malick, his take on his character, location shooting, and some other filming specifics.

Yet what raises the film above mere prurience is the fine sense of detail in all other aspects as well, from the gothic and mechanical decor and costumes and palpable affection for the sexual desires of his characters.

Say what you will about the artistic merits of a film like Nine 1/2 Weeks — an obvious comparison — but the characters played by Mickey Rourke and Kim Basinger seemed, at a minimum, to enjoy being in each other's presence.

Marvel films now deliver on what seems like an absolute obligation to integrate multiple characters from other storylines into one film, and the additions of Ruffalo's Hulk, along with Benedict Cumberbatch's Doctor Strange in the early section, are welcome ones.

Robinson, Grant, McGann and other principals recount insightful and amusing anecdotes about the making of the film (most interesting of all: Grant had never gotten drunk before playing his hard drinking character), and diehard Withnail fans weigh in with their favorite characters, moments, and lines; not being a fan of the film, it was particularly interesting to find out what scenes and pieces of dialogue are especially notable for fans.

What we know so far is that the film is led by Christian Bale, Cate Blanchett, and Natalie Portman, with a whole bunch of other name and character actors in supporting parts that may or may not have been cut via Malick's notoriously ruthless editing process, in the tale of an insecure womanizer who tries to find himself.