Sentences with phrase «character drama films»

OUR TAKE: Director Bennett Miller (Capote, Moneyball) is known for turning the most unlikely of stories into compelling character drama films.

Not exact matches

Toronto International Film Festival (TIFF) 8 September: Oscar - winning director, Danis Tanovic, took to the stage to resounding applause following the screening of Tigers, his new 90 - minute fact - based drama, and revealed that the character played by Emraan Hashmi, called Ayan in the film, was actually in the theatre.

It would be easy to compare the film to the gangster - full works of Tarantino, but where Tarantino is skilful at getting inside the characters of his lowlifes and making you care, Drew's motley crew of social misfits remain just movie - video ciphers, rather than the anti-heroes of an insightful social drama.

In both films the drama emerges organically from the characters, not the reverse.

Supremely and superbly character - driven, this film is a throwback to many of the best police dramas of the past.

Owens carried much of the film's story and drama, which were told in flashback from her character's point - of - view.

In other words, he's much better at effects - laden set - pieces than character drama, and this film is crying out for more of the latter.

This wonderful film could have so easily been made into a silly comedy but is fortunately instead a bittersweet drama that relies on a captivating performance by the always talented Ryan Gosling, who gives life to a sensitive character that never seems less than real.

Not bad medical drama hampered by the fact that for a great deal of the film Spader's character behaves like an idiot.

Made with deft evenhandedness, Paul Devlin's accomplished film plays almost like a fictional drama, containing suspense, comedy and some colorful characters.

The film is limiting potential enough by conceptually simply studying on Oscar Wilde's sexual revelations and their subsequent consequences, rather than the whole of his brilliant life and tragic downfall, but when it comes to the execution, not enough studying is done in this often inspired, and just as often undercooked character drama which at least finds superficiality in its resonance.

Speaking of Burton, forget the Jews, because this film really looks bad for atheists, as I can see some Bible thumper saying that the most inaccurate thing in this (Snicker, snicker) Biblical drama is Burton's character feeling guilty about killing Christ.

The film's condensation of the years that took Wiseau to get over his heartbreak regarding the unexpected laughter that resulted in screening his «drama», and finally embrace the comedic aspects of the film, takes a bit away from important character development that could have given the third act a bit more substance.

Given the film's emphasis on character and political drama, it didn't come with tons of room for involving material.

Director Karel Reisz and screenwriter Robert Getchell create a tightly woven drama with two strong main characters and a number of fine supporting roles, and the love story at the film's center is convincing.

Taking inspiration from the personal life of his leading man (Lustig is a widowed grocer upon whose stories the screenplay is loosely based), Weinstein draws on his experience as a documentary film - maker to conjure a drama rooted in the reality of these characters and their community.

As an effective drama, however, the film is frustrating in its unwillingness to engage with its characters beyond its broader strokes.

Its narrow timeframe and juddering shootout finale notwithstanding, in fact, «' 71» calls no film to mind so much as Roman Polanski's Holocaust drama «The Pianist» in its dramatic defamiliarization of urban space, and its tight focus on a single character's sensory experience of his surroundings amid broader conflict.

Now, this isn't a film that will instantly have you singing his praises from the rooftops but what it is, is a slow moving but deeply involving drama that pays attention to it's characters and their subtleties.

While there are several mile - wide plot holes and one key under - developed main character, the film emerges as a tight, intriguing old - fashioned drama that gives audiences a hero worth rooting for.

But I'm glad it did have the drama aspect because it gave the film so much more depth and character.

Above all, the film is a classic of «poetic realism,» that distinct brand of pessimistic»30s French urban drama that gave lyrical, sometimes even surrealistic, interpretations to working - class romances and underworld characters, settings and dramas.

We quickly flashback to see what caused the drama, catching the audience up with most of the principal characters from the first film, and then the story is allowed to go forward from there.

She has starred in two movies that were distributed by the Weinstein Company — the 2012 period drama «Lawless,» in which she portrayed the wife of Tom Hardy's character, and the 2013 three - film collection «The Disappearance of Eleanor Rigby.»

The Way Way Back does generate a fair amount of laughs throughout the film, but misses on the emotional level because of the underplayed drama between mother and son — a shame because Collette's character had real potential to be more than just a naïve mother who is content with looking the other way for everything in life.

The film tries to play as a realistic crime drama, but blows it with larger than life characters and situations.

While it possesses all the hallmarks that made Shelton's debut film, Humpday, so entertaining (an interesting, imaginative plot, a stellar cast, hints of poignant drama), Touchy Feely never quite makes the plight of its characters truly engaging.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

While Stephen Curry, perhaps best known for the Australian drama series The Secret Life of Us, seems game for most of the crasser elements of the film, his character of Teddy seems woefully underwritten and he never is able to bring the depth he wants to exhibit to the character.

