Sentences with phrase «actors in the film often»

Not exact matches

Though the Best Actor category is often brutally crowded, Spall is likely one of the year's first legitimate Oscar contenders - and, the actor admitted at the same lunch, he's also a candidate for an unlikelier honor if the film catches on after Sony Pictures Classics releases it in DeceActor category is often brutally crowded, Spall is likely one of the year's first legitimate Oscar contenders - and, the actor admitted at the same lunch, he's also a candidate for an unlikelier honor if the film catches on after Sony Pictures Classics releases it in Deceactor admitted at the same lunch, he's also a candidate for an unlikelier honor if the film catches on after Sony Pictures Classics releases it in December.

A tall, dark - haired, often elegant silent screen actor, Larry Steers had appeared with the famous Bush Temple Stock Company and opposite matinee idol Robert Edeson prior to making his film debut with Paramount in 1917.

The film too often puts too much trust in dialogue, as Marie and Boris's predicament is sometimes perfectly conveyed by the actors» facial expressions and body language.

Her performance in this film is a collection of reactions, vocal whoops, and pouncings that we have seen often before in lesser actors.

An African - American supporting actor, onscreen from 1972, Blakely often appeared in blaxploitation films.

TURAN: Good versus evil films often rise or fall on the strength of the evil doer, and in the Oscar - winning Philip Seymour Hoffman, Mission Impossible 3 has a spectacular actor who delivers some deeply unnerving speeches.

Those who flout the established taboos often face such harsh consequences as losing their jobs, their homes or custody of their children, so the Hasidic actors who appeared in the film courted peril and banishment simply by taking part.

Allen is notorious for offering his actors little to no direction, which often produces films where every one in the cast seems to be acting in a different movie, but it could be liberating for an actor as organic and instinctual as Phoenix.

Shaye has proven herself to be a talented character actor in her 40 + years in film, often stealing scenes out from under high - paid leads.

Both of the roles could have been tired retreads of similar characters in recent film history, but Gosling and Pitt serve their characters with more devotion than is often seen in actors of their age.

You've often mentioned Brooks and also Cameron Crowe as formative influences, but I tend to think of your films, and This Is 40 in particular, as having even more in common with the work of Paul Mazursky and Blake Edwards — especially Edwards films like S.O.B. and That's Life — in their improvisational looseness, their unabashedly personal nature, and the generosity to actors.

In his new film, Baker once again employs some «non-professional» actors (with help from Willem Dafoe) to tell the story of lives not often depicted on screen.

The actors aren't all well cast (I counted only about three I'd consider to be above average for their respective roles — Acker as Beatrice, Fillion (Waitress, White Noise 2) in the supporting role of Dogberry - the only time the audience I viewed the film with laughed at anything in the film that came from actual dialogue, rather than the injected slapstick and actors occasionally comical facial expressions, came from Fillion's delivery - and British actor Paul Meston in the minuscule part of Friar Francis) The rest often appear as though they're reciting lines without any sense of meaning in the words they are saying, and when one of those happens to be the male romantic lead, that's one hell of a liability.

Like other Billy Wilder films, «The Seven Year Itch» works best when it's just showcasing its actors, often in the same set for long stretches of time.

Franco's ubiquity as an actor, screenwriter, and director over the last decade has resulted in an almost endless stream of bored, indifferent performances, often to the detriment if not of Franco's seemingly unstoppable career, then whatever film he happened to appear in that particular month.

The film is good to excellent in every way except morally, and there it's questionable more often than it should be, not because it's an evil film, or because the filmmaker or actors are bad people, but because the interplay of means and ends has been under - thought or misjudged, to the point where the film becomes a catalog of obscenities: a horror thrill - ride drawn from life, a thing for viewers to test themselves against while feeling just awful about Agu and his country, whatever its name is.

These films often feature Hollywood's hottest actors saving the day in any number of ways, whether it's the magical mayhem of the Harry Potter films or The Avengers assembling to ward off an alien invasion.

Sean Baker directs fiction films like a documentarian hesitant to work within a journalistic framework, often casting nonprofessional actors in roles that draw upon marginalized experience.

Veteran actors often settle for lesser films in their older age, like De Niro, Walken and Michael Caine, yet Stamp is the kind of actor, who only takes a role he truly believes in.

And before this year's sudden glut of Costner fare, the actor hadn't been ubiquitous since the 1990s, a decade that often saw him star in up to three films per year, and one that kicked off with Dances with Wolves, a western that nabbed seven Oscars, including Best Picture and Best Director for Costner.

The actor doesn't have that much to do in the film, cropping up occasionally from the sidelines, often lounging in a wicker chair or making some goofy quip.

Why a person is nominated for a supporting actor or actress Oscar often has a lot to do with riding coattails, which probably explains why it takes so long for awards prognosticators to pin down the nominees in these two categories: It's all about waiting to see which films catch fire at the box office — or on the blogosphere, where most Oscar campaigns seem to be launched nowadays.

The Oscar - winning actor stars as a seductive assassin in a strange, yet often flatly directed, film that boasts surprisingly extreme sex and violence but also a wealth of bad accents

In this moment and throughout the film, Christopher Walken reminds us that although he often plays caricatures and joins in kidding his mannerisms (see the recent «Seven Psychopaths»), he can be a deep and subtle actor, particularly good at suggesting deep intelligencIn this moment and throughout the film, Christopher Walken reminds us that although he often plays caricatures and joins in kidding his mannerisms (see the recent «Seven Psychopaths»), he can be a deep and subtle actor, particularly good at suggesting deep intelligencin kidding his mannerisms (see the recent «Seven Psychopaths»), he can be a deep and subtle actor, particularly good at suggesting deep intelligence.

