Sentences with phrase «great dramatic film»

Ruffalo, one of the great dramatic film actors of his age, has never been, to put it charitably, the funniest screen presence, but he acquits himself admirably.

Not exact matches

Heath Ledger plays the least likely priest since Sean Penn donned a collar in We're No Angels, though his acting is worse (Penn, albeit a great dramatic actor, hit an all - time low with that film).

I found this film to be one of the better reconstructions of the trials, one that felt more subtle than other films, which for me anyway, felt less over dramatic, which is necessary in order to make a great film.

After smaller roles in Paul Thomas Anderson's earlier films, he became a dramatic lead and then a skilled comedian, giving us all great difficulty when trying to define exactly what he is.

Released: December 1 Cast: James Franco, Dave Franco, Seth Rogen, Alison Brie Director: James Franco (The Sound and the Fury) Why it's great: There are no half - measures with Tommy Wiseau, the failed actor / secret millionaire behind the notoriously awful cult drama The Room, and there are no half - measures in The Disaster Artist, James Franco's dramatic telling of the film's bizarre backstory.

This is all great fun, but there is a lack of dramatic urgency in this film that keeps it from being truly compelling.

Tilton demonstrates in this video game score that he has all the hallmarks of someone who would be a great film composer — not just the composition itself (which is beyond reproach — the orchestration in particular is so impressive) but also his dramatic sense, which is honed to provide a gripping narrative here.

Unfortunately Washington's direction (this is his third film as a director, after Antwone Fisher and The Great Debaters) tends to signpost the script's dramatic beats too anxiously in a way that can make the film feel emotionally as well as physically airless.

Their performances wind up becoming the saving grace of the film since their wide range and great chemistry together sells the more sincere and dramatic moments in the final act.

Synopsis: Screen legends Gregory Peck (On the Beach) and Richard Widmark (Road House) co-star in this brilliantly cast western epic featuring an unusually fine story and magnificent direction by the great William Wellman (The Ox - Bow Incident)-- unleashing dramatic power seldom found in this type of film.

2015's rom - com «Trainwreck» isn't a great film, but the script from star Amy Schumer had plenty of winning comedic and dramatic material — not to mention relatable characters and believable situations.

Tatum and Hill are great together, and as happens in the first film, the narrative too quickly splits the guys apart with a strained dramatic arc that drops the funny and drags out the middle stretch of the picture far too long.

The film manages to almost wordlessly lay the groundwork for a strong, tender family dynamic, which is essential because when time flashes forward to over a year later, and the mom is now pregnant, no matter how tempting it is to fault the parents for their carelessness, our protective feelings take over — as does great dramatic tension: survival was already tricky, but how can they possibly stand a chance with a screeching newborn in the mix?

His film is a twisting, turning delight, with great performances illuminating a deceptively complex and well - structured narrative that crackles with erotic tension, dramatic weight and thrilling unpredictability.

Ito once again uses great angles and dramatic lighting effects, evoking horror elements with lighting that you wouldn't normally see in this type of genre film.

Live By Night may work had it been adapted for a television series and used its plot for greater dramatic effect with multiple episodes, such as the excellent Peaky Blinders, which shares similarities with the film's plot.

Still the greatest movie of all time, it's also a virtual lexicon of film - noir visual and dramatic style, as seminal in its way as «The Maltese Falcon» or «M.» Scripted by Welles and one - time Hearst crony Herman Mankiewicz, photographed by Gregg Toland, with music by Bernard Herrmann and ensemble acting by the Mercury Players: Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore, Agnes Moorehead, George Coulouris, Ruth Warrick, Paul Stewart, et al..

And it's in the final scenes of the film — in which Jenkins knows he's laid the groundwork, trusts his actors and allows the emotions of what's unsaid to provide the dramatic thrust — that «Moonlight» makes its greatest impact.

The film is a great dramatic, who done it?

Still the greatest movie of all time, it's also a virtual lexicon of film - noir visual and dramatic style, as seminal in its way as «The Maltese Falcon» or «M.» Scripted by Welles and one - time Hearst crony Herman Mankiewicz, photographed by Gregg Toland, with music by Bernard Herrmann and ensemble acting by the Mercury Players: Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore, Agnes Moorehead, George Coulouris, Ruth Warrick, Paul Stewart, et al. («Rosebud?