Harrelson suffers a related problem as in their attempts to make a memorable villain, the character is overdone and comes across as a one - dimensional psychotic from an exploitation film rather than the more muted drama he's supposed to be in.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

In many ways Punch - Drunk Love could have been part of Anderson's ensemble drama Magnolia, as the characters here come together and pull away with that film's quirky rhythm.

A four - hour western with only one semi-bankable star was a tough sell — so tough that Sony finally gave the film away to Miramax, who decided to push it as a romantic drama instead of character study.

Woody Harrelson barely makes an appearance and still seems like the most underutilized star in the franchise (although Stanley Tucci gets nothing more than a cameo appearance), while Donald Sutherland is the film's greatest benefit, hitting that perfect note of high drama and total commitment to the character — they were lucky to cast him in the role.

After all, we're only talking about a film here, but from a character motivation stance, no one is affected that deeply by the experience, and therefore, a lot of drama that could have been there wasn't.

Taking a shot as a hitman in his latest film John Wick, Keanu Reeves delivers his character with authority in this explosive crime drama.

This identity disorder — Sofia is one of contemporary cinema's most filmed cities, yet rarely plays itself — is personified by the lead character (Elika Portnoy), a Bulgarian woman with multiple personalities, each one belonging to a different genre: a bespectacled, blonde educator with a controlling husband (domestic drama), a redheaded belly dancer (romance à la Zalman King), and jet - black - haired professional assassin (thriller).

Because the film contains so many characters spread out all over the globe with only a single link between each, the film plays more like an anthology (like «Paris, Je T'Aime») than a multicharacter drama whose characters arcs are linked together inextricably, like we get in, say, «Magnolia.»

However, even though there are a decent number of heavy - hitting action set - pieces, Killer Elite is a narrative mess that convolutes a pretty straight - forward plot with loads of bizarre character relationships and added «drama» in an attempt to elevate the film beyond a throwaway action experience.

Sepideh is a well - meaning character but every decision she makes somehow seems to make things worse, and Farahani is particularly brilliant in the film's gripping climactic scenes, when the full moral weight of the drama is resting on her shoulders.

The drawback is that Kunis never seems to actually buy into the mythos and world that were supposed to come out of all the green screen and CGI work; Tatum, by comparison, seems to be deep into a drama that feels out of place in a big popcorn film, and his character has little humor or charm underneath the brooding, gruff attitude, campy facial prosthetics and drag - style makeup work.

As it stands, the film's approach hovers halfway between a conscientious community mosaic — of the type John Sayles excelled in at his peak — and a more linear issue drama of the «A Civil Action» variety, though it lack the specificity of character and process, respectively, that marks the best films in either subgenre.

This zesty, defiantly awkward shambles of a film might be called a domestic drama, as it plucks its penniless main character from her beer - soaked California stage and sends her to the Midwest to deal with her wealthy ex-husband (Kevin Kline, playing off Streep as tenderly as in Sophie's Choice) and their suicidal adult daughter (Mamie Gummer, Streep's real - life progeny), a victim of Ricki's long - ago abandonment.

Miike clearly enjoys shaking up movie genres, and the first half of this film is an impeccable samurai costume drama, as we learn about the characters and the politically charged situation through encounters that add increasing levels of urgency, plus a few grisly Miike touches.

Not bad at all.this film keeps you guessing in ways you never do a lot in horror films.Rob Zombie directs theses actors like I've never seen a horror director do before.this movie is truly amazing, people are calling it «terrible» I call it «good» it's the kind of horror film that actually deals with characters and not just pointless blood and guts.I felt like all these characters really did go through something, and this movie is truly just about them overcoming it.I don't consider this a horror film, I consider this a drama / horror film, cause that is what it is, and I love it.this mvie isn't just about a killer killing people, it actually deals with the people he's after anf even deals with himself at times, which I truly loved.Rob Zombie has proved to me again that he could direct.perfect seq...

By now you know exactly what to expect from a Transformers film: undeniably epic action spectacle at the cost of character, logic or genuine drama.

Sheridan set out to make a «buddy road film which was also a heist thriller, with elements of the inevitable showdown of a western with some of the real consequences of the flawed characters of a real drama,» he said.

This teaser was merely meant to get people excited for the film, not necessarily to tell us what the story is about or enlighten us on the character drama of it all.

Considering the film is essentially just 12 men arguing around a table for 90 minutes, Lumet had plenty to consider in terms of how to craft a compelling drama, from the positioning of the characters to the amount of sweat dripping from their brows.

Ostensibly a drama, the film follows Webber's character after he is released from prison and returns to his mother and autistic brother in urban Philadelphia.