Sentences with phrase «film with good character»

There is a chance that it will sink in a sea of similar films with better characters, deeper writing and more startling twists but the strong cast and the dark, pressure - cooker writing keep The Rise afloat.

Not exact matches

Some of the things that made T'Challa [the film's main character] a good leader were that he wasn't afraid to empower the people that worked with him, and he was somebody who kind of gathers information from everybody.

The film will debut with its original cast, including the late Carrie Fisher, as well as introduce some new characters played by Laura Dern, Benicio Del Toro and Kelly Marie Tran.

Mystique's character arc begins with her looking human for a good portion of the movie and then, over the course of the film, learning to accept herself as a mutant and decides to stay blue until the end.

In his desire to make a universally well - received film, Walt Disney decided to play safe with this light - hearted and hugely entertaining delight that would hardly not please everyone, with an expressive animation, great catchy songs and many adorable characters.

Last winter's first installment, Harry Potter and the Deathly Hallows: Part 1, coursed over vast terrain and a long exile for Harry (Radcliffe) and his best friends Ron (Grint) and Hermione (Watson), and that film was tender with connection — between characters, as well as between the audience and those well - loved characters.

Another miracle of the film is how well it keeps up with the characters, using the Battle of Hogwarts to greet old faces and introduce a few new troublemakers (Kelly Macdonald makes a memorable appearance as the ghostly Helena Ravenclaw).

The film is loaded with quirky characters, as well, and often calls to mind the most eccentric offerings we've seen from the Coen Brothers.

The film still suffers from a muddy narrative and dour outlook, but this extended version corrects a number of problems with plotting and expands the DC Comics universe with better character development and world building.

Wigram gives the film its best scenes, probably because Stoppard had never written a character like this and was, therefore, more willing to play with writing choices he had long before exhausted on other characters.

if you want to spend more time with these characters, you're probably better off just re-watching the original film.

The Messenger is the debut film of writer and director Oren Moverman, but it's worldly wise, with two well - rounded characters.

At times this can be a very gut and heart wrenching film, and really awkward and uncomfortable, but it is presented in a respectful manner with characters that are very well developed and interesting.

That film was similarly shy of new ideas, but the characters were colourful enough to make the mandatory sequels seem promising, as long as there's a good story to go with them.

For someone with my background, the film is effectively paced with a good balance of exposition, character development, and special effects - enhanced action.

The film mainly centers on the charismatic and arrogant character Tom Sterling [portrayed by Hartnett] trying to keep the Dotcom company he started with his genius brother afloat as it begins to fold, spending money frivolously to make it seem as though the company is doing well... all while trying to rekindle a romance with his ex-girlfriend Sarrah [portrayed by the beautiful Naomie Harris].

Sure it doesn't make much sense that the teenagers of this small town that has outlawed dancing for five years could all dance so well, yet this is an enjoyable film with a great soundtrack and John Lithgow as a character who is more complex than your typical zealot antagonist.

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.

While Iron Man bounced back with Iron Man 3 and Captain America flourished with his own trilogy of films, Thor was left behind; a character that, like Hulk, seemed best utilized in team - up movies.

Randy Newman may have written some songs that aren't that impressive but these songs are some of his best songs, and they are all sung fantastically by the characters, they're either emotional songs, or energetic and fun songs, and combine that with the great animation and you have one heck of an awesome animated film.

Difficult story with Elektra, other amazing character, but the film is terrible, the only good parts are the action scenes, but this film have much mistakes.

They're all impressive - large, well engineered monstrosities with actors thinking and acting in ways that humans never think or act - and not one of them has the pure humanistic love that this film has for its characters and for people in general.

What this film seriously lacks in a coherent and discernable plot and character development, it more than makes up for it with tons of style, great cinematography, and well - placed tension.

His sharpness and crackling energy make a bad fit with the film's unsuccessful attempts at well - rounded characters.

The interacting with Killmonger and the secondary character and the final few scenes that he and T'Challa get to spend together are honestly some of the best moments from any of these films in a very long time.

It's a real shame because the first half is so promising and Jeff Bridges is so good as his character that when the film starts heading downhill with a surplus of tired clichés, cheap dialogue and subpar filmmaking, we're left hoping that it will eventually get better, but it never does.