Doug Jones (born May 24, 1960) is an American film and television actor best known to science fiction, fantasy, and horror fans for his various roles playing non-human characters, often in heavy makeup, in films and television series such as Buffy the Vampire Slayer, Hellboy, Pan's Labyrinth and Fantastic Four: Rise of the Silver Surfer.

Golden Exits, the new film by Alex Ross Perry, a favorite of this festival for years, is an explosion of the director's aesthetic, a symphony of actors delivering alternately astonishing and overwrought dialogue and often framed in epic close - ups by cinematographer Sean Price Williams that appear to glance fleetingly into the chasms of the characters» souls.

It's great to see Nicholson and Keaton sparring again, 22 years after their last collaboration in «Reds» in 1981 and how often do you get a film that has veterans such as these two great actors sharing screen time with the successful names of today, like Keanu Reeves and Frances McDormand?

(A few close - ups in the film's first third admittedly feel rather Wellesian, but King often recognized the dramatic impact of the close - up and holding on an actor's face.)

In critical assessments of a performance, the lengths to which an actor physically challenges himself can often be the sole takeaway from a film; however, Leonardo DiCaprio's work in The Revenant goes beyond simply suffering for one's arIn critical assessments of a performance, the lengths to which an actor physically challenges himself can often be the sole takeaway from a film; however, Leonardo DiCaprio's work in The Revenant goes beyond simply suffering for one's arin The Revenant goes beyond simply suffering for one's art.

Well, if any directors still need convincing that TV actors should be in their films, I have complied three reasons for why TV actors should be making the jump from TV to film more often.

Sakamoto and Kozo are among the many regulars who turn up so often in Ozu's work they register as fixtures, just as character actors like Ward Bond and Victor McLaglen do in John Ford's films.

Starting with his breakthrough role in the timeless classic «The Graduate» to his highly praised turn in his upcoming film, «The Meyerowitz Stories,» Dustin's wide range of roles — often portraying antiheroes or the marginalized — and the creative choices he has embodied in these complex characters, has firmly placed him amongst the most compelling actors to have graced the screen,» said Joana Vicente, Executive Director of IFP and the Made in NY Media Center.

More often than not the film's wide wide shots are more interested in showing the landscape in a notable light than beatifying the actors.

Historically, there has been a divide: underground films in which trans people play themselves, often with improvised dialogue that uses their own experiences; and mainstream films in which A-list, cisgender actors portray a trans character.

I must say that as good an actor as Cruise can be, his performance gets in the way more often than not in this film, as he painfully hams his way through the film posing as a comedian, and a very bad one at that.

When he teaches class, the film is lively, funny and engaging, even when it is contrived and cloying (which it is often), but one gets the sense that the macho actor is actually in his natural element among the children, and the resulting charm is infectious.

Otherwise, this was often a fun and entertaining track that discussed experiences during the film and thoughts about characters; most of the actors played fairly small roles in the movie, so it was interesting to hear them provide additional remarks about their personae.

Credit Mann for making another sleek and often beautiful film, engaging his actors to deliver their very best in roles you're not accustomed to seeing them in, and allowing his characters the complexity they rarely get in action - driven vehicles anymore.

I've held the unpopular opinion for a while now that Leonardo DiCaprio finds himself in similar positions often, where he's a perfectly fine and solid actor, but is often cast across from much better actors in the supporting role and tends to seem underwhelming as the lead of the film.

It is no secret that Woody Allen often portrays himself with protagonists in his films, Midnight in Paris is no exception, Owen Wilson might be the best actor to pull it off to date.

Also worth pointing out, actors in WKW films often just do their parts and then go onto other projects while WKW keeps tinkering away.

On the Waterfront Year: 1954 Directed by: Elia Kazan Starring: Marlon Brando, Eva Marie Saint, Karl Malden, Rod Steiger Why it's essential: Widely considered one of Brando's best performances, if not the best (it's one of two he won Best Actor for), On the Waterfront was an important stepping stone from the glossy studio pictures of the 1940s and»50s to the exciting, often gritty places American films would go in the 1970s.

And fans are responding to the movie in a number of creative and even heroic ways, often with the actors from the film jumping in.

Inevitably, there's no denying a comparison of technique with Altman and Mike Leigh (Canijo spent two years developing the characters with the actors via a series of workshops as Leigh does), but the film stands quite firmly as an often uncomfortable, unpleasant, and always fascinating family saga that would, in a fair world, finally open up the English speaking market to Canijo's previous directorial efforts, which date back to the early 80s.

Why is it that good actors in career stasis so often wind up in zombie films?

This also serves to highlight many good small performances which may have lost some of their luster if the actor was on screen for a longer time (how often can one say it is a good thing to have Nathan Lane in a film?).

«Inside Llewyn Davis» gets its milieu just right, from cold - water flats to the West Side digs of bohemian academics (Ethan Phillips and Robin Bartlett — the Coens repurpose familiar character actors as well as anyone this side of Charlie Kaufman or Ryan Murphy), but there's never a sense of fawning, things - were - so - much - better - then - man nostalgia that often surfaces in films like this.

With the exception of Caleb Landry Jones in Heaven Knows What, the directors generally use non-professional actors in their films, often basing their scripts on the real - life experiences of people they meet (two years before she made her acting debut in Heaven Knows What, Arielle Holmes was a homeless heroin addict).

His films, which do not begin with finished screenplays but are «devised» by the director in collaboration with his actors, have always been about modern Britain — often about inarticulate, alienated, shy, hostile types, who are as psychologically awkward in his comedies as in his hard - edged work.

It was the last in a series of emotional speeches in which actors and filmmakers accepted awards for films that often addressed difficult issues.