Sentences with phrase «character in the thriller»

As one character in the thriller declares, «the Cold War never ended.»

Kathryn Morris, in her pre - «Cold Case» days, illustrates why it's not a good idea to underplay a character in a thriller.

Considering the fact that the main characters in thrillers are usually at the mercy of their situation, it's nice to see someone who can take charge of a situation and go on the offensive.

An anecdote told by a character in a thriller brings me the explanation.

Not exact matches

And not only is the science credible (disclosure: Alpert is an editor at this magazine), so are the characters, who have several more dimensions than those in most thrillers.

Chloë Sevigny steals the show as the titular character in this edgy period thriller based on the true story of Lizzie Borden, the Massachusetts woman who was infamously accused of murdering her father and stepmother with an axe.

A sharp thriller with great atmosphere, set in Northern Ireland and tied up in the ever - knotty history of «The Troubles» (which one character refers to as «the madness of Belfast»), Bad Day for the Cut delivers its cinematic goods thanks to a smart combination of wit and violence, briskly delivered over just under 100 minutes.

The man with no name may have been the character that made Clint a star, but it was Harry Callahan that made him an icon; he is the personification of tough guy charisma in one of the all - time classic cop thrillers.

It's worth noting, as well, that the thick accents make it awfully difficult to discern what the characters are saying most of the time, which is ultimately the final nail in the coffin for what could (and should) have been a taut little thriller.

With her role as the epnoymous character in Frida (2002), Hayek disappeared into her subject so convincingly that not only would she return to the good graces of critics, but earn an Oscar nomination as well.Hayek would spend the coming years enjoying superstar status with everything from comedic turns on sitcoms like Ugly Betty (which she produced) and 30 Rock, to meaty roles in dramatic thrillers like Savages.

A much more restrained Xavier Dolan after his pretentious previous film, and he displays an assured direction and firm control of this suspenseful thriller, even though the narrative seems to move too fast as the characters start to act in ways that are not always convincing.

Even though it ends in violence, Days of Heaven plays out not as a rural thriller but as a delicate study of character and landscape.

In most thrillers, female characters tend toward eye candy and are extraneous to the plot.

Too muted and pensive to work as a thriller, too withdrawn to be a character study, and too cold to evoke any sympathy, the film is instead a dull and alienating exercise in how to take a strong actor and interesting premise and mostly waste them.

Always good at deeply internalized anguish and barely masked vulnerability, he convincingly navigates his character through some tricky psychological transitions, maintaining sympathy and credibility even in the film's ramped - up (and somewhat trumped - up) thriller finale.

In addition to being a first - rate suspense - thriller, «The American» is also a character study of Jack, aka Edward, as he runs from trouble in Sweden to hide out in a small Italian village posing as a photographeIn addition to being a first - rate suspense - thriller, «The American» is also a character study of Jack, aka Edward, as he runs from trouble in Sweden to hide out in a small Italian village posing as a photographein Sweden to hide out in a small Italian village posing as a photographein a small Italian village posing as a photographer.

On the whole, I was hardly interested in this snoozefest of a mystery «thriller», but there are moments in which I found myself genuinely invested in this layered and meditative drama, and for those moments, I give some credit to Refn for actually waking up, and even more credit to the real force behind this misguided character study.

Even though it ends in violence, Days of Heaven plays out not as a rural thriller but as a delicate landscape and character study.

Of course, the thriller at least tries to develop this character and tell its story in a more cerebral way than those earlier efforts did.

The film works as both a character study about two men trying to manipulate the system for personal gain, and as a thriller in which the line between heroes and villains isn't all that clear - cut.

A gripping thriller with themes and characters that most networks are uncomfortable portraying in their shows such as jihad, Islam and the War on Terror.

Even more vital to the film as a thriller, we have a sense that, unlike the protagonists in the original, these characters have an actual chance against the killers.

A lower - echelon disaster thriller, in which the best character is knocked off early on and the leading man runs out of ideas with a third of the picture still to go.

A very effective Hitchcockian thriller that starts off as a modest drama, taking a good time to develop its characters in a careful way, and then starts unexpectedly to become suffocatingly tense as the characters find themselves trapped more and more in an unbearable situation.

The end result is a moody, somber little thriller that could (and should) have been much, much better, and yet it's hard to deny the impact of several key interludes and its stirring performances (with, in terms of the latter, Penn and Walken absolutely dominating the proceedings every time their characters are together).

With a stronger actress who could have been in greater command of the character, Freeze Me would have been a cold - hearted masterpiece rather than the okay thriller it turned out.

He reportedly auditioned for a small part, and though the show's producers did not deem him right for the characterization, they felt so impressed by Eigenberg's presence that they created the character of Steve Brady especially for him, as an extension of his own personality; the plan, again, was to create a sincere, committed, down - to - earth male paramour to offset Miranda's (Cynthia Nixon) cynicism.Though initially intended as a temporary part, the popularity of the character among viewers (and Eigenberg's onscreen chemistry with Nixon) led to Eigenberg's permanent inclusion on the show, as well as subsuquent movies.Circa 2002, Eigenberg expanded into film roles by playing the business partner of Richard Gere in Mark Pellington's underrated supernatural thriller The Mothman Prophecies.

