Sentences with phrase «enough character work»

There's enough character work to like here, especially for fans of Swanberg, and it's very nice to see the director shooting with visual eloquence on film, but a few unbelievable beats and repetitive decisions keep it from being ranked among his best.

Unlike CBS's more brutal frontal assault, Code Black, which is all action and no personality, the writers fill Chicago Med with just enough character work to make the players interesting.

Not exact matches

The best of the youths is Thomas, who takes his one note character and adds enough charm and humor to make it work.

The better ones infuse their work with enough chops that you can feel sympathy for the character's POV, if not their reason for being.

The narrative's not quite as propulsive early enough as a result, but the character work largely compensates for it.

The partnership of Ladd and Lake worked well but I didn't think they spent enough time on screen together and Lake's character was a little irrelevant to the rather workmanlike plot.

Very few of the characters were compelling enough to make the improvised, handheld, do - it - yourself style work.

Yet for all the film's hard work at capturing Savannah's spirit, there is seldom enough context to make these characters seem anything but adorably whimsical to excess.

During this recent interview to discuss the TV version of Zombieland, co-creators and executive producers Rhett Reese and Paul Wernick talked about the journey from TV series to movie and now back to TV pilot, what it's been like to work with Amazon, what motivated the decision to have the same characters from the movie on the TV show, how they envision it as a road show, how much gore they can have, what Kirk Ward (who was originally cast as Tallahassee before being replaced by Woody Harrelson) brings to this version of the character, what led them to the 30 - minute format, whether they could have any surprise cameos (Bill Murray made a very memorable one in the film), what will determine whether the pilot is successful enough to go to series, and when they might know if they're picked up.

Oddly enough, the only character representation that actually works is Jeffrey Donovan's John F. Kennedy; he looks and sounds like him, and also contains a sense of depth.

It's such a middling entry in a well - developed genre that one must cast about for elements that worked well enough to justify making yet another movie about it, and using some of our favorite character actors — Mark Strong, Jamie Bell and Abbie Cornish — as they did.

The visual displays and decent characters work well enough for isolated viewings, but this doesn't seem to be something that can hold up to a lot of repeats.

Veep works because it is a compact ensemble comedy, filled with the sort of overheard details and wonk verisimilitude that has a way of making the show seem just real enough, even when it has played coy about whether its lead character is a Democrat or a Republican.

These performers work well together and are supported by fantastic actors like Rob Riggle, who recites his lines with enough energy to make his stock character, a clueless gym teacher, feel fresh.

What makes Stung so much fun is that it takes itself seriously enough for the plot, characters and theme to work, but it never pushes itself too far to the point where the whole thing feels silly.

Everest works enough primarily because though the characters might be bland and tough to connect with, their harrowing situation isn't, all the more realized in 3D.

This bold storytelling gambit works because Wheatley and his collaborators (notably co - screenwriter / editor Amy Jump) have finely crafted the drama to continually up the ante, revealing just enough about who these characters are and what they're really up to.

Gavin Hood (Rendition), working from a script by Guy Hibbert, thoroughly examines every facet of the arguments for and against the strike, while letting us get to know the characters — before and during the operation — just enough to have an investment in them and feel the gnawing uncertainty that they feel.

Bruce Dern (Coming Home, The «burbs) gives us another memorable crackpot performance, except in this one, he is sympathetically portrayed, and even though he commits some acts that most people would constitute as despicable in theory, Dern imbues his character with enough vulnerability to make it work.

Cheadle's had the good fortune to work with some genuine modern auteurs, and the films he's made with P.T. Anderson and Steven Soderbergh have allowed Cheadle enough breathing room to craft small but enjoyable characters: bullheaded ex-con Maurice Miller in Out of Sight, the brief glimpses of Basher Tarr in the Ocean's Eleven series, and especially Buck Swope in Boogie Nights, in which Cheadle was able to convey so much of character's sadness and naivete through subtle through just his eyes.

Fans of the series will likely bemoan the lack of any time spent with the minor characters and sub-plots, but the condensed version of events works well enough to pull you along.

He's concocted a plot just busy enough to distract from these worn cynicisms and a set of characters too enigmatic to dismiss as mere chess pieces off the bat, but by the end, Happy End reveals itself as something vacuous and cold, a bizarrely seductive pseudo-thriller lacking a thoroughly worked - out payoff.

Screenwriters Roberto Orci, Alex Kurtzman and Damon Lindelof do an admirable job juggling all the characters while working in enough humor to show that science fiction films can be fun, but not at the expense of detracting from the action.

It was not enough for him to shadow motel managers, he wanted «to participate in [their] world,» and working with Baker — who fuses his filmmaking with authentic real - life locations, characters, and moments — allowed Dafoe to do that in a way he never had before in his career.

The best option is trying to do something completely different, and to its credit, A Bad Moms Christmas finds the sweet spot of staying true to the original characters while adding in new dimension that may not be entirely original (Daddy's Home 2 is basically doing the same thing in a couple weeks), but works well enough.

