Sentences with phrase «films as a character actor»

An Emmy winner for his work on the various Sid Caesar programs, he entered films as a character actor in 1959.

From 1963's Goldstein onward, Darden worked in films as a character actor and sometimes writer / director.

Not exact matches

As the actor who redefined what it means to be The Man in Hollywood with films like «Pulp Fiction,» he simply put too much into the role, making the Octopus one of his least memorable characters to date.

The actor proved his dedication to the role by staying in character throughout filming, which not only impressed Russell and Eklund, but will most likely surprise viewers as well.

Actors in this film have lent their vocal talents to other characters as well.

Too muted and pensive to work as a thriller, too withdrawn to be a character study, and too cold to evoke any sympathy, the film is instead a dull and alienating exercise in how to take a strong actor and interesting premise and mostly waste them.

When jobs became scarce in films for highly specialized character actors in the 1950s, Pangborn thrived on television, guesting on a number of comedy shows, including an appearance as a giggling serial - killer in a «Red Skelton Show» comedy sketch.

One year later, Apfel appeared again as an actor known for playing distinguished characters in films such as Romance of the Underworld (1928), and the 1931 version of The Maltese Falcon.

The film is worth seeing, but don't expect something great with the comedy and like I said actor Troy Gentile ruined the film as his character was dreadfully annoying.

Some things that probably factor into the industry's disagreement: Peter Jackson adapted books fifty years old and respected as great literature, the Potter books were being written alongside the first movies; Lord of the Rings centered on adult characters and played to a wider audience with PG - 13 ratings, the first Potter movies were PG, skewed younger, and starred kids (though anyone can see the films matured and so did the fans, many already wrote the series off); finally, where Jackson provided one distinct vision and a cast of respected performers, Potter had a rotating director roster (all of them secondary to Rowling) and limited opportunities for its accomplished actors, giving the brunt of the work to the three kids and spectacle.

discuss the film in detail; Audran dissects her character and praises Axel as a precise, exacting director who was nonetheless easy with his actors.

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.

Phillips - as both director and actor - has trouble with the film's key character; he's so insufferable, he upsets the delicate balance they seem to be going for.

And while the movie's obvious highlight comes with Roma's brutal dressing - down of Kevin Spacey's officious manager, Mamet's screenplay affords virtually all of the actors their moment in the sun - with Lemmon's sad - sack of a character ultimately standing as the film's emotional center (ie despite his exceedingly slimy actions, Levene becomes a figure worthy of the viewer's sympathy).

The film will feature live performances by the lead actors and is rumored to have a documentary feel as it tracks one week in the life of the main character.

Actor / director James Franco has created as unique a character in The Disaster Artist as Johnny Depp did with his Jack Sparrow creation in the Pirates of the Caribbean films.

What a stellar cast we have in Lawless, (Gary Oldman) as the gangster, (Guy Pearce) as the violent deputy from Chicago, (Tom Hardy) as the oldest bondurent brother, (Jessica Chastain) as the head waitress at the Bondurants restaurant, then finally (Shia LeBeouf) as the lead actor and most developed character in the film.

* But thankfully Evans does a fantastic job as the Captain and all the other actors do great jobs too and don't make any of the characters too stupid or cheesy unlike how other 40s era films made in the 90s, 2000s and on have been (Red Tails anyone?)

Throughout the»90s Gleason continued to work steadily as a character actor appearing in films as diverse as National Lampoon's Loaded Weapon 1, Running Cool, Maniac Cop 3, and Nothing to Lose.

It helps that the character is brought to life by an actor as gifted as Michael B. Jordan, who has collaborated with Coogler on all three of his films with outstanding results.

But as in his previous film, Crazy Heart, for which Jeff Bridges won an Oscar playing an alcoholic country and western singer, the writer - director Scott Cooper is able to rely on his actors to give life to characters and situations which might otherwise seem tired.

Unfortunately, when those same character actors aren't given roles with any depth, their skills are practically useless, and what could have been a film as exciting as Jones» previous similar effort, THE FUGITIVE, becomes little more than another RAMBO style action vehicle, with about the depth to match.

Edison Chen and Shawn Yue portray the younger Ming and Yan, just as they had done briefly in the first film, and while they are fine in their own way, this film really belongs to Hong Kong's veteran character actors Anthony Wong (The Medallion, Cat and Mouse), Eric Tsang, and Francis Ng.

The cover story, «Grade B — But Choice,» is devoted to an obscure 1934 musical called «Young and Beautiful,» featuring «budding starlets, grade - A character actors, grade - B musical numbers, a pair of vaudevillians, a look behind the scenes of Hollywood, bogus appearances by Charlie Chaplin and Buster Keaton and a script by Dore Schary» [later famous as a producer of films such as «Crossfire,» «Mr. Blandings Builds His Dream House,» «They Live By Night» and «The Red Badge of Courage»].

That's not to say the performance wasn't great and that the film wasn't one of the best of the year — it just wasn't the type of film that garners awards for its actors as it was far more concerned with docudrama authenticity than it was with giving its actors full - bore characters to develop.

It had been known that the filmmakers wanted to skew younger with the cast of the film, but fans love when these actors reprise their roles as their characters.

In one of Comic Con's most awaited presentations, Marvel superheroes of all kinds from Iron Man to Ant - Man took over the fan convention recently as leading actors revealed surprises to films that will showcase the characters

This is a movie that places mood and character above all else, and while that might not be everyone's cup of tea, Michaël R. Roskam's «The Drop» is a well - paced and expertly acted film that serves as a fitting end to one actor's career and the exciting emergence of another.

