Sentences with phrase «in a film like this»

It seems absurd to pick on the performances in a film like this but most of the cast is out of their league.

Somehow I find the characters in films like this to be much more affecting than in equivalent American films.

I have no idea what he's doing in a film like this.

Sure there is a ton of fan service, but that's very expected in a film like this.

I can't think of another scene in a film like it.

The importance of a good cast in a film like this can not be underestimated and as an ensemble piece, it worked really well.

Typically I tend to overlook the sound in films like these, but the sound design plays a pivotal role in the film.

Something I always appreciate in a film like this are the difficult sequences, especially when a simpler idea could have been done.

There's also something vaguely amusing about seeing an actor of her stature in a film like this.

Because they don't signal their intentions right away, the critiques in films like these tend to sneak up on the audience and sock them from behind, making them especially emotionally powerful.

Everything in a film like this depends on performance, and it is hard to imagine how it could have been better cast.

Since their notable appearance in a song and dance routine with actor Dick Van Dyck in the 1964 film Mary Poppins, these little black and white creatures have scored numerous screen roles in films like Madagascar, Cat's Don't Dance, Surf's Up, Happy Feet and this fall's sequel Happy Feet Two.

According the New York Times, «the book will recount her comedy career at the Second City improv theater and her work in films like Best in Show and The 40 - Year - Old Virgin while addressing how she learned to her embrace her homosexuality and overcame alcoholism, and perhaps show how intertwined she and her «Glee» persona are.»

Known mostly for his role as the drug lord Russell «Stringer» Bell in HBO's The Wire, he has also appeared in films like American Gangster, Thor, and Prometheus over the last few years.

Elle Fanning is one of Hollywood's brightest rising stars, having starred in films like Super 8, the Oscar - nominated 20th Century Women, and this year's Mary Shelley as the eponymous author.

Drawn to the new sergeant is laid - back cop movie enthusiast Danny Butterman (Frost), who can merely dream of the type of action he's seen in films like Lethal Weapon and Point Break.

The wonderful Rose McGowan is certainly no stranger to the horror genre, making turns in films like Scream, Planet Terror and Jawbreaker, so it should come as no surprise that her first directorial...

The portly, leprechaunish O'Malley essayed on - camera character parts in films like Witness for the Prosecution (1957) and Mary Poppins (1965).

Comedian David Cross has been in all sorts of staple entertainment from his revered turn as Tobias Funke in «Arrested Development» to small appearances in films like Men in Black, Eternal Sunshine of the Spotless Mind and unfortunately Alvin and the Chipmunks (everyone needs a paycheck).

The actress Cameron Diaz probably doesn't need any introduction — you already know her from the way she lit up the screen in films like Gangs of New York, and There's Something About Mary.

We all know how much he enjoys his Scottish accent as he's used it countless times in films like So I Married an Axe Murderer, Austin Powers 2: The Spy Who Shagged Me, and once again in all the Shrek films.

Rio has been used in films like Marlon Brando's One Eyed - Jacks.

Oscar Isaac has been impressing for years in films like Inside Llewyn Davis and A Most Violent Year and Ex Machina (also featuring the younger Gleeson as this movie does), and he brings unending charisma and that perfect movie star chin to a Han Solo for a new age.

Remember Jet Li, the action star known for his very physical roles in films like Lethal Weapon 4, Romeo Must Die, Hero, and The Forbidden Kingdom??

Phillippe has established himself as a credible dramatic actor in films like Igby Goes Down and Breach, but he regresses here to the kind of sneering playboy roles he vacantly inhabited before he proved he could act.

but this freewheeling approach to the biopic genre works even better in films like Tate Taylor's Get On Up, where the well - documented facts of James Brown's life were already nearly impossible to believe.

In the years to come, Sweeney would remain active on screen, appearing in films like Taken 2.

Bahrani's history of filmmaking has been deep into the lower - middle class of the world in films like Goodbye Solo and Chop Shop.

