Sentences with phrase «from other characters in the film»

For the Xbox 360, Brave: The Video Game plunges players into the popular Disney movie by taking on the role of Merida, who receives assistance from other characters in the film to break a curse.

Not exact matches

Meanwhile, Vox recently floated the idea of Fox going all - in on Deadpool by launching a film series, similar to Disney's The Avengers series, that would see his character team up with others from the X-Men comics to form a group known in comic books as the Uncanny X-Force.

Some feature characters from Disney films, while others tie in with Disneyland.

While I find Shrek the Third to be entertaining enough to give it a pass in this regard, I fear for the future of the series, as now they've gotten even further away from the Grimm Fairy Tales / Disney world that the previous films spoofed, opening up the series to legendary characters and other tales of adventure.

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.

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.

And for some reason half of the film is in Spanish, which is rather disjointing and makes the different character plots seem disconnected from each other.

Though it isn't as laugh - out - loud funny as you might expect from a film starring a Seinfeld - alum, Enough Said still emerges as a warm and insightful romantic comedy that sees its characters as flawed but well - meaning people looking for happiness in their interactions with others, but ultimately finding it within themselves.

Most of Lady Bird's teen characters are united by these and other populist totems (in one adorable departure from a world of cultural verisimilitude, Sacramento seems to be a haven for Stephen Sondheim nuts), but the film finds them increasingly aware of the highly visible class markers that separate them.

And in the course of the film, Chris Cooper's character is the one who goes from the person who knows the least about the other people in his life to the person who knows the most.

Though it's evident that Marina comes from a different class than most of the film's other characters, A Fantastic Woman is withholding about her background and family — and this would be less of a problem if Lelio and co-screenwriter Gonzalo Maza offered her much in the way of motivation or aspirations.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

He's living in the San Fernando Valley and has three best friends, who all seem like stock characters from other, better films.

The film opens on the island of Themyscira, a paradise island created by the god Zeus and hidden from the real world by a protective shield, and the film stays there for a while as we follow Diana from curious little girl to fully trained warrior princess but once Steve Trevor's fighter plane crashes there and Diana realises there is a war being fought in world she does not know of that is not too far away then we swiftly get brought into London in 1918 and this shift from fantasy into a «real world» scenario gives the film a greater sense of depth, and when combined with characters that you actually care about then Wonder Woman is head and shoulders above all of the other DCEU movies on the strength of that alone.

There are some telling moments when they discuss material that was excised from the final cut, such as scenes that might have made other characters in the film more sympathetic, but unfortunately none of this footage has been preserved on this disc.

Not only do the lead characters in the new drama, «As You Are,» strive for continued approval from each other throughout the story, no matter what obstacles they're forced to overcome, but its first - time feature filmmaker, Miles Joris - Peyrafitte, is also seeking acknowledgement in the film community.

It's also the first film in the series that probably necessitates watching the earlier films to appreciate fully, with its recurring characters and references to Indy's departed family and friends (Connery, who played Henry Jones I, has permanently retired from acting, and though tempted, turned down appearing in this film — I guess just one drink from the Holy Grail isn't enough for his character's immortality), so do yourself a very big favor and, if you haven't seen them, or have forgotten the details, watch the other three films prior.

Instead, the humor is created from quirks of the other characters in the film, and not aimed at them.

Porco Rosso, another «canon» classic from Studio Ghibli, somewhat bucks the trend of the majority of director Hayao Miyazaki's other films, in that it feature a male character as the main protagonist.

While some artifice creeps in during the sometimes strange dialogue and sensationalist situations, there is an underlying truth to each scene and character that anchors the film from becoming too overwrought, as many other family crisis dramas tend to suffer from.

Speaking of that other Valkyrie, obviously the version that Tessa Thompson plays in the film is different from the original Marvel version of the Valkyrie, as the Marvel version intentionally evoked the mythological version of the character, which is very much a Norse vision of what a woman would look like, complete with the name Brunhilde (Brunnhilde also was a major part of Richard Wagner's famous operatic «Ring» cycle).

OPENING THIS WEEK Kam's Kapsules: Weekly Previews That Make Choosing a Film Fun by Kam Williams For movies opening November 23, 2007 BIG BUDGET FILMS August Rush (PG for slight violence, mild profanity and mature themes) Freddie Highmore stars as the title character in this escapist fantasy about a promising musical prodigy who runs away from an orphanage to New York City to find his parents (Keri Russell and Jonathan Rhys Myers) only to end up living with a Fagin - like wizard (Robin Williams) and lots of other kids in a makeshift shelter in an abandoned theater which was once the Fillmore East.

In a different, perhaps more box - office - savvy film, Kai would be a Western audience identification figure, but in 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characterIn a different, perhaps more box - office - savvy film, Kai would be a Western audience identification figure, but in 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characterin 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characters.

A major flaw in the film, despite Emma Stone's great screen presence, is that the character of Olive is poorly characterised and her change from confident young outcast to attention - seeking vixen is disarming and, unfortunately, takes away from the film's considerable charm in other departments.

The film adaptation of the musical combines characters from several stories including Cinderella, Little Red Riding Hood, Rapunzel and others in a cautionary tale about being careful what you wish for.

Much like other horror and thriller films, A Quiet Place has a dominating, droning score that, while fairly good in terms of melodic interest, somewhat undermines the feeling that everything should be utterly silent as our characters hide desperately from the monsters.

Strike Back gives the pair their long - due turn on center stage, and in an added bonus for the fandom, resurfacing especially for this occasion are other popular characters from those four films.

Black Panther and some other characters from the film are now playable in Lego Marvel Super Heroes 2.

