Sentences with phrase «film about character»

Leonardo DiCaprio has emerged as an early frontrunner for the role of The Joker in the forthcoming film about the character's origin story, which is being executively produced by Martin Scorsese.

I'm excited to see more [superhero movies], but there hasn't really been a film about a character like T'Challa before.

This is not a film about character — although, unlike the book, each is gifted a name — but about event.

This list is limited to those that focus mainly on Jesus» life story as told in the Gospels; thus, it does not include films about characters who are only peripherally connected to Jesus, such as Ben - Hur (1925, 1959).

But, because this is a film about characters rather than narrative, the story — such as it is — is rambling and often feels untidy.

The Disappearance of Eleanor Rigby is written and directed by Ned Benson, who took it upon himself to tell two in depth films about each character in the story — both Jessica Chastain and James McAvoy.

Oscar - nominated writer - director Noah Baumbach is known as the creator of literate, personal films about characters in crisis.

The provocative and sharply hilarious film about characters from vastly different sociopolitical backgrounds colliding... [Read More]

Farhadi's film about characters failing to escape from their pasts is, funnily enough, unable to step out of the shadow of the director's last film but that shouldn't take away that it's still quite good.

Don't expect a continuation of the adrenaline - charged Star Trek II or the space odyssey that was Star Trek: The Motion Picture — this is a film about the characters and how much they mean to each other.

Not exact matches

My colleague, Kirsten, had to sign an NDA promising she wouldn't reveal anything about Smith's character ahead of the film release in order to receive a making - of book on the film.

Much like the success of last year's Warner Bros. film Wonder Woman helped change the conversation around a female superhero movie helmed by a woman director, a box - office smashing debut for Black Panther could pave the way for a similar paradigm shift in Hollywood with regard to how studios approach big - budget stories about characters of color.

We won't spoil much about the character if you haven't seen the film, but the droid, masterfully played by Marvel veteran Paul Bettany, steals just about every scene in which he appears.

Everyone is wondering: How did a film about a minor Marvel character make so much money?

If Hulk wasn't in «Infinity War» at all, then I think people would be right in being upset about the way the character is marketed for the film.

We've made about five other films, but in the intervening years, the show business industry has moved entirely toward movies where the main characters have capes and tights.

Lions Gate Entertainment (No. 54) has had box office success with two major franchises: The Twilight series (produced by Summit Entertainment, a Lions Gate subsidiary) and Hunger Games, which have much in common as they are both film adaptations of bestselling young adult book series, are fantastical (one is about vampires and the other about a futuristic dystopia), and are anchored by a dynamic young female character (portrayed by Kristen Stewart in Twilight, Jennifer Lawrence in The Hunger Games).

On Twitter, the most polarizing thing about Three Billboards is how the film handles his racist - cop character, but do Oscars voters agree?

Another actress, Jessica Chastain, complained to Radio Times about the film industry's propensity to cast female action heroes not for their characters, but for their bodies.

It is more about human characters doing whatever it takes under extreme circumstances to stay alive in terms of «action film» techniques.

A lesser film would have opened by loading her with backstory about her royal heritage, her home planet and her ties to the Rebel Alliance (in fact, the lesser prequels committed just such errors with their own characters.)

We never learn much about her history, save for a few significant bombshells down the road, yet she feels a good deal more dimensional than about 95 % of characters in film history.

The film must contain more than one female character; these female characters must have a conversation with one another; and that conversation must be about something other than a man.

Such a strong reaction persuaded Pixar to avoid making uncannily realistic human characters — it has since focused its efforts on films about living toys, curious robots and talking cars to win Academy Awards and moviegoers» hearts.

Wearing this black rose print dress at the Titanic Hotel in Liverpool seemed appropriate, given that Rose was the main character in the film about the ill - fated ship.

Everything about the film and the characters in it is a throwback, and purposefully so: From their clothes (can anyone please direct us to where we can buy Stone's below - the - knee backless dresses?!

As McAvoy's character escapes and is talking to himself in a mirror about his supernatural abilities, the film cuts to a small diner with the news being broadcast on the TV.