Filmmakers Larry Clark, Harmony Korine, and Fernando Meirelles have used it to great effect in films like Kids, Gummo.

I don't mean to suggest that the characters themselves are all that complex, but I think the cast clearly had a blast filming this and, as always, I think that's really important in a film like this.

More importantly, Williams takes his mousy but threatening - when - cornered stock character to its fully realized conclusion, bettering his work in films like Dead Again and Insomnia.

The wonderful Rose McGowan is certainly no stranger to the horror genre, making turns in films like Scream, Planet Terror and Jawbreaker, so it should come as no surprise that her first directorial effort — the short film Dawn — is dark and plenty disturbing.

Note: It's an especially hard thing not to notice so soon after enjoying the impressive practical action in a film like Mad Max: Fury Road.)

Sienna Miller is much better known for her dramatic work in films like American Sniper and Foxcatcher, but she did dabble a bit in action blockbusters when she took on the role of the Baroness in 2009's G.I. Joe: The Rise of Cobra.

Diane Kruger: She has given some memorable performances before in films like Troy and Inglourious Basterds, but she gave the best performance of her career in In the Fade as a distraught woman who has lost her husband and child.

Keaton's career has run the gamut between broad comedy (The First Wives Club; Baby Boom) to serious (Reds; Marvin's Room) and in her later career, she found a real niche portraying kooky yet strong women in films like Something's Got ta Give and The Family Stone.

Saoirse Ronan has flirted with Oscar before with acclaimed roles in films like Atonement and Brooklyn, but if the reviews for Lady Bird are any indication, the Irish actress might finally make her way to the stage at the next ceremony.

Sudeikis, in particular, shines in this unusually dramatic role and exhibits a depth he touched on in films like «Sleeping with Other People» and «Colossal» but that he really gets to live in here.

Signed to a Warner Bros. contract in 1937, she played a few conventional ingénue parts in films like Kid Galahad (1937), but was far more effective in roles calling for disillusionment in pathos, notably her work as Bette Davis» sister in Marked Woman (1937).

The inescapable conclusion after watching the rise of Bradley Cooper — from annoying support act in films like Wedding Crashers, to lead roles in The A Team and Limitless — is that he might be the chosen one destined to take on the mantle of «charming leading man» from former great turned couch - jumping madman Tom Cruise.

Prequel / reboot based on the Tom Clancy character featured in films like The Hunt for Red October, Patriot Games, Clear and Present Dangers and The Sum of All Fears.

The old Transbay Terminal is soon to be replaced, and the old monstrosity makes cameos in films like «Basic Instinct,» «Getting Even With Dad» and «Chu Chu and the Philly Flash.»

As great as a character point as that is when it's serviced by sloppy rehashes of dialogue that we've heard Clint Eastwood deliver time and time again in films like A Fistful of Dollars all you can do is laugh at the film rather than with it.

While Wilson blossomed as a «Saturday Night Live» cast member and can currently be seen on the underrated comedy series «Happy Endings,» Raphael has been seen in films like Going the Distance and Year One with notable guest appearances on nearly a dozen TV shows.

Swanberg's inclusion is a notable one, as the film has been referred to as helping to establish a new (and somewhat on the nose) subgenre that mixes the low budget and improvisational style of mumblecore with the horror setting («mumblegore» if you will), and the conversations here take on a casual, loosely scripted feel that would not seem out of place in a film like Computer Chess or The Puffy Chair.

A longtime Coen brothers collaborator, Deakins is responsible for the incredible shots in films like Skyfall, No Country for Old Men, The Shawshank Redemption, and Sicario.

She appeared in films like Wild and Obvious Child and did a multi-season arc on Girls, but the most prominent role she took in the past few decades has been on Transparent for the past three years.

The piece is being directed by Dutchess County resident, actress and filmmaker Mary Stuart Masterson, known for roles in films like Fried Green Tomatoes and Benny & Joon.

It's here than Wan excels, a sign of his fantastic character work to come in films like Insidious and The Conjuring, with his work both fantastically calculated and seemingly chaotic.