Sentences with phrase «by the cast really»

The performances by the cast really make the script and the film come alive.

Not exact matches

I'm sorry but you're not making an argument to counter his, you have no references or citations to back up such a claim and so you revert to attacking this man by calling him gay??? really, you think your the world authority on the bible when then you start casting stones left and right and attacking your fellow man?

He writes that though being family - oriented is an «image Chip and Joanna work hard to convey,» he casts doubt on how authentic those values really are to the couple: «I've always believed that we prove what we value most by where we choose to spend our time.

We cast a really wide net and said anybody who's touched by loss at any gestational age or loss of an infant or anywhere in the process, we want to be a resource for those people.

It is not helped by the fact the cast appeared to not really know what kind of movie they were making.

Driven along by a decent cast who really turn it on during the musical moments, letting their steps tell the story.

There's really nothing more to this by - the - numbers, ailment - of - the - week fodder dressed up with a classy cast.

A meandering, whimsically surreal comedy with an indie / Euro sensibility that wants to say something important about Life but never really gets around to it; fortunately, there are some standout individual scenes from the top - notch cast, including a running NORTH BY NORTHWEST gag.

Another thing holding the film back, while it does have a decent idea that they do not go as far with as they could, is that the acting by some of the cast is really fucking bad.

The film strength is really in the performances of the cast, and the strong script by David S. Ward.

Buoyed by a winning cast, The Overnight unfolds a bit like a really, really long and drawn - out and kooky foreplay session, with the sexual tension between all parties rising nicely notch by notch with each passing scene.

This movie doesn't really have much purpose, especially considering the amazing ending to the first film, but it's a ok watch which is boosted by the performances from the original cast.

Whether it's because we're particular fans of Hillcoat or because this cast feels so right, this hitman series is definitely one of the ones we'd be really sorry to see fall by the wayside.

While this film's title may suggest numerous settings and a large cast, this dramedy by writer - director James C. Strouse (Grace is Gone, 2007) is really a snapshot into the lives of a few people who are struggling with careers and evolving relationships.

«Playing with Dolls: The Making of Curse of Chucky» (16 mins., HD) «Fans really want Chucky to be scary again,» says Mancini in a soundbite at the very beginning of this EPK fodder anchored by interviews with cast and crew.

The director tries his best with these people given to him by a book and a TV series, but all he can really do is cast them as big actors and hope that this is good enough.

On a whole the film was well cast — there's really not a weak link among the background players portrayed by Alec Baldwin, Russell Brand, Paul Giamatti, Mary J. Blige, Malin Akerman and Catherine Zeta Jones.

The protagonist is such a profoundly boring and uncharismatic character, as played by Jack Lowden, that it falls to these successive manic pixie dream girl archetypes to push him into doing really anything at all, and when his efforts fail - which they almost always do - they are cast aside.

By the time the absolutely inexplicable final 20 minutes rolls around (in which David takes to cross-dressing), All Good Things has certainly cemented its place as an utterly misguided piece of work with little worth recommending - which is a shame, really, given the presence of several undeniably talented performers within the supporting cast (Frank Langella, Philip Baker Hall, etc).

It's really hard not to view DC's version of «The Avengers» without the long shadow cast by the rest of the comic...

It has a really game cast with grown ups played by men who are former young hotshots aging into respected veterans, and teens played by young women who were on a roll at the time but never got their proper due.

This is the film where Stone really established herself not only as a star but as an engaging and charismatic actress, before her profile was boosted by her casting in Marc Webb's reboot of Spider - man.

The clip showcases the cast of the game, from the classic series to Dragon Ball Super, alongside some really spiffy animation and battle scenes, all topped by heavy - metal music.

There's nothing revelatory in the enraged critique within Maps to the Stars, although it is carried somewhat further than its limitations by some really wicked humor and a few of the performances (Almost every member of the cast is playing some variation of an irreparable person, but Moore, Wasikowska, and Bird are the most convincing of the bunch).

The film is directed by Richard J. Lewis (not the comedian) but is really a product of the amazing story and talented cast led by the extraordinary performance of Giamatti.

We don't really know much about the film at the moment, but we do know that Demian Bichir has been cast as a priest named Father Burke who is dispatched by Rome to investigate the mysterious death of a nun.

As one of the main relationships in «Season of the Witch,» the two easily made it seem as though Behmen and Felson had really fought side - by - side for years, despite the fact that the cast only received only two weeks of sword training before shooting began.

Also really terrific in this exceptionally bright young cast is her BFF, Julie played to perfection by Beanie Feldstein (who also happens to be Jonah Hill's sister).

Superbly acted by the entire cast, beautifully directed by Inarritu, the cinematography is gritty, exciting and captivating; BIRDMAN really takes flight into a unique world of its own individuality.