Unlike series co-star Biel, Mitchell remained with the program throughout its run, and through many character changes that found Lucy marrying Kevin Kinkirk, working as an associate pastor, giving birth, and surviving both a miscarriage to twins and clinical depression.Although Mitchell branched out from television into cinematic work as early as 1996, with a turn in the fantasy - action thriller The Crow: City of Angels, and continued intermittent film appearances (such as a supporting role in 2005's slasher movie Saw II), she made no secret of her real passion: performing country music as a guitarist and vocalist.

Sydney Pollack's («Three Days of the Condor» / «Out of Africa») well - made but unimportant political thriller (more a character driven than a plot driven story) is set in New York City and frames its story around an assassination plot of an African leader set to speak at the United Nations.

It has one sterling high point, when all of the different characters and thriller elements come together on a tense bus ride in Brooklyn, as several different people who's fates are connected together unknowingly sit feet away from each other and Agent Keller, the only one who knows what is happening, can't do anything to stop it.

We also have a new TV spot and two character posters featuring Bruce Willis and Joseph Gordon - Levitt in director Rian Johnson's sci - fi thriller.

The severely twisted five - character drama, adapted by Tracy Letts from his stage play, has just about everything you would want in a good thriller — revenge, extortion, betrayal, romantic obsession and old - fashioned depravity.

Clint Eastwood wisely chose a strong, simple thriller for his first film as a director (1971), and the project is remarkable in its self - effacing dedication to getting the craft right — to laying out the story, building the rhythm, putting the camera in the right place, and establishing small characters with a degree of conviction.

Sean Harris is known for creating intense, offbeat characters in an eclectic range of films, such as Rowan Joffre's BRIGHTON ROCK, HARRY BROWN, THE RED RIDING trilogy, 24 HOUR PARTY PEOPLE, and the 2005, award - winning horror thriller ISOLATION, OUTLAW AND CREEP.

It's a thriller set in the 1960s at a crappy hotel called the El Royale in Lake Tahoe, where a group of characters with mysterious motivations will violently come into conflict.

The supernatural thriller is flagged up with the tag - line «someone is missing» - making reference to the fact that in tracking the patients a threatening secret is unveiled by DiCaprio's character Teddy Daniels.

They're reminiscent at times of the psychologically detailed or richly eccentric characters in an old - style British thriller by Alfred Hitchcock.

Robert Davi turns in a killer performance in Ariel Vromen's crime thriller, The Iceman, portraying Leo Marks, a character inspired by Anthony Gaggi, the captain of the Gambino crime family.

An attempt to muscle in on Luc Besson's Taken - style of thriller, this is an odd mix of French setting, American characters and British cast and crew.

With so many teen thrillers taking the route of bad, sensationalist horror, it's nice to see a standard suspense vehicle come out once in a while, with better characterizations and fright earned through putting characters in potential jeopardy, rather than just cheap jump - scares and shrill music.

Olsen stars in the 1860s Paris - set thriller as the titular character, a beautiful but sexually repressed young woman trapped in a loveless marriage with Camille (Felton), her sickly cousin.

Most of the characters in the film also mistakenly believe themselves to be caught up in the kind of conspiracy thriller that flourished in the 1970s (Three Days of the Condor, The Parallax View, Marathon Man, etc.).

Green sees the Malick comparisons in his own work, especially in «George Washington» — the use of voiceover, the importance of the environment to his characters — and even had a chance to work with the master filmmaker on the 2004 Southern Gothic thriller «Undertow,» which Malick wrote the story for and has a producing credit.

Moreover, in what's arguably a more brazen case of cinematic larceny, director Daniel Espinosa, best - known for the 2012 thriller Safe House, swipes his anti-gravity stylistics from Alfonso Cuarón, opening the film with a single, very long, VFX - heavy take that sends the camera around in gentle swoops from character to floating character as the space station itself tumbles slowly around its axis.

Lest you think «Maggie» is all talk and no action, star Arnold Schwarzenegger has debuted a new clip from the post-apocalyptic thriller in which his character faces a pair of zombies, at least one of whom he clearly knows.

Ender's Game - November 1 Asa Butterfield, Abigail Breslin, Harrison Ford, and Hailee Steinfeld star in Gavin Hood's sci - fi thriller that looks more like a Starship Trooper knock - off than it does a serious theme - heavy character piece it wants to be.

Stone's subsequent effort, the erotic thriller Sliver (1993), was an example of this: the actress attracted notice less for her acting than for her willingness to simulate masturbation Her role in the following year's The Specialist was also fairly limiting; an action flick co-starring Sylvester Stallone, it called for Stone to run around in a tight dress in heels when she wasn't seducing various characters.

However clichéd you might imagine the hit man premise for «The American» to be, know that not only does it contain two of the most intriguing female characters to come along in a dog's life, but it is one of the most sophisticated thrillers you will ever see.

Bad Samaritan had everything that you could ask for in a horror / thriller, having a well balanced story, the right amount of jump scares to give you that surge of adrenaline, and strong characters portrayed by a talented ensemble.

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.