Sentences with phrase «character work here»

I should've expected this from a Ford film, but both the plotting and character work here is really great, and as easy as it is to be against Fonda, his final scenes are tragic — the tragedy of a man who simply couldn't break free of his preconceptions and wasn't ready for the new world of the frontier.

Most viewers will come away impressed by the sheer amount of big - name stars that contribute to the film in smaller roles, and while they all offer some nice character work here, this film really belongs to Ralph Fiennes, who shows quite well that he can command the screen in a lightly comedic fashion, rather than as the heavy that dominates most of his better known works.

There's also a fantastic turn from Metcalf, so consistently underused on screen, who in a just world would be an automatic best supporting actress front - runner for her finely observed character work here.

The two main characters work here, with Kate (Olivia Wilde) working in the office side of things and Luke (Jake Johnson, whom you may recognize from the TV show «New Girl «-RRB- being more involved in the manual labor.

Not exact matches

The several rocks with different shapes and characters which are placed here and there on the white sand are nothing but the self - expression of the true Sunyata which lets everything stand and work.

Here Kirk's language is still fresh and new, and Person is able to provide a useful analysis of how Kirk's literary work illuminates the character of his thought.

We need not recall here the history of what led up to the declaration of Humani Generis (which is doctrinal in character, even if it does not constitute a dogmatic definition), starting with the pronouncement of the local synod at Cologne in 1860 rejecting evolution in any form, the censure passed on the works of theologians favourable to evolution, such as M. D. Leroy (1895) and P. Zahm (1899), the decree of the Biblical Commission in 1909, the tacit toleration of works favourable to evolution by theologians such as Ruschkamp (1935), Messenger (1931), Perier (1938), down to Pius XII's Allocution to the Papal Academy of Sciences in 1941.

Here, as in everything in Wagner's work, the music illuminates character.

In the so - called practical fields the unity is even greater; here there is common concern for developing relevant, effective preaching in the local church on the basis of Scriptures; for a religious education Christian rather than either humanistic or denominational in character; for guiding men into pastoral work that meets human needs.

With the character of that passage in Romans in your memory, consider this: that there is here exhibited a quality of the mind in its working which is not permeable to the merely analytical intelligence.

Churches need to foster discussions of character by using films or case studies that present difficult choices in work or relationships, situations in which people must ask themselves, «What does it mean to do the honest, decent thing here?»

And here's where things started to get complicated, because when you only have 140 characters to work with, your message is, by nature, truncated.

The characters are paper thin, so the actors are doing most of the work here.

It's here than Wan excels, a sign of his fantastic character work to come in films like Insidious and The Conjuring, with his work both fantastically calculated and seemingly chaotic.

While he gets less to work with here than in the past, he is the most likeable of the characters by quite some distance.

The film bustles along through a series of reveals — a storytelling technique that can lose an audience's sympathy or suspension of disbelief pretty fast, but which works flawlessly here because the filmmakers and the performers know exactly who their characters are and what kind of world they live in.

Jenkins and Hedlund do great work here but it's the unnecessary supporting characters who undermine what could've been a strong drama.

To be fair, there are a number of chuckle - worthy sequences here (most notably when Ferrell's oddball character is shot with an animal tranquilizer dart), but this is overall not quite the hilarious piece of work that the marketing materials have been promising.

Mendelsohn proves once again he's a chameleon and capable of almost any performance (compare his sad sack Gerry here to his work in «Killing Them Softly» and «Animal Kingdom» to see the gamut of his talents) and brings Gerry to life in such a way, it's tough to watch his character flounder again and again over the course of the story.

Here both characters do, which leads to a nice scene where Dylan's sister simply explains to him why the whole friends - with - benefits idea doesn't work.

What's best about her work here is that a character that might seem at first like the complete opposite of Alice turns out to have much the same fire as Micky's mom which, creepy as it might sound, makes her romantic relationship with Micky more real.

Charley's mom walked out when he was young, and his dad is a beer - bellied slob (played by one - time Calvin Klein model Travis Fimmel, here looking more like the redneck version of his rugged «Vikings» character), not a bad guy, but no role model either, getting drunk after work and using what remains of his homecoming - king charm to bring home local women (it's a part better suited to Steve Zahn, who appears later, miscast as an abusive, borderline - homeless man).

Often cast as a sex - symbol on the basis of her looks, here Robbie's hair is dyed in some effort to deglamorize her (it only half works) but she's wonderful in the part, doing a good job with her southern accent, and excellently conveying a character that's clearly led an ultra sheltered life, but now has to totally fend for herself, and even physically care for the often sick Ejiofor.

There is strong character work in here, one or two genuinely touching moments, and some good laughs too.

It has some clichés here and there that could have been avoided and the characters sometimes don't seem to be the brightest people in this sort of situation, but still this atmospheric horror movie works quite well, especially in a second half that can be really unnerving.

Some of the character models aren't great (though the voice work uniformly is), there are some graphical issues here and there, and the testosterone - injected guitar riffs that underscore the firefights seem at grating odds with the setting and story.