But if nobody would really talk to each other like that in real life, there's a sincerity to be found in the unglamorous low - budget family life (they decorate granddad's cupboard with «the poor man's IKEA» — a skip) and the young cast, led by an excellent Helen Monks, yell things like «I'm part of the digital generation!»

However, by the time the action really kicks in, I was completely sold (not that the cast and director alone wouldn't have sold me on it anyway).

Not really a good film by any stretch of the imagination, Corvette Summer has an oddly quaint charm at times, and an interesting cast of recognizable supporting characters, including Annie Potts (of TV's «Designing Women» and Ghostbusters), here in her feature film debut.

It's really dull, except for two elements: First, the performances by Plummer and Langella, in particular, as well as the rest of the cast.

The polysexual hothouse beginning is really just the jumping - off point for a wacky assembly of cults, messiahs, and apocalypses, faced with ticklish aplomb by a cast that includes Juno Temple as a shagtastic party minx and, in a nearly unrecognizable cameo, longtime Araki axiom James Duval.

It is one good - looking cast and Guadagnino is not afraid to use that to his advantage by complicating new attractions with old relationships and illuminating that nothing can really go right.

Its entire cast save for a slumming Plummer (and that's really saying something) is a giant sucking vortex at the center of an already empty picture, and its screenplay is so rudderless and random that it might just as well have been written by the vacuous pre-teens who most likely comprise its key demographic.

So you were talking about this kind of karmic circle where it comes back around — where now «Hoop Dreams,» a film Ebert helped make successful, he was someone that shined a light on these less - well - known films that had weaker marketing budgets or so forth, drew people's attention to Errol Morris, who you saw on screen, really helped launch the careers of some of these people by shining that light on them... and you were saying how from your experience as a critic and all that, you say in your own words, you yourself feel the same desire, that your job is to cast that light.

It brings more of the same with the chemistry between Will Smith and Tommy Lee Jones, but it's Josh Brolin as a young Agent K in 1969 that really livens things up, not to mention a fun villain in Jemaine Clement, and great supporting bits from Michael Stuhlbarg, Bill Hader, and one hilarious surprise cameo by a certain «Arrested Development» cast member (we won't spoil who).

But while those are obvious comparisons, they aren't inaccurate; the film, with it's super small cast and minute - by - minute struggle, really feels in line with the very first episode of The Walking Dead, which featured primarily one man coming to grips with his harrowing reality.

What is basically a predictable rom - com is elevated by a really strong cast.

By creating the animosity between Tim Allen (as the Shatner analog) and the rest of the cast, the film sets up a really simple proposition — there's no deep redemption here, he just has to stop being such a dip.

The film has massive amounts of gunplay, but is really carried by its cast, which includes Sharlto Copeley, Bree Larson, Armie Hammer, Cillian Murphy, Jack Reynor and more.

The film is directed by Joseph Kosinski, whose previous and debut film was TRON: Legacy (which I actually really enjoyed), and has quite an impressive supporting cast including Olga Kurylenko (Quantum of Solace, Seven Psychopaths), Andrea Riseborough (Shadow Dancer), Melissa Leo and Morgan Freeman looking as cool as ever.

This tired and slapped together sequel, Deep Blue Sea 2 (2017) follows essentially the same narrative structure only with a less interesting cast you don't really care whether or not they get eaten by genetically enhanced sharks or not.

While Ben Affleck (Jay & Silent Bob Strike Back, Pearl Harbor) does an adequate job as the corruptible attorney, it's really Jackson (Formula 51, Unbreakable) and a very good supporting cast that gives the film a solid acting foundation to be almost believable, with especially good performances by Sydney Pollack (Random Hearts) as the experienced, seasoned partner in the firm and Kim Staunton (Holy Man) as Jackson's wife.

Which is a shame really, since a cast as fine as Ben Stiller (working his understated poor - guy sincerity to the limit), Eddie Murphy (showing hints of the comedic actor we all wish he'd remember how to be), Matthew Broderick (whose hangdog eyes and casual smarts are sorely wasted), and Alan Alda (who, it must be said, absolutely kills it as the smarmy rogue financier) are ultimately undercut by a film that can't quite decide how angry (or how funny) it wants to be.

But where All Cheerleaders Die really hits its stride is with its phenomenal cast that is led by a handful of great actresses who look like they're having a blast.

But really, he began his career by working steadily in interesting British television since the mid-2000s, including the groundbreaking drama «Skins,» «Doctor Who,» and the Danny Boyle - directed «Babylon» (which is not streaming, but worth tracking down if only for the rest of the cast, which includes Brit Marling, James Nesbitt, and Paterson Joseph).

The rest of the cast never really get room to shine as it is a very one man show and some rather static direction from John Irvin lacks the kind of visual flair and imagination brought to the screen by the likes of Tarantino and Rodriguez.

I think that the addition of Bernadette and Amy, amazingly played by Melissa Rouch and Mayim Bialik respectively, really compliments a lot more to the original cast with added depth.