Fassbender isn't often
cast as the family man (Steve Jobs was hardly the best example) and here it works well.
Not exact matches
would his community and
family and job
cast him out
as they did with this
man?
So
as the lots are
cast to choose the guilty tribe, clan, and
family, you can imagine thousands of nervous
men breathing a sigh of relief
as they get passed over by the
casting of the lots.
Cast as a
man whose desperate attempt to escape the monotony of suburban life includes a bundle of large helium balloons and a lightweight deck chair, Ifans charmed Australian audiences in the
family - friendly effort.
As for the
cast, the only ones worth mentioning are Daniel Stern's frenetic guilt - ridden
family man and Leland Orser's mechanic who decides to reform and join Greenpeace.
The
cast is easy on the eyes: Tom Hardy
as the eldest brother Forrest, who,
as reputation has it, can not be killed; Jason Clarke
as Howard, the fearless middle brother who's batshit crazy when he's been consuming the product; and Shia Lebeouf
as the youngest brother Jack, an aspiring lady's
man who still has a lot to learn about the
family business.
The film works best
as an allegory of what
men fear: loss of
family, loss of profession, loss of respect, loss of sanity (resembling in this aspect the suburban unease of the director's Arlington Road), going so far
as to
cast a woman (Laura Linney)
as the film's only representative of order.
Had this Taken on a Train redux a good shake more intelligence and a portion less generic action hero fisticuffs,
casting Neeson
as down - on - his - luck ex-cop turned insurance - hawking
family man Michael MacCauley would make perfect sense.
Affleck plays the central character, Bobby Walker, a suburban
family man whose $ 180,000 salary supports a plush lifestyle, and Wells follows him over the course of a year
as he suffers the humiliation, rage, despair, and self - loathing of a
man cast out of his workplace.
M.V.P: The
cast is flawless, but it's New York - born Peyman Maadi who has the heaviest lifting to do
as Nader, and he does that carrying like Atlas; never putting us in doubt that he's a good
man, but one loyal to his
family to a fault, and just shrouding his motivations away from view enough that the film's central question remains in question.
A
family - therapy road trip in which the key to getting along appears to be forgetting everything you've learned about life, Shana Feste's Boundaries
casts Vera Farmiga
as a woman who just can't abandon the old
man (Christopher Plummer) who abandoned her time and time again through her life.
He
cast old pal Paddy Considine, who had been gripping
as a volatile loner in «A Room for Romeo Brass», and went for the jugular with this tale of a
man who seeks and dishes out violence in revenge for something terrible that happened in his
family's past.
The shadow of shame and genuine bewilderment is
cast over these
men's interactions
as they figure out the complicated language of women and
family.
There are teenagers who perfectly fit the stereotypical image that the media loves so much of comic - book fans, little kids who love anime, young boys and girls out with their confused parents, cosplaying parents out with their confused children, entire
families dressed up
as the
cast of Firefly or
as Star Wars characters,, bemused grandparents being lead around with a smile on their face that suggests while they are a little baffled by the entire thing they're having a good time, middle - aged
men and women who look like they've just come straight from work and enjoy a good comic and every other type of human in - between.