Sentences with phrase «best screen characters»

Five of this year's best screen characters appear in this comedy - drama about a relatively ordinary...

Not exact matches

Marvel has a pretty well - established history of remixing and streamlining the best and most iconic of the many looks each of its characters have sported over the years for their big - screen adaptations (in a funny bit of symmetry, the movie designs usually end up influencing how a character will look in the comics afterward).

More than one thousand produce professionals posed in front of a green screen, donning their best comic book character impressions.

The main character certainly gets up to all kinds of humorous situations which would transfer so well to the screen.

Gosling and Stone have great chemistry and are generally a joy to watch on screen, but that doesn't change the fact that characters in a musical should be, well, musical.

Best known today for playing Officer Torch in Universal's Flash Gordon serials, American character actor Earl Leslie Askam had studied voice in Italy and appeared in numerous stage operettas prior to making his screen debut in 1930.

Kevin Smith adopts stylistic tactics from Edgar Wright «s «Scott Pilgrim vs. The World» and introduces characters via Instagram - like info cards that will probably play better with the pause function of home media than they do on the big screen.

There is something of an emotional commitment brought to the storyline by the characters in this film, which really comes across well on screen.

She played a similar character the same year on the small screen, taking a memorable turn as ex-pep queen turned good - time girl Connie Bradshaw in PBS» Tales of the City (she would later reprise the role for More Tales of the City in 1998).

B - or C +: Good acting but could not connect with any of the characters; also reminded me more of a TV movie special than a big screen movie.

Good acting, great development of characters; but you can summarize this way: you will be surprised with the strange sensation that someone has taken a peek into your memories and heart and put it on screen.

Considering all the actors were given such flat characters to portray on screen, they did a pretty good job.

Dexter and Lumen's dynamic with each other works really well on screen and she is a character that you really want to root for.

I never get tired of seeing this story played out on screen and the characters are just so well managed.

The quiet and intimacy of what is essentially a two - character piece are well juxtaposed by Brooks against the vast desert expanses of her home country, captured in sumptuous wide - screen cinematography by the great Ian Baker.

A movie with the bleakest vision of Wolverine yet, but also hands down the best treatment the character has received on the big screen in the fifteen plus years Jackman has inhabited the role.

Studi brings gravitas and sensitivity to the project, and Pike gives her best performance ever playing a character who changes from an extremely frightened victim to one of the strongest women I've seen on screen during the past decade.

In 1964 The Best Man was the first of Vidal's plays to be adapted for the screen by the author himself; Frank Capra had wanted to option the piece, but couldn't console himself with the fact that all of Vidal's characters were atheist.

The partnership of Ladd and Lake worked well but I didn't think they spent enough time on screen together and Lake's character was a little irrelevant to the rather workmanlike plot.

Critics Consensus: It's made the journey from stage to screen somewhat worse for wear, but Jack Goes Boating remains a sensitive, well - acted character study.

At his best, Bay is like Frank Capra on crack: the screen is littered with minor characters and throwaway jokes zing by with Zucker - like speed.

Critic Consensus: It's made the journey from stage to screen somewhat worse for wear, but Jack Goes Boating remains a sensitive, well - acted character study.

Not necessarily the best or the smartest or the most inventive, but to me a perfect alchemy of fun characters, snappy dialogue, murder mystery complications, gooey forensics and, most important, screen chemistry bonded to perfection, and not just the tremendous love and loyalty between Bones and Booth.

Perhaps the character - screen time ratio will be addressed better when Infinity War: Part 2 hits cinemas in 2019, but this half really is Civil War on steroids, landing us in the thick of it from the opening credits and itching for a fight even in its quieter moments.

The characters still make horrible choices which impact their immediate families and friends, but the looming dread and depression are replaced by a lighter air, snappy one - liners, and does its best to keep the grief off screen.

That he is the one to finally bring Howard's character to the big screen has to count for something, but good luck finding anything resembling passion in this filming or its original story supposedly intended to start a trilogy.

Surrounding our two leads are a wonderful assortment of great character actors: George Kennedy, Murray Hamilton, Mike Kellin, a young James Brolin, Hurd Hatfield, William Marshall, an early appearance by the great William Hickey (Prizzi's Honor), as well as the big screen debut of Sally Kellerman.

One of the better big screen adaptations of a small screen television show, The Addams Family may not be completely faithful in its adherence to the characters and humor of the TV show, but it does work well in terms of entertaining on its own terms.

With a strong Guy Pearce performance, and supporting characters that are surprisingly rounded given what little screen time they have, it's a good drama that hits upon themes of accepting one's mortality, living without fear of the inevitable, and treating those around you as if your existence on this plane were about to expire at any time.