Playing a Danish officer stationed in Argentina circa 1880, Viggo Mortensen has the perfect comportment of a civilized military man; as the film goes on and his character is forced to wander through the wilds in search of his disappeared daughter, this brilliant actor gets to shows off his vast vocabulary of body language, from urgent, purposeful striding to weary, wary resignation.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

As Howard, the great John Goodman creates one of the most chilling screen personalities in recent memory; having spent the last decade energising support parts in Argo, The Artist, Flight and Inside Llewellyn Davis, the actor gets to dominate a film with subtle, multi-tiered character work.

Writer / director Martin McDonagh - making his debut here - has infused the majority of In Bruges with a deliberately - paced, overly talky sensibility that undoubtedly reflects his background as a playwright, and it's certainly difficult not to admire the fervor with which both Farrell and Gleeson tackle their respective characters and the film's ample dialogue (the actors» heavy accents does make it difficult to make out every word, admittedly).

As daffy father Clark, Chase turned the film into a huge hit, harnessing a likable befuddlement that kept the series going even as the sequels were increasingly less well received and tiresomely slapstick.Chase's other big hit came in 1985, when he starred as the title character in Fletch, the film widely considered the actor's best and most complimentary of his sharp talent for wordplaAs daffy father Clark, Chase turned the film into a huge hit, harnessing a likable befuddlement that kept the series going even as the sequels were increasingly less well received and tiresomely slapstick.Chase's other big hit came in 1985, when he starred as the title character in Fletch, the film widely considered the actor's best and most complimentary of his sharp talent for wordplaas the sequels were increasingly less well received and tiresomely slapstick.Chase's other big hit came in 1985, when he starred as the title character in Fletch, the film widely considered the actor's best and most complimentary of his sharp talent for wordplaas the title character in Fletch, the film widely considered the actor's best and most complimentary of his sharp talent for wordplay.

The selection of Vincent Gallo as the embittered title character is Coppola's bravest stroke for this new film, since the mercurial New York actor has earned himself a reputation of being difficult to work with and consequently hasn't landed many primo acting gigs.

Armando Iannucci plays funny business with accents in his mordantly funny new film The Death of Stalin, as Russian Communist party apparatchiks are exhumed by a slew of British and American character actors who all retain their natural accents.

The supporting cast is equally impressive including actress Lauren Bacall and Anne Heche as a scheming woman whose connection to Anna and Sean remains a well - guarded mystery for most of the film, but favorite character actors like Peter Stormare and Ted Levine are underused.

Weaver went on to TV fame as Chester on the Western series Gunsmoke, while Chapman prospered as a film character actor, playing such roles as Roy in East of Eden (1955), Rock in Baby Doll (1957), and Deke Carter in Hitchcock's The Birds (1963).

The use of Chris Hemsworth, who has come into his own as a great, self - deprecating comedic character actor in some of his more recent movies, is also one of the film's greatest highlights, playing a extremely dumb but also extremely loveable hunk that Wiig's Erin can't get close enough to.

That said, as an efficient, low - stakes thriller, A Patch of Fog comes recommended, mainly thanks to the showcase it provides for its leads: two reliable character actors given a chance to headline a psychologically probing battle - of - the - wits, something usually reserved for bigger movie stars, when this sort of film had an easier time getting funded in the current landscape.

The (mostly male) ensemble is full of amazing character actors from Alan Arkin as a feisty film producer to Bryan Cranston as a CIA agent.

Mike White — «Year of the Dog» Maybe one of the purest expressions of «screenwriter - turned - director» (though he's also an actor given to appearing in character roles in some of his films) Mike White had, in years leading to 2007, carved out quite a distinctive place for himself as an indie screenwriter dealing more in low - key human dramedy than some of the more bombastic Shane Black - types, or more mainstream Steve Zaillian - types on our list.

Harry Dean Stanton, a prolific character actor who brought a soulful, hangdog presence to such varied films as «Alien,» «Paris, Texas,» «Repo Man» and «Pretty in Pink,» becoming a favorite of film fans and directors alike, died on Friday at age 91.

This is easily Voight's show, as he tears into his character with the energy of an actor who just wants to memorable in a film that is mostly likely going to be banished to a bargain bucket.

«Moonstruck» was also the final major film performance for character actor Vincent Gardenia, nominated for an Oscar as the philandering, gently pompous Cosmo Castorini.

Not every casting choice works in the film though as Michael Cera really didn't fit the character of a famous hotshot actor, but thankfully it doesn't deter much from the story.

Both principal actors have a strong enough sense of their characters, even as they're pulled into increasingly harrowing places, to make the film a more successful one than Loach's last few, but it's still schematic and predictable, and it aggressively stacks the deck against Blake and Kattie in a way that makes it more effective as social activism, and less so as drama.

In 1988 the know - it - alls in Hollywood laughed when it was learned that 20th Century Fox had given $ 5 million to a television actor to star in a film whose lead character had already been offered to, and turned down by, such stars as Burt Reynolds, Sylvester Stallone, Don Johnson and Richard Gere.

But she has no interest in tilting the delicate balance she has found as a movie star with character - actor range — high - profile enough to carry studio films yet low - profile enough for audiences to believe her as everything from a magical nanny to a bloated binge drinker.

Well, his consciousness was in Galvatron in the last film... It's unknown if actor Hugo Weaving is returning to lend his voice as the character.

As a longtime character actor who has shined among ensemble casts (think: Juno's deadpan dad or Bob, a laid off white collar worker, in two of director Jason Reitman's Oscar - bait films), Whiplash co-star J.K. Simmons appreciated receiving the Spotlight Award at the Palm Springs International Film Festival.