Mason's other constant in a film full of life's ephemeral characters is his namesake father (Ethan Hawke), a well - meaning musical vagabond just back from Alaska, «maybe to stay this time» his son hopes.

The diminutive and demure Vorspan, playing a character who seems like she's from a Todd Solondz film by way of the Farrelly brothers (or perhaps the other way around), is a real treat — cracked and vulnerable in a uniquely compelling way.

At the film's recent press day, Carrey and Daniels talked about reprising their roles in the sequel, how it was driven by fan demand, what it was like getting back into character and finding their chemistry again, the love between the characters, which one is Dumb and which one is Dumber, how the characters hold a special place in their lives as they do for the fans, the return of the Mutt Cutts van and other callbacks from the original film, working with Kathleen Turner, their favorite scene, and where they see their characters in another 20 years.

At the recent press day, Tarantino and his actors talked about the advantages of shooting in 70 mm, how a Tarantino set differs from other movie sets, how Leigh and Russell played off each other while chained at the hip for 4-1/2 months, why Russell remained in character after his character met his demise, the decision to stay close to the script, Tarantino and Jackson's take on race relations in America, why a period film affords a filmmaker the opportunity to comment on the present in ways a present day film does not, what their filmmaking adventure was like for the veteran actors who have been with Tarantino from the beginning, and why Tarantino doesn't mind dancing on the edge of political correctness.

Bolstered by a terrific performance by Pierce Brosnan (After the Sunset, Laws of Attraction), perhaps his best in a feature film to date, this is a wholly likeable dark comedy full of quirky but well - rounded characters and little touches in the character development that sets it apart from other films of a similar nature.

It's also a film whose impact derives from something other than its story and characters — specifically, Wyatt Garfield's brilliant cinematography, which uses 35 mm, 16 mm and Super 8 mm film at a time when almost everyone in the entertainment business is shooting digitally; and the final lead performance by Anton Yelchin, who died last year in a freak accident.

As «Infinity War» gets underway, Thanos has already acquired the Power Stone and is seeking the other five - four of which are in the control of characters we know from previous films.

The film makes it clear that the accelerator blended dimensions (thanks to the introduction of Elizabeth Debicki's character, Jensen) and we know that the Earth in Jensen's alternate dimension is completely different from the one at the beginning of the film (because it's at war, while the other one wasn't).

In many other Coen Brother's films, they sometimes seem to view their rural characters and settings from a somewhat superior distance, like incredulous anthropologists.

The Cloverfield Paradox is an unholy mess... The characters here never feel like they could exist in a world outside of this space station, all of them barking in tech - speak at each other, rarely acting in what could be classified as recognizably human behavior... As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom... The Cloverfield franchise is rumored to grow even more later this year with a second world war - set thriller potentially unspooling in October.

Set in the 80's, it'll feature younger versions of several characters from the first series of films, but by this looks of this image, the Professor will go the other way and finally sport the bald looks he's famous for.

Although the three lead actors are all working under serious impediments — Travolta has been equipped with a singularly ridiculous soul patch and a Boston accent that runs the gamut from non-existent to «SNL» sketch broadness, oftentimes in the same scene, Plummer has a role that all but insists on being played in the hammiest manner imaginable and Sheridan (whose previous films have included such better projects as «The Tree of Life,» «Mud» and «Joe») is playing a contrivance instead of a character — they are not without a certain innate charm, and indeed, the best scenes here are the ones in which they are simply allowed to interact and bounce off of each other in a relaxed manner before having to return to the mechanics of the increasingly forced plot.

Where these other films blend the dysfunction with humor built from realistic situations, The Only Living Boy in New York takes a more melodramatic tone, hoping to garner sympathy for its character.

The latter is done in a very mannered fashion, almost as if the characters are reading from an invisible script, which helps give the film an other worldly quality.

What sets it apart from so many other «quirky» independent films are its appealing characters and the skill in which their relationships with one another are developed.

As «Infinity War» gets underway, Thanos has already acquired the Power Stone and is seeking the other five — four of which are in the control of characters we know from previous films.

It's Got: An impressive Ryan Reynolds doing his best Jack Torrance impression minus the grotesque gurning (no mean feat); the great Philip Baker Hall having his inestimable talents somewhat wasted in the rôle of local priest and would - be exorcist Father Calloway; Lisa (Rachel Nichols) the babysitter from hell - although not literally, unlike several other of the films characters; and a brisk economy that more ponderous, minute - heavy horror films of recent times would do well to emulate.

Characters hang from the side of buildings and experience other moments of peril in the movie, as well as in historical film footage.

So there's a nagging mother here — a stereotypical role, of course — but Montana also has two other clichéd characters dropped in from better films.

Because I barely remember anything from any other movie in this series (I had to go back and reread my reviews, not just to refresh my memory, but to affirm that I'd even seen the previous films), everything that wraps up loose threads, the two (count»em) times characters are forced to give Biblical genealogies to the probable delight of ardent fans, the deadening nonsense involving love triangles, all that jazz, is exactly like watching paint dry.

A touch of misogyny is expected in a macho action picture such as this, but when the three prominent female characters — who, I might add, are just about the only females in the film — are two prostitutes (one being the dominatrix, the other being Maria Bello's gold - hearted hooker / Porter love interest) and a heroin addict, one could easily see that the fairer sex gets a far from fair treatment.

Back in 2000 the Walt Disney Company's consumer products division struck gold when it launched the Disney Princess franchise, packaging classic characters from the studio's animated films into an array of dolls, games, and other products; sales for this year alone are projected at $ 4 billion.