Sentences with phrase «earlier films the characters»

(1993), Amor idiota (2004), La vida abismal (2007), and A la deriva (2009)(with plots partly unfolding in Valencia, Chad, Buenos Aires, and Sofia), in some of his earlier films the characters enjoy an almost organic relationship with the Catalan capital.

Not exact matches

The dark comedy Three Billboards Outside Ebbing, Missouri won big at the Golden Globes earlier this year, but the film has also seen a sustained backlash from critics over its questionable ending and a perceived failure in fleshing out the movie's non-white characters.

In the works since early September, the UA deal has left Wagner and Cruise «completely open right now» to all varieties of film projects, Wagner told TIME, «ranging from high concept to smaller, character - driven films.»

In his pathetic ineptitude, Jonah is a kind of Mr. Magoo or one of the clueless characters Woody Allen plays in his early films.

After the mid»40s he played character roles, appearing in films every few years until the early»70s.

Sure the animation was a standard for Disney between the 1940's and 1970's, where you can see certain characters move in the same way as other characters from earlier or later films, but that was solely due to the limitations in the animation room at the time.

While «Other People» begins with a big moment — daringly, THE big moment — then flashes back to a year earlier, the film is more interested in the mundane ways the characters relate to each other and in the minutiae of their lives.

British character actor Jack Warner began his film career in the early»40s.

Fans will wonder what happened to a lot of things in the final book, and this movie fan wishes more time had been set aside for quiet, inventive moments, such as the shocking murder of a key character early in the film.

At the end of a big rhinoceros battle, a male character submits to Gurira in the film's single most iconic shot, while an earlier scene in which she tosses aside a bad wig ranks as the most gay - friendly Marvel moment to date.

One introduces the Djimon Hounsou character earlier in the film, and the alternate ending provides a less effective conclusion to the movie.

Characters that gave the earlier films their spark - the eager - to - please Donkey, one of Eddie Murphy's finest vocal moments, the debonair Puss in Boots, a great Antonio Banderas achievement - are wheeled on and off for what seem like guest spots.

What's impressive is that, where earlier films revolved around solving a mystery, this one shifts to a war footing without losing its emphasis on character and emotion.

What becomes clear pretty early on in Mia Hansen - Love's «Eden» is that despite the large roving ensemble of ravers and DJs and partiers, and despite the fact that there is a lead character, the dance - club «scene» is the real star of the film.

Deathly Hallows is more heavily steeped in Potter mythology than any of the other films, and as a result less diehard viewers may find themselves confused by the frequent references to earlier events or unseen characters.

In films from 1921 through 1952, white - maned American character actor Erville Alderson was most closely associated with D.W. Griffith in his early movie years.

He's marvelous, as are all the British character actors — Maggie Smith, Emma Thompson, Jim Broadbent, David Thewlis — who pop up to reprise characters from earlier films, sometimes without speaking more than a line or two.

An Argentine native who spent her formative years exiled to Spain, Cecilia Roth was a regular in Spanish filmmaker Pedro Almodóvar's early films and a star in Argentina long before she became an international critics» darling as the title character in Almodóvar's Oscar - winner All About My Mother (1999).

But Constantine, which follows Keanu Reeves title character as he teams up with Rachel Weisz's Angela to prevent Satan's arrival on Earth, takes a leap out the plausibility window early on, something presumably dictated by the comic book that the film is based on.

Levinson has a deft touch with ordinary people and places, and the film's early scenes, especially, take care of business in a satisfying, sideways fashion, developing character with exposition and finding every avenue for real - world humor.

What's particularly frustrating is that an early, all - too - brief stretch of the film, in which the characters sit around playing Charades, is giddier and more alive than any of the high jinks that follow.

It was back to dramatic roles in the early 1940s, and as age crept up on Dunne, she made a seamless transition to starring character roles in such films as Anna and the King of Siam (1946) and Life with Father (1947).

All things considered, I got more fun out of the much maligned earlier attempt of bringing characters from the show to film, Boris and Natasha.

The other major flaw is that so much time was spent in this movie on it's stylistic looks which as i said earlier were flawless but so much time and effort was spent on these that it seems to have taken away from the character development side of the film.

As for that key moment that sets up the final act, I thought the film established the character motivation adequately with the earlier scenes showing us Schultz's reaction to some of the violence against slaves.

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.

At first, it looks as if Ortiz's insurance man might be a great connective device, something of an angel who helps all the characters in the film; yet, even though he's quite likable, he disappears early.

