Sentences with phrase «act in films like»

The series opened her up to a wider audience, and de Rossi would continue to act in films like The Invisibles and Cursed.After the 2002 demise of Ally McBeal, de Rossi wasted little time in attaching herself to another edgy and successful project.

Not exact matches

Markle is best known for her role in the legal drama «Suits,» but she has also acted in a long list of shows like «CSI: NY» and «Castle,» as well as films including «Get Him To The Greek.»

Trump told the crowd that, as a holder of a permit to carry a handgun in New York, an attacker would be «shocked» if he encountered him, and that he would act like Charles Bronson in the 1970s action film Death Wish.

But Tahir built up his chops by acting in plays while waiting for film and television roles to trickle in, and turning down parts when they felt too much like typecasting.

Greta Gerwig has had a very successful acting career in independent films, several you haven't seen and one you may even like, Damsels in Distress.

In their work with films of DXPs and other organics, researchers found that two problems prevented the films from acting like good MR materials.

When researchers asked women to watch either an erotic film, a sports video, or a «neutral» video of a train, and then perform a series of unpleasant acts (like drinking out of a cup with a bug in it), they found that those who'd watched the sexual acts rated the tasks as less disgusting — and were also able to complete more of them.

BIOHM maintains total digestive balance, because not only was it designed to balance both the bacteria and fungi in your gut, it was also optimized to break down digestive plaque, a thick film on your gut's lining that acts like a protective shield over bad bacteria and fungi.

Our products are strategically designed to balance both the bacteria and fungi in your gut, and break down digestive plaque — a thick film on your gut's lining that acts like a protective shield over bad bacteria and fungi.

Northam, too, is due some attention for the work: it is further proof of his acting abilities, which have been seen in great use on films like An Ideal Husband, The Winslow Boy, and Gosford Park.

A definitely disjointed film, it coasts on the competent performances of co-stars Mendelsohn and Reynolds to keep viewers invested in a controversial third act that feels like a betrayal of the genre.

It's monotonous and lacking the exciting moments of the book and film, but you do get to play as Harry and act like a wizard in Hogwarts.

Although it could use tighter editing — like most everything in this regrettably paced film — the third act reappearance of Gollum is terrific, and amplified by a go - for - broke motion - capture performance by Andy Serkis.

Franco, who, like Wiseau, also acts as director here, has crafted a loving tribute to the film, its fans and also film - making in general.

Too much effort went towards giving Chucky life in this film, while other things like the writing, acting, and direction were left for dead.

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.

The story wasn't all that strong, but the acting was, and what I really liked about this film is how it came at a common story in an unconventional way.

The smooth jazz score which punctuates the film gives certain sections the feeling of a silent movie, while the long awkward silences in the second act are like a lighter, less absurdist variant on the work of Samuel Beckett or Harold Pinter.

Povinelli sometimes performed stunts, in films like Van Helsing and Employee of the Month, but largely stuck to acting, earning particular attention for the role of Walter in the 2011 period drama Water for Elephants.

Unlike the vast majority of his contemporaries, however, he could truly act as well as make music, delivering superb, natural performances in films for directors like Martin Scorsese, Sam Peckinpah, and John Sayles.

The second act of the film finds Petit and his allies casing the twin towers, making sure that they know everything about the tower that's still under construction — the workers» schedules, which areas give access to staircases, which elevators are best to use... Essentially, The Walk becomes a heist flick in the middle — and like all good heist flicks, everything goes like clockwork until it doesn't.

The action sequences and fight scenes in the first two acts of the movie are equally impressive in their staging, taking visual cues from sources that include Coogler's own grounded boxing scenes in Creed, as well as many a James Bond film during a nightclub sequence right out of something like Skyfall.

Jack Black's acting resume reads like a Who's Who of bumbling, goofballs in films like Be Kind Rewind, Kung Fu Panda, School of Rock, and Nacho Libre.

They don't even really make a big deal out of gayness in this version, which is odd, but this is a dumbed down and less interesting version of the same story, which would be fine if it took advantage of having actors who don't even have to act if they can dance in a film like this.

It's a good thing the dialogue and acting deliver, too, because the film is glacially paced and clocks in at a way - too - long 132 minutes that feels like a DVD director's cut that you'd watch once before always returning to the theatrical cut.

The film was shot after The Act of Killing was edited but before it was released, and Oppenheimer's canny stewardship (and brinksmanship) is not irrelevant to their achievement; like Lanzmann, Ophuls, and Panh before him, in purely formal terms he's set a high bar for chroniclers of violence when it comes to galvanizing an audience.

