Sentences with phrase «dramatic actor with»

I'm excited to embrace his very fine skills as a dramatic actor with this film.»

Oscar - winning music artist Common solidifies his stance as a legitimate, dramatic actor with his supporting turn as Leavey's officer.

Not exact matches

In 2011, Seth Rogen decided to do something about it with «The Green Hornet,» and while we appreciate the effort, we would've preferred a more dramatic actor in the role.

Heath Ledger plays the least likely priest since Sean Penn donned a collar in We're No Angels, though his acting is worse (Penn, albeit a great dramatic actor, hit an all - time low with that film).

David Starsky is just the sort of uptight, anal retentive stick - in - the - mud that Stiller's has a lot of success with in films like Meet the Parents and Along Came Polly - while Wilson's Ken Hutchinson is reminiscent of virtually every character in the actor's repertoire (with few exceptions, including his rare dramatic performance in The Minus Man).

You need an actor with the dramatic heft of Ralph Fiennes to deliver the four words that vile Lord Voldemort hisses here with such lip - smacking, syllable - stretching relish: «Harry.

Named one of Variety's 10 Actors to Watch in 2007, Swedish - Canadian actress Malin Akerman has since been tearing up Hollywood with her beauty and charisma, her sharp comedic timing, and her touching dramatic performances.

A character actor with a knack for playing blustery Southerners and military men (comic and dramatic), Chris Ellis was, appropriately enough, born and raised in Mississippi.

As he did with Jonah Hill, Miller will direct an actor known for comedy in a dramatic role, with Steve Carell playing du Pont.

As ever, the director has a real gift at working with actors; Richard Pryor's dramatic chops surprised viewers of Schrader's «Blue Collar» back in 1978, and Cedric the Entertainer's solid turn here should do likewise.

Dissatisfied with a mere taste of the theatrical arts and eager to extend acting into a full - time passion, Eigenberg subsequently moved to New York and attended the American Academy of Dramatic Arts, working odd jobs on the side (construction et al.) to put himself through school.Scattered roles followed, including a guest appearance on The Cosby Show and a bit part in the awful 1989 generation - gap comedy Rude Awakening (co-starring Cheech Marin and Eric Roberts), but Sex and the City (which Eigenberg auditioned for out of innumerable hopefuls) represented the actor's first huge break.

The cameo performances by Helen Mirren (as a doctor), Vanessa Redgrave (a piano teacher) and Patricia Clarkson (the victim's mother), among others, reveals Mr. Penn to be a great director of actors with a mind - reading ability to discover a character's truth in the tiniest dramatic nuances.

Mexican actor Gael Garcia Bernal's dramatic recreation of the migrant's last days and his encounters with others on each step of the same journey are juxtaposed with interviews with those who knew the deceased, shots of American officials on the other side attempting to identify and trace the dead man, and information about the treacherous trek across the border.

Crowe, despite his considerable talents as a dramatic actor, is plainly incapable of presenting Javert's convictions believably, starting with the embarrassingly obvious fact that acting well while singing is way beyond his reach; his warning to Valjean to heed his words and remember his name is delivered with such flatness and with so little affect that it's difficult to think of anything else.

With such a farfetched plot already in place, this is the sort of film that could have easily degenerated into a muddled farce with a one - note stand - up comic as the lead, but with a good comedic and dramatic actor like Kline at the forefront, he is able to keep the tone of the comedy and drama appropriate to each scWith such a farfetched plot already in place, this is the sort of film that could have easily degenerated into a muddled farce with a one - note stand - up comic as the lead, but with a good comedic and dramatic actor like Kline at the forefront, he is able to keep the tone of the comedy and drama appropriate to each scwith a one - note stand - up comic as the lead, but with a good comedic and dramatic actor like Kline at the forefront, he is able to keep the tone of the comedy and drama appropriate to each scwith a good comedic and dramatic actor like Kline at the forefront, he is able to keep the tone of the comedy and drama appropriate to each scene.

Released: December 1 Cast: James Franco, Dave Franco, Seth Rogen, Alison Brie Director: James Franco (The Sound and the Fury) Why it's great: There are no half - measures with Tommy Wiseau, the failed actor / secret millionaire behind the notoriously awful cult drama The Room, and there are no half - measures in The Disaster Artist, James Franco's dramatic telling of the film's bizarre backstory.

I admire Anthony Hopkins and Helen Mirren as actors, but there were dramatic licenses taken in the film which I didn't agree with.

The cast all deliver capably, from the seasoned adults to the child actors, though Eric Lloyd has a little trouble pulling off an overly dramatic scene that details his personal angst, but the problem lies more with a weakness in the screenplay.

Strong, a venerated dramatic actor, shows he has the versatility to go toe to toe with Cohen.

Adam Sandler is the type of comedic actor who would get an Oscar nomination for stepping out of his comedic comfort zone to do something with a little more dramatic heft to it.

Combine those elements with a best - selling novel, three popular actors and a twist on Titanic and you end up with a very watchable, though slightly mundane dramatic love story.

There's a long tradition in film of comedic actors transitioning into dramatic roles with indies that gravitate towards a grey area in between the two genres, particularly in movies that make sure to hit the Sundance Film Festival before their wide release.

We tend to want to remember our greatest actors for their «big» moments — ones ripened with dramatic stakes and acted out with a heightened, sometimes histrionic, intensity.

But that could be the problem: for those of us who yearn for a James Bond film that recalls the more lighthearted Bond of our childhood rather than Bond's childhood trauma, an actor with Elba's dramatic chops might be a mixed blessing.