Hamilton and D'Abo are both understated and terrific here, as are the character actors who served as Baumbach's rep company during the first phase of his career: Eigeman, unsmiling and hostile; the hilarious Jacott, all self - aware neuroses; and obligatory»90s indie mascot Eric Stoltz as Chet, the bartender who's still working on his thesis and maintaining an encyclopedic knowledge of classes and campus events.

From Eric Bana's hackneyed character arc — a man wrestling with personal demons becomes obsessed with a particularly troubling case and subsequently even more distant from his family — to the merciless employment of jump scares, to the predictably lame conclusion that relies on nothing more than a standard exorcism to bring the horror to a crescendo, everything about this project suggests what Derrickson and company have to work with here is hand - me - down material.

Yes, category fraud could be argued here as the film was really Bradley Cooper's character's stories from the oustet, but in the end, it became their story and it's Lawrence's magnetic work that allows that transformation to occur.

I'm not a huge Cumberbatch fan and he doesn't have a huge amount to work with here, nor do much of the fine cast with all characters being one - dimensional and paper - thin (even for comic book films).

Here he talks about getting the role, and how the director and he worked on creating the character once he was cast.

Co-written by director David Gordon Green (Joe), whose work frequently explores the pitfalls of male culture (and there's nary a woman in sight here, unless she's at a party), the script is best when it stays focused on the relationship between Brad and Brett, sometimes not bothering to fully flesh out the supporting characters.

In the end Touchy Feely is perhaps a little unf ocused and incidental, without a really strong central hook to grab onto, but there is strong character work in here, one or two genuinely touching moments, and some good laughs too.

Here's a movie that calls to mind both espionage thrillers (the «James Bond», «Mission: Impossible» and «Bourne» series, notably) and the work of Charlie Kaufman («Being John Malkovich», «Eternal Sunshine of the Spotless Mind», etc.), while also weaving a deeply affecting character study, as DiCaprio's character is haunted by his dead wife (Marion Cotillard) and... Well, you'll see!

In addition to Isaac, Chastain and Oyelow, other actors deserve recognition for their work here: Albert Brooks is Abel's consigliore, in a style reminiscent of his Drive character; Alessandro Nivola is the most frightening type of gangster — the quiet, powerful kind; Catalina Sandino Moreno (Maria Full of Grace) is outstanding in her only scene; Elyes Gabel captures the frustrated driver looking for hope; Peter Gerety is spot on as the Teamsters lead; and Jerry Adler is a most unusual Jewish business man.

I myself worked on a piece for Premiere magazine focusing on the event from the perspective of David Breashears, who made the IMAX film «Everest» (1998) and who appears as a minor character here.

Crudup is always very laid back in his roles, and it works towards establishing the character here.

Taking a page from the recent Sherlock Homes features starring Robert Downey Jr. (which slowed fights down to showcase some of the physical movements involved), this feature often pauses to show the inner anatomical working of some of the characters here.

We get all of these jokes about the characters in the story working with a dreadful script, audience members being chastised for talking during proceedings and the fact that everyone acting here seems to just want the movie to end, so they can go home.

There are moments very much on the nose here in «The Rider,» like literally having a character unable to let go of things, but it works due to the realism on display.

What works best here are the character conflicts between Iron Man and Doctor Strange and the complexity of Gamora and Thanos» relationship.

I wonder if the change in his character here though is reflecting the maturity of his other work and attempts to add more dimensions to his repertoire.

All credit to Hayek, though, who does some of her very best work here as a vulnerable, downtrodden soul struggling to balance her commitment to healing and empathy with the simmering rage brought about by contact with a world - wrecking devil — Lithgow's character is a heck of a lot smarter than Donald Trump, but he's pretty clearly meant to evoke him.

I'm not entirely sure why Peter Stormare was in attendance here — his role seemed fairly innocuous, particular compared to his character work in more mainstream films such as Minority Report and Constantine.

Fortunately, the creativity and character - based approach that worked so well in «Testimony» continues here, making this one of the best episodes of the...

Everything works here; the characters are funny, the set - ups are funny, the lines are funny and even the odd moments of randomness (Mike Tyson singing «In the Air Tonight» has to be seen to be believed) don't seem too out there.

DeWitt's work here also fits the autumnal mood of the film, its low tenors slowing down to a crawl at times as things get ugly between the characters, only to jump back to life as things pick up and seem hopeful, even happy (only insomuch as Philip would be capable of such a genuine feeling, of course).

So here's the thing: If «Gold» is almost entirely fictional, why did Matthew McConaughey feel the need to do elaborate character work and, in the process, make a grotesque spectacle of himself?

Stanley Tucci as Caesar Flickerman and Elizabeth Banks as Effie Trinket Speaking of makeup... We already know how fantastic Stanley Tucci and Elizabeth Banks are as Caesar Flickerman, talk show host, and Effie Trinket, ditzy publicist / babysitter from the first «Hunger Games,» but they are doing career - best work here, dialing their flamboyant and over-the-top characters way, way up without losing the utmost control.

The Russos are very good here at discussing the meticulous details of each frame — the specific lighting choices they made, the interplay between digital effects and practical on - set considerations — and how those details work to reinforce character and tone.