The performance puts Daniel Plainview right near the level of Charles Foster Kane
among film characters we're drawn to invest in fully and study.
Not exact matches
Racial conflicts
among the
film's living
characters end up costing them valuable time and resources; against the backdrop of attacking zombies, the racial tension of the late 1960s seems positively ludicrous.
Federico Fellini was one of the leading figures of the international cinema in the 1960s, whose dreamlike images and indelible
characters made La Dolce Vita, 8 1/2, and Juliet of the Spirits
among the most acclaimed
films of that era.
Boasting perhaps the strongest supporting
characters yet
among Marvel titles, director Ryan Coogler's visually dynamic
film should transform a lesser - known comic - book hero into a household name.
Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona
among others as interview subjects for a documentary of sorts that frames the
film, but also has the
characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.
He reportedly auditioned for a small part, and though the show's producers did not deem him right for the characterization, they felt so impressed by Eigenberg's presence that they created the
character of Steve Brady especially for him, as an extension of his own personality; the plan, again, was to create a sincere, committed, down - to - earth male paramour to offset Miranda's (Cynthia Nixon) cynicism.Though initially intended as a temporary part, the popularity of the
character among viewers (and Eigenberg's onscreen chemistry with Nixon) led to Eigenberg's permanent inclusion on the show, as well as subsuquent movies.Circa 2002, Eigenberg expanded into
film roles by playing the business partner of Richard Gere in Mark Pellington's underrated supernatural thriller The Mothman Prophecies.
He began his career a mere decade ago, in his mid-twenties, with
films in which he and his friends played
characters based on himself and his friends (
among them was Greta Gerwig, whose first major role was in his 2007
film «Hannah Takes the Stairs»).
The
film slides into its situation in a clever, fresh way, and the balance of wit and horror is well maintained throughout, though Sayles's decision to divide up the protagonist's chores
among four main
characters costs him something in the intensity of audience identification.
Annie Hall, Ben - Hur, Driving Miss Daisy and Chariots of Fire were
among the few
films that revolved around Jewish
characters at all.
The
film assembled one of the studio's finest voice casts, led by Albert Brooks and Ellen DeGeneres, gave them a ton of great gags and memorable
characters (the surfer dude turtle and the «One Flew Over The Cuckoo's Nest» homage in the dentist's office first
among them), and then grounded it in with a deep bass line of thoroughly relatable pathos.
Among the topics discussed are the worst part of fame (Curtis says it's «isolation»), how Curtis's role (and particularly her striptease) in James Cameron's True Lies had a «major impact» on Gaga, and the challenges of
filming sex scenes, plus there's a telling moment when Curtis asks «Is Gaga a
character?»
Captain America: Civil War was smart enough to act as a soft origin story for Black Panther, using a handful of well - placed scenes to introduce the
character among the melee of the rest of the
film, so that when Black Panther proper came out, we were already more or less up to speed.
One obvious reality is that the
film condenses the text to fit a reasonable runtime of 133 well - paced minutes, with Charles» eccentric widowed father and the youngest Flyte sibling appearing to be the most reduced
among principal
characters.
The college - lampoon mood is set early, with a title sequence promising,
among other
characters, «a British villain» and «a sexy chick,» and explaining that the
film is produced by «some asshole» and written by «the real heroes here.»
Though he'd built up a strong reputation
among critics and cineastes in the 1960s with darker
character work in
films like Cast a Dark Shadow (1955) and the daring masterpiece Victim (1961), he was best known to the public as Simon Sparrow, the heartthrob comic lead in Doctor in the House (1954) and four subsequent sequels.
Before the opening credits, the
film presents a series of conversations
among the
characters which make little to no sense.
Among the 2017
films that include LGBTQ
characters, gay men were most present (64 %) followed by lesbians (36 %) and bisexuals (14 %).