Well, Shane Black — who played Hawkins opposite Schwarzenegger in the 1987 original — responded to a fan on Twitter that, basically, Arnold wanted more screen time than his character was originally given.

With a feature film reboot of Red Sonja stuck in development hell for the best part of a decade now, it seems that the character may be heading to the small screen, with Bleeding Cool reporting that X-Men: Apocalypse director Bryan Singer is developing an R - rated TV series.

Mark Steven Johnson's 2007 attempt to bring Ghost Rider to the big screen didn't turn out particularly well, and although many believed that would be the last we'd ever see of Marvel's B - list antihero, Sony decided to give the character another shot with this equally shoddy reboot by Mark Neveldine and Brian Taylor.

On Nintendo Switch I've dived deeper into other modes than ever before, and the ability to play as Linkle and all of the DLC characters I missed out on gave me hours of fun, made even better by local multiplayer on the big screen — my favorite part of every Warriors title.

Jordan gave it his all to bring the best possible big - screen iteration of Killmonger to life - so much that the character stayed with him, even after principal photography on the movie had wrapped.

Jackman has done a wonderful job in the role, widening the character's popularity from a comicbook fans to the general cinema - going public: It is only well - earned audience affection that allowed him to survive the execrable X-Men Origins: Wolverine, as idiotic a film as has ever had the misfortune to be screened publicly.

Powers Boothe with his daughter Parisse (both acted in DEADWOOD) at a 2006 Emmy partyThe Emmy winning character actor Powers Boothe, best known for screen villains on TV (Deadwood, Nashville) and in movies (Sin City, Tombstone) died yesterday morning in his sleep from natural causes.

Visually, this box office smash represents one of Disney's finest hours, with meticulously drawn characters and backdrops as well as a color palette that explodes off the screen.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Naomi Watts — so wonderful in better horror fare like The Ring or thrillers like Mulholland Drive and Funny Games — does the best she can here with a comparatively inferior character, but Charlie Heaton, who broke out as the protective and lovelorn older brother in last summer's Stranger Things, and Jacob Tremblay, Oscar - nominated for his role in 2015's Room, are stymied in roles that require too little in the way of nuance or are lacking in enough screen time to show real depth.

Davis had another professional rendezvous with Walt Disney in 1959, when she was approached about portraying one of the characters in the animated feature 101 Dalmations — Davis voiced the part of Anita, and the movie went on to become her best - known screen work.

Thus you get stuff like the Wreckers, who even the other characters in the film describe as «assholes» who get more screen time than most of the other Autobots in the film despite not appearing until well into the second half.

Seriously, I must confess that Carrell and Fey can be likable people on screen and yet I often watch The Office in spite of Carrell's character, not because of it, and the best thing I could say about Fey's character is that I have yet to see her play a role that was really bad but then I have yet to see her play a role that really wants to make me see her play another role.

Not incredible — certainly no 60 FPS, but instead it runs at a consistent 30 FPS, meaning that if anything, the framerate is better than what you might see from the Switch version running in Quality mode; there are less characters on screen in the 3DS version and it's a much lower resolution of course, but in terms of playability it's not bad at all.

The blocky, digitised characters that made MK's name work well on the small screen, and the angular d - pad captures the nostalgic essence of bashing away on an inappropriate 16 - bit joypad.

It's not much of an achievement that co-directors Anthony and Joe Russo (held over from Captain America the Winter Soldier) make a better film than Zack Snyder... but it's worth noting that Marvel (corporation as auteur) have nurtured their characters (even in weaker films like Iron Man 2) to the point when they carry more screen weight than lasting icons Batman and Superman.

Other characters are brought on and primed for spin - offs: Tom Holland's Spider - Man, the second big - screen reboot of Spidey this century, impresses in a chattery cameo; Chadwick Boseman's Black Panther (a black character who isn't primarily someone's second best friend) is fluid in action and stiff out of costume in a potentially interesting way.

Even director Waititi gets in on the on - screen shenanigans, lending his voice to Thor's new best mate, Korg, the one character in the movie whose every dialogue becomes a quotable line to be repeated among friends after the movie.

But the biggest surprise here is that much of Infinity War fairly zips along, as directors Joe and Anthony Russo and their armies of previz teams and editors cut between dozens of competing characters and cliffhangers — they've yanked all the good parts from a colossal Marvel comic - book crossover event and chucked them onto the screen.

And once I saw that this was going to be more of an ensemble piece, I could combine more of the characters and realize certain situations would make it fit for the screen better.

His slow twist with Uma Thurman to Chuck Berry's «You Never Can Tell» certainly doesn't blaze up the screen the way his disco dancing as Tony Manero had in Saturday Night Fever, but it makes sense both for the older, doughier actor, as well as the character, who was perpetually high on heroin.