Sentences with phrase «directed at their character»

[14] Some scientists who were otherwise well - respected in the international scientific community have faced incredible pressure directed at their character rather than the quality of their science.

Not exact matches

Biblical narrative typically leaves unsaid a character's thoughts, feelings and inner motives, preferring to leave these hinted at by external actions and direct speech.

This process, which I have called genetic assimilation, gives exactly the same end - result as the theory proposed by Lamarck, at one time espoused by Darwin but rejected by modern biology, of the direct inheritance of acquired characters.

I decided to direct it at the last minute because I couldn't see someone else taking my characters.

«Mr Rodriguez's actions during our game against West Bromwich Albion, followed by statements issued by him and on his behalf, by his various PR and legal advisors, have resulted in my character being questioned and subsequently for a number of accusations to be directed at me.

Methods: When NaCl crystallizes out of water at room temperature with no additional energy added, it emits a cobalt blue glow, indicating that electronic transitions are occurring and in direct contradiction to the general belief that salt crystallization does not involve a change in electronic structure or that the NaCl retains its ionic character.

Sometimes being direct is all it takes to strike up a conversation and, if she really does have great eyes, or an amazing catalogue of Sci - fi characters, she'll know you're serious, enough at least to be specific with your compliments.

Birdman or (The Unexpected Virtue of Ignorance) is a brilliant directed film by Alejandro González Iñárritu, who manipulates the camera to give the illusion that the film is one continuous long take (which can get dizzying at times) giving a film that is resonate to a modern day audience as it examins these fictitious characters and their commentary on what it means to stay relevant.

We get to see cheesy, poorly produced scenes of lame flirting between Troy and Riker inbetween plays of the Holodeck program, one of the main Enterprise characters dies in a really forced, badly - directed and pointless way (the character deserved a much more meaningful and dramatic death than that at least).

The film does a great job at capturing the cold, evil nature of Ian Mckellen's character (who is well cast and gives a great performance) But considering that this is a film directed by Bryan Singer, you know right from the start that this isn't his strongest directorial effort.

An impeccably directed character study with excellent performances and a top - notch script mainly sustained on a great dialogue, offering us an insightful look at the creation of the most successful social network by a misanthropic young man who was unable to keep his only friend.

Demme produced this after directing Something Wild, where Ray Liotta's character was a lot like Alec Baldwin's here, although less wild - eyed and tilting at windfalls.

Though it would be easy to say that Lola Kirke is MVP here, mainly because her character is the one with whom it is most easy to relate, the majority of kudos deserves to be directed at Gerwig, who has managed to create a character who consistently deflects our empathy, but in a strange and not - altogether - comprehensible manner, she still opens herself up enough to earn it.

At the moment a direct movie adaptation of the comic can't be made by any film studio due to rights issues; several major characters who appear in the comic (including Hawkeye and the Incredible Hulk) are part of Marvel's Avengers film franchise, and therefore aren't available to be used as part of the X-Men movie franchise.

In the first of a series of character reveals, here's a look at the sexy Michale Rodriguez as «Shé» in Machete Kills, the Robert Rodriguez - directed sequel to Machete.

Phylicia Rashad directs a uniformly excellent cast exploring characters who live their lives at high volume, in all caps

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.

At the same time, hiring Shane Black to direct was a minor stroke of genius, the Kiss Kiss Bang Bang filmmaker reteaming with that film's star allowing Downey to breathe new life into a character that was on the verge of becoming stale.

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...

But the satr of the Direct, and the character that was announced at the end as a surprise (yeah...), was Ryu from Street Fighter.

Woody Allen is famous for this, and possesses a consistency that is underappreciated aside from a string of misses at the turn of the century, but it's easier for him given the smaller, more character - focused material he chooses to direct.

Moreover, the jokes about filmmaking directed at Ti West's character should go down well with horror movie fans.

At the Los Angeles press day for the film, Daniel Craig, director Sam Mendes, and producers Barbara Broccoli and Michael G. Wilson discussed how Skyfall presented an opportunity to continue to regenerate the franchise and introduce new characters, how they wrote the role of the Bond villain specifically for Javier Bardem, why Mendes was drawn to directing the film, what inspired his decision to cast Bérénice Marlohe, how DP Roger Deakins contributed to the extraordinary look of the movie, and why after five decades Bond is still such a potent franchise.

Stardust plays like The Princess Bride as if directed by Terry GIlliam (a la The Adventures of Baron Munchausen, Time Bandits) on a more subdued day, with eccentric characters and a meandering storyline that entertain more through visual confections, artistic flourishes, and deep character quirks galore that it does through the gist of the story at its core.

Hooper's designer - eclectic direction, with its near - fish - eye wide - angle lenses, stripped walls, and unmotivated art - history references (including a few direct lifts from Hammershøi, presumably because he was also Danish) begins to rush aimlessly once the focus shifts from the way the title character looks at women to Elbe herself.

True, the Glenn Close character comes close to villainy by falsifying a death scene, but since she's in the middle of directing the Easter play at her church, maybe it's partly a case of runaway theatrical zeal.

Although The Boxtrolls lead the nomination tally going into the awards, How to Train Your Dragon 2 won six awards at the 42nd ANNIE Awards this weekend, including Directing, Editing, Music, Storyboarding, Character Animation in an Animated Feature as well as the big one itself, Best Animated Feature.