He had a brief affair with his well - meaning assistant Esther (Victoria Hill, «December Boys») but now keeps her at arm's length before devastating her with a cruel verbal kiss - off; Schrader at least grants the character the grace of performing a lovely rendition of «Leaning on the Everlasting Arms» over the film's denouement.

as a kid i grew up with transformers for toys, but didn't watch the actual show (aside from beast wars) until last year, so i wouldn't consider myself a fan boy, but when a tv show based around toys from the 80's has better dialog, humor, character development, and plot than a high budget Hollywood film, you know something is wrong with the film industry.

I'm okay with slow films if they have good characters, dialogue and situations.

The characters make the film here, as they're well drawn, yet difficult to sympathize with as this reveals the darker side of the decisions that sparked the 2008 financial crisis.

Today, he is a recognizable New York - based character actor with roles in the city's best theater, television, and film productions.

There's little doubt that the effortlessly engaging central performances play a substantial role in the film's success, with D'Agosto and Olsen's charismatic work ensuring that their respective characters never come off as the sleazeballs one might've anticipated (ie Shawn and Nick's relentless scheming is almost Ferris Buelleresque in its good - naturedness).

I am prepared to suspend belief and even a film with no redeeming value of any kind can still be a well made film with believable characters, except, when the disastrous outcome is true.

But I'm honestly a little disappointed that this film played out the way it did, because it could've been, at the very least, a good movie, if not a great one, if more of an effort was put into putting together a stronger script with better character development.

As a result, it's impossible to connect with the storyline or the plight of the film's human characters (one would think that this premise worked a whole lot better on the page).

If the film meant to portray the four principals as basically clod characters, with some good points, it missed.

Coogler ups the intrigue as the film plays, with each new piece of the puzzle put together to deliver impact, and to change what we know about these characters in ways that give the entire story a surprising amount of nuance, given the amount of characters to follow, as well as the wider scope of the international politics.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

He reportedly auditioned for a small part, and though the show's producers did not deem him right for the characterization, they felt so impressed by Eigenberg's presence that they created the character of Steve Brady especially for him, as an extension of his own personality; the plan, again, was to create a sincere, committed, down - to - earth male paramour to offset Miranda's (Cynthia Nixon) cynicism.Though initially intended as a temporary part, the popularity of the character among viewers (and Eigenberg's onscreen chemistry with Nixon) led to Eigenberg's permanent inclusion on the show, as well as subsuquent movies.Circa 2002, Eigenberg expanded into film roles by playing the business partner of Richard Gere in Mark Pellington's underrated supernatural thriller The Mothman Prophecies.

That said, it is a fun film with very well developed characters, good pacing, and strong writing.

Numerous supporting characters from the MCU also appear, and it's a credit to writers Christopher Markus and Stephen McFeely, as well as director - brothers Joe and Anthony Russo («Captain America: Civil War»), that the 149 - minute film is balanced and never rushed, with all the characters feeling prominent and necessary.

The start of this film is basically a Bond sequence... seeing as this is what the film has now become, a kind of «Bond / Mission: Impossible / (recent) Die Hard» mix with the good humoured character teamwork of «Ocean's Eleven».

The inclusion of more characters at the expense of nausea inducing dialogue between the leads combined with the knowledge that this is the final film means that this is the best of the bunch.

Both films feature clever screenplays with smart characters, and go about their business with good humor.

With Feig's gentle touch, the film reminds one of producer Judd Apatow's best work, films in which he refused to turn his characters into plot devices, allowing them to become three - dimensional while being endearingly goofy at the same time.

The characters are great, and they play their roles great in the film with good comic timing.

The casting clicks; the visuals have leaped right out of Dave Gibbons» original panels; the action is brutal, stylish and well - staged, and — with most of the major characters, themes and symbolism are retained in an abbreviated form — the 2 1/2 - hour film makes an enjoyably esoteric Cliff's Notes version of the book.

If there is anything I didn't like about the film, it's Cameron's lack of realism when dealing with the roles of children, especially Jonathan Lipnicki's (Stuart Little, The Little Vampire) character as the boy that Maguire forms a bond with, as he's too unrealistic in demeanor and too strange looking to buy as a real kid, and for that matter the same goes for Tyson Tidwell's (Suarez, The Ladykillers) demeanor (son of Rod) as well.

I believe wholeheartedly that his best film is yet to come, but he does seem to have embraced the «fragility» and the humanity of his characters in Jackie Brown with the rigor and the thorougness of any great filmmaker.

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.