Don't Worry, He Won't Get Far on Foot is an acting showcase featuring one of the best performances of Joaquin Phoenix «s career and a supporting turn for Jonah Hill that joins his acclaimed performances in films like Moneyball and The Wolf of Wall Street.

That may sound extreme but somehow it comes across, selling you on all that transcends and making the film play like a look at a shared time in these individuals» lives, and not a conventional three - act Hollywood script.

The acting isn't as bad as everyone is making it out to be, for an action film focusing on robots vs robots carnage, it's pretty decent, and the film had it's comedic moments without overdoing it like they did in RoTF.

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

While Timberlake shows he's a force to be reckoned with as an entertainer, he's not quite enough of a presence in the acting department to elevate a film like this, adding little perceptible nuance to a by - the - numbers plotline.

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.

In short, the film is quite well written, well acted and offers a different experience for those who like historical films.

The Basics: At one point in this film, Downey tries to get Galifianakis to act like a halftime coach in an inspirational sports film.

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.

At times, Brooks seems to be over-sympathizing and romanticizing these two killers, but based on this film as well as the equally phenomenal «Capote», it seems like the Perry Smith character (in this case played by Robert Blake) had a heart and was truly sorry for his heinous act of violence.

Ignoring some of the absolutely silly decisions made so Brad Pitt's adventure would be a primarily solo journey (with him completely front and center until the final act), like the film's McGuffin of a scientist meeting his end in a decidedly slapdash manner, World War Z fails to instill the film's plot with any sense of urgency.

While it doesn't look like a challenge on the acting front, there will surely be some emotion in a film that dives head first into the human psyche.

By the end of the heist, the film feels like it's in the second act of a sequel, like there are things that ought to already be known.

The opening act in Toronto feels like a standard indie comedy about (yet another) white male's arrested development, the piano - based score and aversion to dialogue feels indebted to silent films, and once the film transitions to the wilderness it goes into European arthouse territory (the title card doesn't appear until James ends up in BC, a choice that implies this is where the film really begins).

The connection to Cloverfield (which Abrams and Burk also produced) was added late in the overall development cycle, which might be why the final act of the film feels like the characters have suddenly been dropped into another movie.

But it isn't all good because Wonder Woman is also let down by the trappings of having to tell an origin story, and there are moments when the film feels like a box - ticking exercise in how to create a superhero origin, especially during the final act when — shock!

Emily Blunt delivers an extraordinary performance in the lead role (rather than simply acting drunk, she plays Rachel as an alcoholic desperately trying to look sober), but it feels like she's in a different film — one that isn't marred by soapy plot turns and Taylor's messy direction.

Almost no one in the entire film acts like a real person might in that situation, and if this is because they are a bunch of scientists of self - serving opportunists, then it's even worse.

While Pegg is a fairly talented comedic actor, it is important for Frost to be likable since he has never shown much in the likes of acting chops in his various films.

I like to think of this film as part of the Tilda Trifecta of 2014 after she gave disappearing acts in Wes Anderson's The Grand Budapest Hotel and Jim Jarmusch's Only Lovers Left Alive.

It doesn't help that no one in the film acts like a real person would in his / her situation, setting up another mind f*ck thriller that will probably make you angry at the unconvincing explanations.

Throughout the film's run, there are expected ups and downs, driven in equal parts by Royal's desire to feel and act like - and be - a parent to his children and his children's desires to mend the messes in their lives.

One point of difference, though, is more than incidental: In Vertigo, Scotty, like Oedipus, thought he was acting freely throughout the «case,» only to find he was controlled by forces outside himself; in the second half of the film, he gets a second chance, and even when acting truly freely, ends up causing the same result, with greater and more tragic finality than beforIn Vertigo, Scotty, like Oedipus, thought he was acting freely throughout the «case,» only to find he was controlled by forces outside himself; in the second half of the film, he gets a second chance, and even when acting truly freely, ends up causing the same result, with greater and more tragic finality than beforin the second half of the film, he gets a second chance, and even when acting truly freely, ends up causing the same result, with greater and more tragic finality than before.

Ronan, who is no stranger to the awards circuit after starring in films like 2015's Brooklyn and 2007's Atonement, is earning praise for her latest role in Lady Bird, while Chalamet, who acts alongside Ronan in the Greta Gerwig - directed film, has been the subject of awards buzz for his part in Call Me by Your Name.