, while a little gimmicky (Lloyd reprises his librarian character), does manage to provide a good deal of insight into the difficulties of cel animation as well as the odd priorities of the filmmaking team (animation director Maurice Hunt declares, «Animation is the best art form in the history of the world» — a contention at direct contretemps with The Pagemaster's literary ethic).

The directing duo of the Russo brothers have shown themselves so adept at crafting an amazing film before this with Winter Soldier, and they've even bested our Lord and Savior Joss Whedon, in terms of pulling together so many characters on screen at the same time, without sacrificing pacing or story to do so.

David O. Russell directs a film with unconventional characters to create something funny, heartfelt, and at times, emotionally powerful.

This conception of the character requires some plausibility stretching at times throughout the film, but all in service of a good cause (the quick turn of Léa Seydoux's Isabella for example, or the ease with which the English troops turn to Robin as savior, both before and after the final battle, in direct insult to John).

At a roundtable interview, DeWitt discussed her research for the role, how playing a real - life person informed her approach to the character, what it was like meeting the real Sue Webb, what she enjoyed most about working with Renner, what she learned about journalists and their determination to get to the truth of their story, her new film «Men, Women & Children» directed by Jason Reitman, and her upcoming projects: Joe Swanberg's «Digging for Fire,» Sam Raimi's remake of «Poltergeist» with Sam Rockwell, and a small part in the TV mini-series «Olive Kitteridge.»

In 1979, Rod Hardy was already a veteran of many TV shows, and the efficiency and tight scheduling of the small screen helped the director deliver a «scope film with a solid cast that includes David Hemmings (himself having also directed a handful of films in Australia at the time) and veteran character actor Henry Silva (an actor with one imposing, balloon - like melon).

With «Wall - E», «Nemo» and «A Bug's Life» under his directing belt, Andrew Stanton is a man who knows a thing or two about the perfect blend of dazzling visuals and empathetic characters who appeal to the young and the young at heart making me super excited for both his next foray into animation and his episodes of «Stranger Things» due out later this year.

Lest you think we'll be looking at a surreal, indie character piece à la Violet & Daisy or a serious drama - actioner like Hanna, know that Barely Lethal is being directed by Kyle Newman (Fanboys) and co-executive produced by none other than Brett Ratner.

Directing the compass back at Henry Turner, there isn't much of a character to be found.

Rob Cohen, who previously directed marginally entertaining action films like Daylight and Dragonheart, seems more at ease with the non-dialogue heavy moments involving the racing than with the scees directly dealing with characters themselves.

La Neuvaine, written and directed by Bernard Émond, moves at an incredibly slow pace, as the filmmaker initially emphasizes style and mood over character development.

Creator Doug Ellin (1998's «Kissing a Fool») writes and directs this big - screen continuation but has turned it into an unironically vapid, self - indulgent, wheel - spinning shell of its former self with nothing more to tell and with nowhere left to go with these characters, at least not here.

He's proven adept at directing excellent action films (Smokin Aces, The A-Team) and smaller character - driven dramas (Narc, The Grey).

This character is even more representative of the tightrope I, Tonya is trying to walk: LaVona is strategically deployed for both her acidic laugh - lines (usually insults directed at her daughter) and the childhood beatings she allegedly visited on Harding.

MOVIE: THE MEYEROWITZ STORIES STARRING: BEN STILLER; ADAM SANDLER; DUSTIN HOFFMAN; EMMA THOMPSON DIRECTED BY: NOAH BAUMBACH AMovieGuy.com's RATING: 3 1/2 STARS (Out of 4) A noticeable trend in The Meyerowitz Stories (New and Selected) is how consistent the characters often talk at each other, talk at the same time, and rarely listen.

New Warcraft posters: Two new character posters from the upcoming Duncan Jones directed film have been released at the San Diego Comic Con.

In an exclusive interview with Collider, Pellington revealed how the project first emerged, what appealed to him about Stuart Ross Fink's script, how Fink created the main character with MacLaine in mind, what convinced her to sign on to star, his directing approach with a veteran actress who is superb at her craft, the importance of getting the tone right between MacLaine and Seyfried in their first big scene together, his collaboration with music supervisor Liza Richardson on a soundtrack packed with unusual and lesser known artists, and his upcoming film Nostalgia starring Ellen Burstyn, John Hamm and Catherine Keener.

The Talent: This is the writing / directing debut of the film's helmer Randy Moore, with TV character actor Roy Abramsohn as the father at the center.

He's proven adept at directing excellent action films (Smokin Aces, The A-Team) and smaller character - driven...

Noah Baumbach, directing from a story developed with his wife, Jenifer Jason Leigh, is a shrewd student of character and he's especially astute at finding the vulnerability in the self - involved, who see everything as a reflection of themselves.

Once a trailer for A Way Out featuring the two main characters debuted at The Game Awards on December 7 as the marketing plan indicated it would, a January Direct seemed all but certain.

Consider how Three Billboards handles the question of moral ambiguity in contrast to the current remake of Murder on the Orient Express (directed by another European, Kenneth Branagh): how McDonagh greets it with the kind of smug nihilism reserved for character - redemption arcs vs. how Branagh treats it with immense sadness at the possibility that there's no such thing as redemption, nor was there ever.

I do not think this was better than Gone Baby Gone, at all, and I think Affleck needs to concentrate more on just writing and directing in the future, rather than also worrying about acting and playing an important main character.