Sentences with phrase «bit parts in this film»

For the next three years, he had little but bit parts in films, some of them major productions.

Written and directed by actress Adrienne Shelly, who also has a bit part in this film, I»LL TAKE YOU THERE is an offbeat black comedy that has many bits and pieces that make it worth watching, but as a whole isn't quite substantial enough to remember long afterwards.

But let's be clear, Dowd is character actress, something of a journeywoman, who spends most of her time in the theatre and in bit parts in films.

Gary Barlow, a well - known popstar in the U.K., is the first celebrity to admit he's got a bit part in the film.

First off, it is significant that so many outstanding performers are willing to play bit parts in this film.

Not exact matches

There was a little touch of film of the white on the outside but I took care to make sure he did not have the white part in his bites.

He subsequently specialized in performing in low - budget features, though he has occasionally won bit parts in larger films such as The Executioner's Song (1982).

A humorous bit - part as a conservative 12 - year - old facing the wrath of a group of lethal liberals in 1995's The Last Supper dropped a dollop of humor in the mix before Moss returned to more dramatic roles in Separate Lives (1995) and A Thousand Acres (1997), and the talented young actress continued her winning streak with roles in such diverse films as The Joy Riders and Mumford (both 1999).

Tequila took one of her premier film bows in 2007, with a bit part as a Hooters girl in the Adam Sandler comedy I Now Pronounce You Chuck and Larry.

His first film role was the bumptious backwoodsman Whitey in Buster and Billie (1974), after which he paid his dues in a series of villainous bit parts: shooting down Burt Reynolds at the end of Hustle (1975); beating up Kris Kristofferson in A Star is Born (1976); and so on.

He entered films as a dialogue director in 1929 (The Love Parade [1929], The Benson Murder Case [1930]-RRB- before embarking on a long career as a bit part player.

He continued doing bit parts, but after 1935, his films grew fewer in number and the parts much bigger.

Robert Greene's film follows the actress Kate Lyn Sheil as she prepares to play Chubbuck in a project that's part documentary, part fiction and a bit too much navel - gazing.

Though she would first gain notice as the dutiful daughter of an Asian - American family attempting to bridge the gap between the past and the present in The Joy Luck Club, Tom had already been acting in film and television for over a decade — her career gradually gaining momentum thanks to bit parts in such films as Wall Street, Blue Steel, and Cadillac Man.

It is a bit odd to point that last part out, given that the film celebrates the Day of the Dead, but then again, there is a lot of odd charm in this film that may be overstuffed with ideas, but is so lighthearted and fun, it is easy to look over some minor flaws, when it comes down to supporting a nice little animated film such as this.

Thanks in large part to the independent film movement of the late»80s, the boyishly handsome James LeGros went from being an underrated bit player in Hollywood schlock to a well - respected character actor.

The standout performance of the film, however, goes to Dr. Ken Jeong, who has previously only played bit parts in Judd Apatow productions like Knocked Up, Step Brothers and Pineapple Express.

Even though the comedy might be a little bit subtle in some parts of the movie, I would definitely recommend this film to anyone looking for a nice, heart - warming tale.

Rami Malek — who, in an amazing bit of timing, signed on to the film just before the debut of Mr. Robot — stars in a dual role as Jonah, a modest family man who works overnights at a hotel and dreams of buying a plot of land in the mountains, and as Buster, an anarchist vagrant who survives by breaking in to the empty vacation homes of wealthy part - time Montana residents.

Now part of AMC Networks and no longer affiliated with the film festival that gave it its name, Sundance (who, full disclosure, employs my boyfriend), has been on a bit of a roll since it dipped its toe in the development waters.

was surprised just how good this film is.The humour and pathos of this film is quite moving.There is no - one remotely attractive in the cast, it is full of strange looking redneck Americans living in semi wilderness.Everyone is poverty stricken.The sadness of old age is there, as is the regrets of past memories, and the desperation of the son to heal the wounds of his father's past life.The acting is brilliant even with the bit part actors with the sunburnt aged faces.The fathers grumpy reticence is counters by his truculent wife, who never has a good word for anybody with her vicious put downs, which is at times laugh out loud funny.A funny sad and moving film about the sheer desperate meanderings of life and old age.

Goodman known mostly for scene stealing bit parts in Oscar winning pictures like «Argo» or «The Artist» is the real star of the film.

It's not even that the film shifts wildly in tone as much as the fact that none of those tones work at all: the horror parts aren't scary and, surprisingly for Smith, the comedy bits aren't funny.

Very exciting, it's been 8 years since Primer (a science - fiction favourite in these parts), and while the writer / director's screenplay for «A Topiary» never got made into a film, he whipped out this surprise to many earlier this week by way of the festival announcement and a very shiny bit of key art which confirms that Carruth will star in the film along with Amy Seimetz (A Horrible Way To Die).

Joan probably remains the most opaque character in the film — The Squid and the Whale is in part about the children's re-discovering of their mother after all — but Linney puts in a heartfelt performance every bit as good as the one we witnessed in You Can Count on Me.

The film, based on the nonfiction book Unbroken: A World War II Story of Survival, Resilience, and Redemption by Laura Hillenbrand, showcases the parts of Zamperini's life that took place both immediately before and during WWII — with a bit of childhood flashbacks thrown in for story purposes as well.

While Bana is good in his role, it doesn't really require much of an acting stretch on his part, so I suspect he did the film just for a bit of fun to get away from the darker films he had been doing.