If you've watched the film «Meet The Parents,» then you may be worried about recreating one of the mishaps of Ben Stiller's character «Gaylord Focker.»

Director Tom Dey's film is yet another by - the - numbers romantic comedy where the same tired escapades ensue, including one character's climactic discovery of the other's secret (in this case, when Tripp finds out about Paula's career as a female Hitch), and their eventual reunion at the end.

You may remember from the last column, US # 77, I wrote about the 1947 film noir Desperate and mentioned that the leading character got his wife out of town before the bad guys could do her any harm.

The biggest thing that I loved about this film was the detailed attention to its characters.

I spent the first ninety minutes of this film depressed, but at the same time wondering why I could not bring myself to care about any of the characters.

Rambo is such an interesting action film character, and we get to know more about him now with this film.

And while the film definitely has a silly side to it (McConaughey's character even has a nasty run of bad luck with animals biting him), it's hardly comparable to a genre classic like «There's Something About Mary.»

The 3:47 «Meet Katie» focuses on the story of the furry little yak who just steals her scenes in the film, as the creators talk about the development of the character from a background drawing to full - fledged cult hero.

And because the film's various characters are left undeveloped beyond their most superficial attributes - ie Foxx's Fleury is the gruff leader, Bateman's Leavitt is the wacky sidekick, etc - it's virtually impossible to care about their efforts at solving the crime (it's even more difficult to muster up any concern for their well - being once things start to get dangerous).

For children it provides goofy, lovable characters and childish potty humor, while for adults it also offers meta jokes about modern society or of the film itself.

Everything worth loving about Chekhov - the subtlety, the well - drawn characters, the crises of conscience - is here and filmed beautifully.

In one of the strongest scenes in this final film, a character tells Harry about the importance of words and how things that exist only in the mind are as real as anything else.

Ultimately, the only character you care about is Rourke's Ivan (Downey's schtick works for about half the movie, then the charm fades), and the film commits the ultimate sin for a summer blockbuster — the climactic finale is actually boring.

What the film does is reimagine other horror films as meta - narratives, except in those cases, the characters never discover the truth about the artifice of their world, as Marty does, just like another fool, Truman Burbank in Peter Weir's The Truman Show, a horror film in its own right.

The only complimentary thing about the film is the description of being a low - budget sexploitation feature in which the characters are amateurs and don't even remove their bathing suits.

This modest film falls into the category of «character study», which generally means there there isn't a real plot or story follow, so much as a brief peek into a life of someone for a while, perhaps in the hope of learning a thing or two about a different mode of life, or as a reflection of our own.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

The best thing that can be said about Bats vs. Supes is that it's rapid collapse at the box office may finally be enough to convince Warner Brothers to remove Snyder from any future DC Comics films and give them to those who've show an ability to deliver movies with coherent character, narrative and emotion in addition to pure spectacle — and preferably all of the above.

He talks about casting and characters, the flick's tone and connections to the comics, sets and shooting in Pinewood Studios, music, pressures and his physical state at the time, and reactions to the film.

Having all just finished college, each is deciding on what path to take in life, and its Jim who has chosen the most shocking path for the group of friends as he has chosen to ask his girlfriend Michelle, the infamous flutist of the first two films (the wonderful Alyson Hannigan, which, ya know, she is so good in it, we did nt need the other girl characters, which is sad to say, but eh, this was always about the guys so who cares?).

Right when you think the film is about to kick into gear and start moving faster, it flashes back to a moment from the past where two character talk for extensive periods of time.

Sure it's still quite funny, but the laughs no longer come from the main characters, the trend began in the second film and now the Shrek series is entirely about how funny you can make the extras.

While the choreography is generally fairly minimal (at least for this sort of mega-production), first time film director Phyllida Lloyd (who helmed the original stage version) has woven together a tightly edited and exceedingly well shot film that capitalizes on the music wonderfully while never worrying too much about such nettlesome items as character or motivation, providing enough other movement that one ultimately doesn't miss huge dance numbers a la Robbins or Fosse that much in the long run.