A Legendary Pictures production acquired by Netflix after the
film parted ways with Universal earlier this year, Spectral is a big action movie with a tinge of sci - fi to it, anchored by an appealing collection of
character actor or perennial supporting players at its centre (James Badge Dale, Emily Mortimer, Stephen Root and Bruce Greenwood
among them).
The
film boasts an amazing cast — Casey Affleck who can do no wrong playing a psychotic creep; Rooney Mara who has proved herself a solid versatile actor and desperately needs to shrug off the lingering Goth image festering from the wretched Dragon Tattoo
film; and a slew of excellent
character actors who I adore, Ben Foster and Keith Carradine
among them.
Directed by Bryan Singer, and written by David Hayter (from a story by Tom DeSanto & Singer) X-Men leaves out a few major
characters from the comic book (my favorite, Nightcrawler,
among them), skimps on the development of the remaining
characters, and changes around Rogue's storyline for convenience sake — all so that the
film can focus on the series» most popular
character, Wolverine (played by Hugh Jackman).
Ministers say showing the
film, which contains Disney's first ever overtly gay
character and love scene, could be in breach of a law prohibiting «gay propaganda»
among children in Russia
The three Captain Americas are
among the most clearly articulated Marvel
films, even if Civil War often gets bogged down by «Avengers-itis,» that need to involve as many
characters as possible.
Like all of Garrel's work, Lover For A Day looks magnifique, and the shifting dynamic
among the
characters — with the two young women first competing for Gilles» attention, then becoming fast friends — beguiles for most of the
film's fleet 76 minutes.
It incorporates footage ostensibly shot by the
characters among more traditional camerawork and
filming technique.
These are the only
films among his 17 features and TV dramas in which Leigh focuses the narrative on a single
character.
That Song to Song moves past figurative framing in its immersion into a female
character's life suggests an evolution that may not readily announce itself
among the
film's more expected retreads of the Malick house style.
As a longtime
character actor who has shined
among ensemble casts (think: Juno's deadpan dad or Bob, a laid off white collar worker, in two of director Jason Reitman's Oscar - bait
films), Whiplash co-star J.K. Simmons appreciated receiving the Spotlight Award at the Palm Springs International Film Festival.
Using cinematographer Hossein Jafarian's crisp images, Farhadi develops the mode of camerawork that would characterize his subsequent
films, a technique that involves constant movement and reframing (especially in the apartment's beautifully designed interiors) in order to follow the shifting of perspectives
among characters as well as the story's emotional twists.
Similarly premised on a tipping point between synthesis and disarray was the Kiwi anthology Waru, an unprecedented collaboration
among eight Maori women filmmakers, each contributing a 10 - minute short
film linked in more and less obvious ways to the funeral of the title
character, a young boy who died amid dubious circumstances.
A.O. Scott,
among many others, has written about how the
film might turn some people off because of the relative affluence of its main
characters, whose «rich people» problems are sure to be the envy of some viewers.
The
film was previously titled Alien: Lost Paradise and the studio's description does not include any of the other lead
characters from Prometheus, played by Noomi Rapace
among others.
Among the high - profile premieres this year are «Antz,» the new Dreamworks animated
film; James Ivory's «A Soldier's Daughter Never Cries,» with Kris Kristofferson playing a
character inspired by novelist James Jones; «Dancing at Lughnasa,» starring Meryl Streep in the
film of Brian Friel's celebrated play; John Waters» «Pecker,» with Edward Furlong as a fast - food worker whose photos are embraced by the New York art world; Helena Bonham Carter and Kenneth Branagh in «The Theory of Flight,» about a work - release prisoner assigned to a woman with Lou Gehrig's disease; Ben Stiller as a drug - addicted TV writer in «Permanent Midnight»; Christina Ricci in «Desert Blue,» about slim prospects for a teenager in a town of 89 people; «The Imposters,» the new
film by Stanley («Big Night») Tucci, starring Tucci and Oliver Platt as cruise - ship stowaways; «Rushmore,» with Jason Schwartzmann as a prep schooler who is a lousy student but hyperactive in campus activities; Cameron Diaz in «Very Bad Things,» about a bachelor party that ends in murder; Cate Blanchett as «Elizabeth,» the story of England's 16th century monarch, and «The Judas Kiss,» with FBI agent Emma Thompson on the trail of the kidnapper of a computer genius.