Still, I don't recall the novel being so screechingly histrionic, and certainly Julie Harris» earlier take on the character of Eleanor remains the most affecting of the two films.

Her persona becomes more «thinky» and less «feely» as the film progresses, which does make her increasingly less relatable (which is probably intentional), which does echo somewhat her character in the lower budget sci - fi release Under the Skin earlier in the year, along with the ever - more - knowledgeable Samantha in Her.

Early in the film when John Malkovich's character makes a crack about a visual and visceral betrayal, it does sound like a deliberately self - aware moment.

Tom Wilkinson's (Batman Begins, The Patriot) character was pushed too much earlier in the film so that you could almost predict his true intentions.

Like in the earlier films where the space for personal monologue and storytelling is expanded for even very minor characters, Elvira's brutally honest tape - recorded interview in the final moments combines with the image for one of Fassbinder's most moving and penetrating moments in one of his best films.

From its charming characters and amazing set design, the film has been the talk of the town since its release earlier this month.

Just as Bill Murray did with his early work in such films as Meatballs, the roguish Rockwell effortlessly works well as a role model for a young troupe of misfit kids, and his warm and affecting performance ranks as one of his most appealing character portrayals to date.

In «Ratcatcher,» «Morvern Callar» and «We Need To Talk About Kevin» her characters are forced to try and to pick up the pieces following one tragic, life - altering event that happens early in he film.

The universal quality you mentioned is interesting given the earlier films where the characters» idiosyncrasies are more pronounced — they still have universal themes below that — but this one seems less about heightened idiosyncratic characters and more about a universal fear.

Curtis know - it - alls will have fun ticking off the characters and flourishes that re-emerge from earlier films.

This Star Wars Story is the second in a series of films that live outside the Skywalker family saga, and is set during the early scoundrel days of the iconic characters, prior to A New Hope.

Also starring in the film is «Shawshank Redemption» actor William Sadler, and to celebrate his involvement in the film, he tweeted a lobby card featuring his character, Sheriff Doakes, earlier this weekend.

(35) For Jodorowsky, the film drew upon his own childhood memories of the circus, and his «terrible» relationship with his mother, who allegedly tried to live through him and with whom he had little physical affection; characters with dominating or pseudo-incestual maternal relationships have figured into virtually all of his earlier films.

The college - lampoon mood is set early, with a title sequence promising, among other characters, «a British villain» and «a sexy chick,» and explaining that the film is produced by «some asshole» and written by «the real heroes here.»

Most of his other early roles are disappointing, either showing his tendency to go overboard (his lawyer in «Criminal Law» is more over-the-top than Kevin Bacon's psychopath) or select roles in films where eagerness trying on new accents and psychological profiles seem to overshadow coherent character work («Chattahoochee»).

«Stardust Memories» uses the main character's sexual relations merely as a device to propel a deeper introspection that his earlier films barely touch upon.

A belated sequel to 2011's bizarrely successful Gnomeo & Juliette, Sherlock Gnomes continues the pun - based gnome gags of the first film by dropping garden variety versions of Arthur Conan Doyle's most famous characters (we get Sherlock, Watson and Moriarty) into a mirth - free adventure involving characters from the earlier movie.

While watching the bourgeoisie cavort in Bernardo Bertolucci's indulgent new «Stealing Beauty,» there's reason to recall the early, politically impassioned stage of the film maker's career, during which he might have preferred to see such characters lined up against the side of their villa and shot.

Stephen Cone is a master of small, carefully realized filmmaking; his earlier films such as The Wise Kids and Henry Gamble's Birthday Party combine an unusual level of empathy for his characters with an unusual combination of interests: love, desire, sexual awakenings, and religion.

But the company decided to try something new with its next original film, inviting a small group of journalists to view early footage and preview character concept designs.

The early scenes in the film establish the characters very clearly.

There's a scene early in the film (chapter 8) in which Patricia Clarkson's character is standing well into the background and we can still make out the individual dots on her clown costume; many of Tim Orr's images are postcard - perfect to begin with, but this is the sort of rendering that drives you to buy a video printer and fulfill that promise.

Presented as a «sort of sequel» to Apatow's 2007 sophomore feature, Knocked Up, This Is 40 gives center stage to the earlier film's supporting characters: Los Angeles record label executive Pete (Paul Rudd) and his wife Debbie (played by Apatow's real - life wife, Leslie Mann).