Sentences with phrase «characters in this film turn»

Several characters in this film turn to alcohol to deal with disappointment or fear.

Not exact matches

The title suggests the film's fragmentary character, and that in turn suggests one of the film's main themes: the failure of technique to redeem lives from chaos.

Wicked too has characters just as nasty as the Wicked Witch in the original film, only now they're turning the tale on its head, and showing that the characters that we used to love may not be so nice after all.

M * A * S * H is a 1972 — 1983 American television series developed by Larry Gelbart, adapted from the 1970 feature film MASH, which, in turn, was based on the Oh, I really love mash - up games like this where characters from two different worlds are put together!

It's a stunning story, dark and comical in equal turns, and the film relays the events in splendid fashion as well as giving us a star - making turn by Australian actress Margot Robbie as the eponymous character.

The film doesn't find space to fill their characters out in more than broad swaths, but manages to make them both unappealing, having a superheroic pissing match that turns into literal grappling over the moral high ground.

Even though they seem friendly, Red knows something is up and the eventually turn on the town, devising an evil plan that will eventually bring out the full title of the film in all of the characters.

The main characters in the film choose not to engage in the reckless behavior their friends are to instead find comfort with each other, and accept how they're lives have turned out.

Reynolds» superb turn as unhinged central character goes a long way towards smoothing over The Voices» various faults, which finally does confirm the film's place as a distinctive black comedy that is, in essence, an instant cult classic.

Aside from this being a lot less interesting than the original stories, it also gives us a film with more characters than the story has any use for, and that in turn makes what there is of a story feel baggy and drawn out.

It's adapted by Tracy Letts from his 1993 play (Friedkin also turned Letts's play Bug into a film in 2006), and its theatrical origins do become obvious in the way certain characters are left disconcertingly off screen; the movie is concluded with a long, slow and single - location sequence, which makes it looks oddly like a filmed stage play.

The film take a more blatantly serious turn in the third act than most of Anderson's previous stories have done, hinting at the emotions that are at the surface for the characters but that still feel deeply buried to us.

One of this film's greatest accomplishments is its making an audience believe that the Corleones and their various partners in crime have been entirely in character during the intervening decades, but have simply neglected to turn up on screen.

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.

However, unlike silent star Marsh, Parker's characters usually enjoy a satisfying «worm has turned» moment — one of her first major film roles was as the abused wife in Fried Green Tomatoes (1991) A more self - reliant Parker was seen in the 1990 AIDS - related TV movie Longtime Companion, as the supportive «earth mother» to a group of urban homosexual men.

The makeup artists in Perfect People do such a remarkable job in turning the dazzling Lauren Hutton and Perry King into baggy old frumps that, once the characters return to their «normal» selves, interest in the story lags and the film loses its comic momentum.

With Feig's gentle touch, the film reminds one of producer Judd Apatow's best work, films in which he refused to turn his characters into plot devices, allowing them to become three - dimensional while being endearingly goofy at the same time.

Full of uncomfortable character turns, the film dives headfirst into parental and Oedipal trauma, the lines between its female characters blurring in gut - wrenching ways.

During one of these visits, the film's main character Tom Baxter (Jeff Daniels), pauses in his dialogue, turns towards the audience, and says to Cecelia, «My God, how you must love this picture.»

It's a very well - made film from a technical aspect, but in an attempt to appease those who have nothing but contempt for anything outside the»87 original, it falls into a trap of repetition, turning a men - on - a-mission film into a slowly dying group of cartoon characters.

Sarah Polley's character was the real villian in the film, she raised Dren for selfish reasons the the second Dren became difficult to deal with she turned on her.

Far more clever and witty than the knockabout silliness promised by the coming attractions, this is a film that is more interested in character comedy than slapstick and gives Melissa McCarthy the most appealing role of her career and allows Jason Statham to deliver one of the most unexpectedly hilarious comedic turns in recent memory.

The film has three central characters who take turns narrating portions of their collective story in flashbacks: After being arrested for murder, Lila (Patricia Arquette) begins by saying, «I'm not sorry.»

Survival is the implicit goal of characters in horror films, but a certain subset of these films are able to turn the act of survival into an existential quest, a powerful statement of defiance against the vagaries of the unknown.

Like Ballad of Narayama, they are often essentially musicals: Karumen kokyo ni kaeru (Carmen Comes Home, 1951), Japan's first colour film, had characters break into song and dance and even put on a climactic show in the Hollywood manner; Kinoshita's masterpiece, the experimental melodrama Nihon no higeki (A Japanese Tragedy, 1953), is about a failed singer turned geisha and abused mother.

In these films, the world has usually turned against humanity in some way — a zombie apocalypse, an alien invasion, or simply the indomitability of nature itself — and the relative resourcefulness of characters who were previously reliant on now - absent tools or technologies provide the major dramatic beats as outside forces close in, driving these characters into actioIn these films, the world has usually turned against humanity in some way — a zombie apocalypse, an alien invasion, or simply the indomitability of nature itself — and the relative resourcefulness of characters who were previously reliant on now - absent tools or technologies provide the major dramatic beats as outside forces close in, driving these characters into actioin some way — a zombie apocalypse, an alien invasion, or simply the indomitability of nature itself — and the relative resourcefulness of characters who were previously reliant on now - absent tools or technologies provide the major dramatic beats as outside forces close in, driving these characters into actioin, driving these characters into action.