Cast-wise, Independence Day 2 is expected to bring back
characters from the first
film — like former U.S. president Thomas J. Whitmore (Bill Pullman) and MIT graduate - turned cable repairman Dave Levinson (Jeff Goldblum)-- but Captain Steven Hiller (Will Smith) won't be
among them.
Not only was Damon's
character one
among several focal figures in a
film with several story threads --» He doesn't speak with a British accent, and he doesn't stammer.»
A consummate
character actor who's beloved in the industry, Rockwell was also helped
among voters by the size of his role and the dramatic turnaround Dixon takes in the
film's plot, eventually forming an uneasy alliance with the main
character Mildred (Frances McDormand).
While the battle scenes can only be viewed as impressive from a visual standpoint, where the
film finally shows its fatal flaw is in the utter lack of emotional grip, as
characters live, love and die, and yet no tears are shed
among a viewing audience despite following these hearty heroes for over eight total hours of
film time.
Also like previous Disney animated
films, there are some cute and funny animal
characters that will steal your heart,
among them a dimwitted chicken and the cutest piglet you've ever seen.
So, it leaves the door open for ambiguity and debate
among viewers about whether the
character truly died at the end of the
film.
Most notable
among these is the gently playful shoehorning of genre elements into a whispery
character study: 40 - odd minutes in, the
film casually yawns, stretches and takes up an shaggy - dog mystery plot born of the director's love for detective fiction.
Among the other fiction
films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a
character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror
films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.
Biggest Opening By A Film With A Black Lead
Character:
Among the top 25 openings of all - time, only two
films have black lead
characters: «Furious 7» with Dwayne Johnson and «Suicide Squad» with Will Smith.
In a tradition ranging from the kitchen - sink realist
films of the late»50s and early»60s to the contemporary works of Mike Leigh and Andrea Arnold, English movies set
among the working classes have tended to have fatalistic trajectories and miserabilist aesthetics, underlining their drabness to reflect their
characters» sense of hopelessness and to visually convey a lack of upward mobility.
Roberts may not exactly be deserving of all of the hosannas Simone receives in the
film, but she definitely holds her own
among the seasoned pros and has a natural magnetism that makes her
character's sudden superstardom believable.
And Stan impresses as a portrait of beta - male monstrousness; there's a complicated nasty «nice guy»
character, a meek abuser, that might have interestingly been expanded upon here
among the
film's he - said, she - said comic abuse sequences in which Harding and Gillooly beat up on one another for broad laughs to the sound of 1970s pop music needledrops.
It goes without saying that the visual effects (especially during the climax) in this Marvel
film are stellar, but it's the shared moments
among the
characters that highlight the
film.
It's the job of the femme fatale to create castration anxieties
among male
characters and audience members, anxieties that are then obliterated at the end of the
film by her being punished in some way.
Writer / director J. C. Chandor (whose first feature, Margin Call, was
among the best
films of 2011) offers an object lesson in the virtue of understatement in this one -
character drama featuring Robert Redford.
Inspired by the Michael Crichton
film and created for television by Nolan and Joy, Westworld stars Evan Rachel Wood, Thandie Newton, Ed Harris, Jimmi Simpson, Jeffrey Wright, James Marsden, Ben Barnes, Luke Hemsworth and Tessa Thompson,
among a larger and absolutely outstanding cast of supporting
characters.
To those that aren't inclined to like a movie like this, never really enjoying
filmed plays, musicals, or
films with overt messages that come across like heavy - handed Public Service Announcements more than real stories about real people, you'll probably want to avoid this, as the music not only is unrelenting, it is the sole source of conversation
among characters for most scenes.
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.