The film has some of the greatest black and white images ever filmed, dramatic lighting and sharp shadows, everything you think of as the noir style, only instead of an urban crime drama, it's used to powerful effect to create a nightmare of a fairy tale.

Mind you, it's also a film I think is great too, but it also uses violence as a dramatic crescendo whereas «Bluebird» is much more honest and less melodramatic about the organic and natural direction where the narrative needs to take these characters.

Battle in Outer Space (1959) is a visually splendid and narratively pedestrian space opera, short on character and plot but full of great miniatures and dramatic effects in a film packed with spectacle.

It's like a more dramatic version of «Cable Guy»:) Seriously, great film, great performances, and Cate Blanchett is just absolutely gorgeous in that film, it's insane.

Not fearless enough to nose the camera in the dramatic mire, like a soldier to the cause in a personal guerrilla war, Diego Luna «s film beckons a paint - by - numbers summary of the man's greatest achievements, the spark notes of a six - plus year period that glosses all with thin coats, rarely taking the opportunity to remain in the moment and settle in with the hard - won emotional beats of the characters.

Steve Carell adds himself to the long list of distinguished comedic actors who have made the crossover to dramatic acting with terrific results, Alan Arkin yet again shines as one of the all time great character actors and Toni Collette excels as the emotional core of the film.

Thanks to the confluence of circumstances and timing, Jamie Foxx, a standup comic who has turned dramatic in films such as Collateral and Ali, would be the one to portray one of music's greatest icons.

Crystal and his splendid cast hit a home run, delivering a film that takes a well known event and infuses it with great dramatic highs.

From impressive physicality in Marvel's Avengers universe to solid dramatic chops in a film like Rush, Hemsworth is a great leading man in the right role - but here he seems miscast (because most hackers have NFL physiques), off - balance (what accent are we going for?)

Gertrud renounces external eventfulness in order to cultivate internal or imaginative eventfulness» — and using the (constant - and - never - moving as a way to allow viewers to focus on acting and the body rather than on technical formalist tricks, in fact, the shots are the longest technically allowable before the invention of digital shooting) camera merely as a functional recording - device rather than as an originator of instant meaning and knowledge as in Hollywood, this film remains the best summation of the truism that a longwinded presentation of several actors merely speaking for ten - minutes - a-scene while the camera does not move and no artificial and manipulative «cinematic language» is involved, in other words, the dreaded «merely filmed non-cinematic literature and theatre,» not only has a much greater capacity to teach than any Hollywood mode of filmmaking but is more dramatic than any car chase.

It's a recipe that provides an entertaining experience, but the dramatic moments depend perhaps too much on character and plot from previous films, so that they lose a great deal of punch if viewers haven't seen The Maze Runner or The Scorch Trials in some time - or at all.

These performances and the film's startling cameos don't detract, but enhance the film's most crucial relational dynamic for greater dramatic effect.

Adapted by Kassell from Steven Fechter's play of the same name, «The Woodsman» is at heart a film about the throes of recovery, but its studious avoidance of 12 - step therapy - speak, and its focus on a compulsive disorder that is morally inexcusable and universally repugnant, ensure that it has a far greater dramatic impact than similar films dealing with, say, alcoholism or drug addiction.

The performances are excellent throughout (Spacey and Irons are great, and Quinto continues to impress as a dramatic big - screen actor) and the film looks great, but almost all the other choices are nearly disastrous.

It will be a blatant reminder of a once great director's succumbing to the throes of trying to construct a dramatic film beneath the hulking weight of computer generated imagery.

«127 Hours» is a great example of the dramatic film based on the well - known true tale where the success of the execution is not measured in depicting what happened — for we all know that — but, rather, in how,» writes MSN critic James Rocchi of Danny Boyle's film of what was considered an unfilmable true story.

I feel like the film was lost in the editing room, for there seems to be the raw material here for a truly great contemporary Western and a grand, dramatic meditation on the soul of an American hero.

If you love great dramatic acting and over the top horror satire, then this is the perfect film.