Many of Swanberg's characters work in their own right but don't add enough to the makeup of the final product to legitimize all their erratic appearances.

Tom Cruise was the perfect choice to play Jerry; he has the look, the energy and the talent to get inside this guy's skin and make him tick, and he successfully channels his natural exuberance into his character, tempering his performance just enough to make it really work.

If he isn't playing a knowingly extraverted weirdo, it's not going to work, as Tracy Morgan's character could never be believable enough as a cop, a boyfriend, a partner, or even just a normal guy — all things he is supposed to represent in Cop Out.

Such work is built upon making the labor of acting visible enough to lend importance to a performance, and it can often lead actors to forget the more fine - tuned interiority that makes a character feel real.

Again, we don't need a lot of character dimensionality for a movie such as this — a little exposition works fine, as the threats to the linemen should be enough to prompt our interest.

Unfortunately, the Marvel formula is still at work with a villain that doesn't really have much character and a recognizable third act, but there's enough amazement that you can glaze over the problems.

Though he comes across as a mild sociopath at times (like in one scene where he matter - of - factly tells Phil that he wants to rip open his antique grandfather clock to see how it works), Gyllenhaal imbues Davis with enough charisma that he turns an otherwise unsympathetic character into someone whose erratic behavior is understandable, if not completely relatable.

Still, the tone of these films, and the use of terror, oppression and despair juxtaposed with opulence (remember, this was Heavensbee's plan of attack in Catching Fire) works so astonishingly well that it almost does not matter what happens to these characters, just their existence in the world is enough to resonate on a baseline level.

One of the more difficult lines to straddle when creating a farcical work is balancing treating the characters and their predicament with enough seriousness while still letting the audience in on the fact that you get the underlying silliness of it all.

-RRB- works so astonishingly well that it almost does not matter what happens to these characters, just their existence in the world is enough to resonate on a baseline level.

A few attempts at individual character work, but these guys are more or less chaotic good guys who are in a shady profession, but have enough heart to do the right thing.

In their defense, they weren't given much to work with or enough time to develop compelling characters that they would have had in a television show.

Perhaps if you think that changing actors and scenery every couple of minutes is enough to keep your interest level high, and you snicker whenever you see some semi-comical character get eviscerated, this might be the kind of movie that works for you.

This character's not used enough in the first half of the film and then all of a sudden the plot shifts to use him more later on but it just doesn't work and isn't funny causing the pacing to come to a screeching halt.

Judi Dench as «M»: Giving Dench more to work with than she is usually asked for, Skyfall makes itself highly about this character's importance, instead of just a tool for tension (as in The World Is Not Enough) or being an MI6 talking head.

It's a mistake as far as I'm concerned but at least it works better in this film than it did in the first chapter, ironically enough in part because of a new character who is nowhere to be found in any of Tolkein's fictions: elf warrior Tauriel (Evangeline Lilly), who brings some much - needed passion to a film filled with characters reduced to stock types.

But hiring Alex Karpovsky to play a middling comic makes sense — not because Karpovsky isn't funny, but because he projects just enough self - consciousness to make him seem vulnerable even when his character's jokes are working.

The former music video director has always seemed to have a flair for visual aesthetics but had appeared more concerned with the technique of his action pieces than in developing strong characterizations, and working with very little in the way of quality writing, he made pretty pictures that failed to really inspire since we didn't care for the characters enough.

Plot holes abound, with all sorts of coincidences forcing things along in lieu of character action, and while that set - up could actually work if The Circle turned into a The Game - like conspiracy thriller, it just limps to an unsatisfying end that doesn't wrap up enough dangling threads.

The title of sibling filmmakers Josh and Benny Safdie's finest work to - date may describe exactly the opposite of what their characters experience, but that's certainly not the case for viewers lucky enough to encounter this artful and intensely propulsive thriller.

For me, THE HOBBIT would have worked perfectly across two parts, so before we even got to Smaug they could have left it all for the second but herein lies Jackson's qualms because if he had done that, would the first single film had enough going on to satisfy the punters (probably not) but with three films we've lost the connection to any characters bar Bilbo and Thorin.

Although this material is familiar enough in outline, and succumbs to some slightly schematic emotional complications, there's much that's impressive: Michelle Rodriguez's fiercely self - possessed, emotionally nuanced lead performance, an unostentatious, completely authoritative sense of the boxing and working - class milieu, excellent cinematography and production design, and fully imagined and well - acted secondary characters such as Jaime Tirelli's trainer and Santiago Douglas's boyfriend.

He does an excellent job with the visuals and the camera work, but I just can't emphasize enough just how dull the characters were.

There's enough allusion to the old James Garner Bret Maverick self - deprecating characterization though as well as that character's competence with guns and cards to make it all work very well though.

Some of it works, some of it doesn't, but they're all likable enough — and the characters spearhead some of the pic's more inspired stuntwork.