The real problem for me is that a Woody Allen film without Woody Allen in the central acting role is really a poor copy of his earlier films.Blanchet plays the crazed anxious neurotic, which is the part the Allen always played.No - body can do, the highly strung, manic neurotic part as well as him, and Blanchet whilst decent can not match him.A decent enough film, but perhaps a bit dry in it's delivery

By 1945 he'd appeared in two dozen films in two years, often uncredited (or billed as «Bob Mitchum») and usually cast in a bit part as a serviceman.

Part of the reason why the film is crippled comes from some less - than - stellar casting of the lead role in Canadian Jeff Cooper, known primarily for bit roles on various TV series.

It sounds like, despite questions about how exactly Colin Firth fits into the equation and the setting of at least part of the film in the United States, there's going to be quite a bit of continuity: same director, same writer and, according to Goldman, a similar mindset as the first film.

Monroe's part in the film is relatively small for such a starring icon, but she does some things a little bit outside of the perfect beauty.

In my humble opinion, I believe that both films are, as a whole, greater than the sum of their parts, primarily entertaining because of the choice key bits of hilarity and satire that, when strung along successfully, manage to make them very funny to quote from, despite the fact that they aren't really brilliant ideas in and of themselveIn my humble opinion, I believe that both films are, as a whole, greater than the sum of their parts, primarily entertaining because of the choice key bits of hilarity and satire that, when strung along successfully, manage to make them very funny to quote from, despite the fact that they aren't really brilliant ideas in and of themselvein and of themselves.

As brilliant as I find the film in its parts, as a whole I can't completely rave, as the film does falter a bit due to a lack of focus and there are some weak scenes, especially as the film nears the ending, which should have been edited out of the rather long film to make sure the storyline stays tight.

For his part, Martini is clearly trying to go for a stylized, hyper - real effect in which everything looks normal but is a bit off but his results are off in all the wrong ways — the film feels as if it was made by someone who has been charged with making something in the tradition of «Blue Velvet» and «Donnie Darko» but who never actually got around to seeing them and is basing his work on what he thinks was in them.

It's essentially a love triangle where one part of the tripod doesn't speak, allowing the film to reflect on the social realities of being middle - to - lower - middle class in New York City and wanting to indulge in a bit of luxury once in awhile.

While 2083 might be a bit of an exaggeration, Marvel's Phase 3 film slate does take the studio through to 2019's Avengers: Infinity War Part 2 and Inhumans, but with no Ant - Man sequel in sight.

Ramsay and Phoenix both looked a bit out of place while seated together in the restaurant lounge of a nouveau - chic luxury lodge in Park City, Utah, when the film played earlier this year as part of the Sundance Film Festival.

Stiller's cancelled sketch shows betray a mastery of aesthetic parody, so it's no surprise that the best parts of Reality Bites tend to zero in on a target, usually some facet of MTV programming; the closing credits of the film are interrupted by a burlesque of the typical Troy - Laney interaction that divines, with formidable accuracy, the network's fate as the Squaresville home of ostensibly trendsetting fare like «My Guide to Becoming a Rock Star» and a deplorable modernization of Wuthering Heights.

«Some of the critics who saw the movie said there was no humor to it...» I du n no... maybe they didn't see this film, because there was quite a bit of humor in it, and there were parts where I cracked up.

And it's fascinating the way that Buscemi — in his first starring performance for the Coens after three consecutive bit parts — so often operates as our interlocutor in the film: the «sane» one despite his criminality, untouched by the weirdness of «Minnesota Nice,» who merely wants everything to go as planned, and who bit by bit comes violently unglued as it doesn't.

(She's a highlight of the film, receiving a juicy zombie part where she gets to bite poor Augie in the ass.)

Carol Kane is reduced to a thankless bit part (for her second Disney film in a row) as a quirky, accented and soon dismissed nanny.

Although this montage is strangely missing some of the hijinks found in a short blooper featurette distributed online last year as the most viral part of the film's marketing campaign, a bit of that content surfaces later.

6:30 am — TCM — Roberta Apparently the studio still didn't trust Fred and Ginger to carry a film; this time they're second leads behind Irene Dunne and Randolph Scott, but at least Dunne and Scott are decent actors and Roberta has a fair bit of charm outside of Astaire and Rogers, due in no small part to a solid score by Jerome Kern and Otto Harbach.

God's Pocket wants to be from the same school of dark comedy that the likes of the Coen Brothers or Spike Jonze do so well but Slattery can't pinpoint a focus on a film that is filled with too many subplots and bit part players that just don't get enough to do in the picture.

2:00 am (11th)-- TCM — Roberta Apparently the studio still didn't trust Fred and Ginger to carry a film after their debut pairing as second leads in Flying Down to Rio; this time they're second leads behind Irene Dunne and Randolph Scott, but at least Dunne and Scott are decent actors and Roberta has a fair bit of charm outside of Astaire and Rogers, due in no small part to a solid score by Jerome Kern and Otto Harbach.

Deakins gets a bit experimental in parts of the film, toying with thermal imaging and night vision photography to thrilling results.

As I mentioned in the intro, Full Throttle is a bit more coherent than the first film, and unlike its predecessor, they actually construct each scene as part of the overall plot, even if it is sometimes tangential.

I get the impression Turing even got better covered as a bit - part in Neal Stephenson's CRYPTONOMICON than in this film.