Even with top - drawer filmmakers and actors, this dramatic thriller simply never grabs our interest.

This comic actor proves that he can handle more dramatic roles with grace.

It has become an unspoken trope of the comic actor's career that they must, at some point, try to «break out» — to land a role with enough dramatic weight that they might slip free of whatever one - liner or bit role previously defined them in the eyes of the audience.

It's almost as if each actor interpreted the script in a different tone; some child friendly with wonder and others monotone and dramatic.

Apart from the opening scene, which incorporates special effects to help create a massive dry dock that serves as a prison (the prisoners hauling a ship into it with lines as thick as tree trunks), and a few brief establishing shots, which include dramatic rises and falls of the camera through space and time as each new stage of the story begins, Les Misérables keeps us in close — sometimes very close — proximity to the actors.

But for a span of time, he was also a dramatic actor to be reckoned with, and Peter Weir's prophetic satire was the beginning of that phase.

Pacino does a good job, as usual, but Robin Williams (A.I., One Hour Photo) is the one who impresses, with a performance that helps us remember that he is actually a very good dramatic actor.

A consummate character actor who's beloved in the industry, Rockwell was also helped among voters by the size of his role and the dramatic turnaround Dixon takes in the film's plot, eventually forming an uneasy alliance with the main character Mildred (Frances McDormand).

Ms. Mara was outstanding in the American version of The Girl with the Dragon Tattoo, and Mr. Law continues his transition from lame rom - com's to quality dramatic actor.

It's easy to forget that before he became synonymous with shirtlessness, six - pack abs, groovalicious good times, partying with his bros, and keeping it mellow, Matthew McConaughey was heralded in some corners as the Paul Newman of his time, a strikingly handsome actor with serious dramatic chops.

Jim Parsons costars with actor / director Zach Braff in Focus Features» dramatic comedy «Wish I was Here.»

Though «People Places Things» is tailored to Clement's strengths as an actor with well - placed moments of deadpan humor, it also gives him a chance to flex his dramatic muscle, or at the very least, showcase a different, more mature side compared to his goofier work in «Flight of the Conchords,» «What We Do in the Shadows» and «Dinner for Schmucks.»

Not only does it begin with an account of how bits of movie dialogue (from «Rio Bravo,» «His Girl Friday») have entered her life, and the lives of her friends and colleagues, but it then segues into a great quotation from Steve Roman on SCTV (playing Juan Cortez, the first Puerto Rican Chief Justice of the US Supreme Court in the dramatic television series, «There's Justice for Everybody»): «It's got good actors, and that spells good acting.»

The Oscar - winning actor, who does a fine job of balancing dramatic fare like Sicario with appearances in blockbusters like Guardians of the Galaxy, was cast in Star Wars: The Last Jedi a long time ago... but we still don't know who he's playing.

Fortunately, the two filmmakers have a dramatic tale to tell about the travails of delivering a film with outstanding production values and name actors for a remarkably low six - figure budget.

Both actors have such adult intensity that their participation in a juvenile fantasy (replete with simultaneous hood - flipping and at least a half dozen dramatic dives from great heights, along with the aforementioned self - satisfied libertarianism) becomes a source of bizarre fascination — for a little while, anyway.

Playing a frequent - flyer junkie in «Up in the Air,» Clooney had a nomination for best dramatic actor, along with Jeff Bridges as a boozy country singer in «Crazy Heart,» Colin Firth as a grieving gay academic in «A Single Man,» Morgan Freeman as Nelson Mandela in «Invictus» and Tobey Maguire as a prisoner of war in «Brothers.»

Director, co-writer and producer Alejandoro González Iñárritu, well known by cinephiles for his «Birdman,» which features Michael Keaton as a popular actor trying to deal with the problems of his current life, now puts his skill on creating a dramatic biopic of fur trapper Hugh Glass (played by DiCaprio) who, in 1823 in an area which became the Dakota Territory, is brutally attacked and mauled by a bear while scouting for an expedition.

Emotion - filled conversations with loved ones and the threats and counter-threats within the unit all require actors of considerable dramatic skill, and unfortunately their failure means the film loses much of its power.

The comedic actor hasn't had many opportunities to show off his dramatic acting chops until the release of Colossal, so it's a relief to see that he's more than just an SNL alumnus with a knack for making people laugh.

He then cast Bateman, who was on in an earlier incarnation, signed dramatic veterans such as Fonda and the character actor Stoll and re-teamed with «Date Night» star Fey (in arguably her most dramatic part), hoping to bring her along for the career reinvention.

He told me he always wanted to go ahead and get back to doing comedies again and just seeing the way Judd and Seth worked was really similar to the way David worked with his dramatic stuff which is making sure the actors had the characters down and they would just improv and let them do whatever.

Steve Carell adds himself to the long list of distinguished comedic actors who have made the crossover to dramatic acting with terrific results, Alan Arkin yet again shines as one of the all time great character actors and Toni Collette excels as the emotional core of the film.

The actor's dramatic breakthrough came when he took on the role in James Marsh's 2014 biographical drama «The Theory of Everything,» which follows Hawking's professional rise and love story with Jane Beryl Wilde (Felicity Jones).

The film's two best scenes sublimely meld music to dramatic context: in one, Porter seduces an actor by teaching him how to sing «Night and Day» properly; in another, Porter serenades Linda with a final love song.

With a more conscientious budget and featuring comedians rather than dramatic actors, can Game Night pull off a low - budget thriller played for laughs while suspending disbelief?