Jarmusch gave
the actors little dialogue to work with, and much of what he did give was recitation of poetry.
Not exact matches
It doesn't help that what
little dialogue main character Big Boss (or rather, «Big Boss») utters is read by new voice
actor Kiefer Sutherland with all the enthusiasm of a man doing a decade's worth of income taxes in a single afternoon.
He might have a
little too much swearing to wade through, but every now and again, he is given the perfect line, the kind of
dialogue you just want handed to the
actor, so he can light up the movie.
Characters interact in fun
little ways, and some of the cutest touches come in things like pre and post battle
dialogue or even in the tone of how characters call each other into battle, like the overwrought, slightly mocking way Spider - Man calls Frank West (whose original, true voice
actor returns) in to tag.
This is about all the movie has going for it, because as if it wasn't bad enough that Steele and Grey's relationship has all the depth of a kiddie pool, the two
actors have very
little chemistry and their interactions, particularly in
dialogue scenes, are forced and mechanical.
His screenplay credit may refer to
little more than an outline of character and scene descriptions, because in just about every scene,
actors look like they're coming up with
dialogue on the spot.
A number of
little asides involving him, most notably one concerning his agent and best friend Sammy Smith (Eddie Marsan) and his driven, intelligently outspoken wife Sophie (Helen McCrory), are magnificent, while a final
dialogue between the
actor and one of his writers in the wake of senseless tragedy had me choking back a handful of tears.
When you look at it as a whole you have a fairly decent screenplay with nice
dialogue, great sets, a glossy, well - polished look; plenty of gifted
actors (Chris Cooper and Elle Fanning, above, particular stand - outs) doing their thing making the most of the material, and enough going on to hold you attention throughout — but by the time you reach the end, one can't help but feel a
little empty.
Most of that knowledge comes from the
actors, who imbue what
little dialogue they're given with wisdom and show us the rest in the quiet moments.
They point out
little things that bug them and the changes they would make, recount
actors» demands as well as the cast's contributions to
dialogue and their characters» development.
That's impressive because The Last Day of June doesn't contain any form of
dialogue, rather its small cast of strangely eyeless characters communicate solely through sighs, moans, giggles and other
little sounds that work with the wonderful animations to give them more personality than most games with massive runtimes, budgets and voice
actors ever manage.