Visually, Shore turns out to be adept at creating a visual shorthand to his film - one that both honors the vast iconography of the Dracula character, while also managing to root that iconography in a new aesthetic (Medieval - style period tropes) that feels fresh when married to this over-exhausted source material.

Gayle's disarming turn makes us instantly care about her character's fate, making her a fully realised character beyond the cliché her role might have been, and her climactic scenes in the film are extraordinarily powerful.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

While The Discovery plays in many ways like a more effective version of the concept - choked Brit Marling / Zal Batmanglij movies, the cult scenes feel underdeveloped next to their film The Sound of My Voice, an intriguing but ragged thread left dangling as The Discovery turns towards more concrete, backstory - driven explanations for its characters» obsessions.

So no great surprise here that The Lincoln Lawyer turns out to be superior piece of crime storytelling with some characters clearly designed for recurring roles (in other novels and perhaps other films should this one do well) while others are designated for showy guest appearances as larger - than - life evildoers or tough - guy eccentrics.

As daffy father Clark, Chase turned the film into a huge hit, harnessing a likable befuddlement that kept the series going even as the sequels were increasingly less well received and tiresomely slapstick.Chase's other big hit came in 1985, when he starred as the title character in Fletch, the film widely considered the actor's best and most complimentary of his sharp talent for wordplay.

Five critics from the Los Angeles Times took turns picking their three favorite characters from the past year in film.

Whether or not Phoenix does end up in the lead role, insiders have told TheWrap's Umberto Gonzalez that the Joker film — which will be directed by Todd Phillips («The Hangover»)-- will portray character as a failed»80s comedian, who turned into Batman's infamous nemesis after bombing with audiences.

Of course, in the untitled Avengers 4, all of the «dead» characters turn out to be not - so - dead since there is a lot of evidence in the film itself to support that line of thought.

There's hardly a single wasted frame in this tightly - paced siege film, turning the screw on its characters (and the audience itself) with some nail - biting tension that doesn't let up.

The film sets up some of the main characters early on pretty much in the same way we've seen in countless disaster movies, but it takes a real turn after the bombing and chronicles the incredibly complex and far - reaching operation that immediately went into effect.

On the surface level, that refers to a particular character in the film, whose mission involves summarily executing a cartel kingpin; every twist and turn of the narrative is expressly designed to bring this assassin one step closer to his target.

Adding in the character of the Winter Soldier turns up the tension and he proves to be a much more satisfying villain than the fairly decent Red Skull from the first film.

The key problem is the decidedly dull script, which throws up a handful of decent ideas, but fails to do anything interesting with them — one of the characters is obviously meant to represent the misogynistic attitudes behind the Gamergate controversy, but the film is content just to push that to its extreme and turn him into a full - on murderous scumbag, rather than explore it in any depth.

I was frustrated by Loktev's first narrative feature, Day Night Day Night, because her decision to elide the specific political motivations of her central character, a would - be suicide bomber, turns the film into a prolonged exercise in Hitchcockian suspense.

The Player (Robert Altman, 1992) Robert Altman's films are all epic in the interplay between characters, but he's adept enough at the small moments to make you care about every little twist and turn.

And then, just when you might suspect his film to wallow in the grisly nature of the Whites» plan for Vicki, Young turns to dialog sharp enough to upend your expectations, and three vivid characters are crafted in the suffocating dread of the White's neighborhood home.

Mike White — «Year of the Dog» Maybe one of the purest expressions of «screenwriter - turned - director» (though he's also an actor given to appearing in character roles in some of his films) Mike White had, in years leading to 2007, carved out quite a distinctive place for himself as an indie screenwriter dealing more in low - key human dramedy than some of the more bombastic Shane Black - types, or more mainstream Steve Zaillian - types on our list.

But the 2011 film, while flawed in many ways, proved surprisingly entertaining and teed up both its title character and his villainous brother Loki for a return appearance in the team - up movie «The Avengers,» which turned out to be an absolute megahit.

It's also the first film in the series that probably necessitates watching the earlier films to appreciate fully, with its recurring characters and references to Indy's departed family and friends (Connery, who played Henry Jones I, has permanently retired from acting, and though tempted, turned down appearing in this film — I guess just one drink from the Holy Grail isn't enough for his character's immortality), so do yourself a very big favor and, if you haven't seen them, or have forgotten the details, watch the other three films prior.

The role (written by Joe Eszterhas, a few years before he turned into a punchline) is one - dimensional, and the film (directed by Costa - Gavras) has largely been forgotten, but Lange manages to dig in and find a few gut - wrenching moments as her character struggles to come to terms with a grim family history.

Then finally he put together his last film, Far from Home: The Adventures of Yellow Dog [1995], with Mimi Rogers, Jesse Bradford and Bruce Davison, a movie that was set and shot in the area of British Columbia where he was living, that has two boy characters who are named after his own sons, and which sadly turned out to be a film whose release he didn't see.

Perhaps that's why large portions of this film feel like scenes Toback just wanted to use up somehow — particularly the Grodin sequence, in which his character rails against his fading faculties by turns sweetly and violently, and which might have been moving if it didn't feel so detached from everything around it.

Jake Gyllenhaal has really turned around his career over the past few years with character - driven films like «Nightcrawler,» «Enemy» and «Prisoners,» so it only seems natural that he would want to collaborate with Jean - Marc Vallée, the Canadian - born director who led Matthew McConaughey to Oscar gold in «Dallas Buyers Club» and helped revive Reese Witherspoon's career with «Wild.»