Sentences with phrase «in films like american»

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.

Not exact matches

True, Frank Wolf did not spring from the intellectual and political aristocracy of the American Founding; nor did he serve as ambassador, senator, secretary of state, and president; nor is he a crusty curmudgeon like the Adams portrayed brilliantly by Anthony Hopkins in the film Amistad.

Of course this show is not going to represent 100 % of muslims in america, just like when they film a show about asians, african americans or any other race it doesn't represent all those people in that race.

Like they say about the pirates code in the seminal American film Pirates of the Caribbean, this method is based on what you'd call «guidelines» rather than actual «rules.»

Update: Video was a hoax pulled by Jimmy Kimmel If American Olympian Kate Hansen isn't showing off her great pre-routine dance or posting twerking videos, she's apparently filming dogs that look like wolves in her Sochi hotel halls.

Most importantly, however, the film has a new site where people can set up their own screenings, and purchase copies of the film along with other stuff like screening kits and UNITE FOR LUNCH American Apparel T - shirts designed by the artist who did the illustrations in the film.

Daniel Craig is a very well - known British actor, but it wasn't until his early breakout roles in films like Layer Cake and Road to Perdition that he ever made it on the radar of American film watchers.

Scarlett Johansson is an American film actress known for her work in films like Lost in Translation, Vicky Cristina Barcelona and Hitchcock.

M * A * S * H is a 1972 — 1983 American television series developed by Larry Gelbart, adapted from the 1970 feature film MASH, which, in turn, was based on the Oh, I really love mash - up games like this where characters from two different worlds are put together!

Moodysson's teen protagonists are more complex than both the high school stereotypes (the nerd, the jock, the beauty queen) in films like «American Pie» and the self - absorbed philosophers on «Dawson's Creek.»

During this close - minded time period in American cinema, she was showcased for her «exotic» qualities in films like Pagan Love Song, Latin Lovers, and The Fabulous Señorita.

The Movie: The idea of George Clooney playing a (mostly) silent assassin holed up in the Italian countryside with gorgeous European women sounds like recipe for a solid dramatic experience, so why Focus Features is marketing «The American» as some sort of action thriller when in fact it's an arty European film, will throw some moviegoers off and just outright anger others.

The film reminded me of films like The Prime Gig, Boiler Room, Less Than Zero, Nothing in Common, Up in the Air, American Psycho, and Glen Gary Glen Ross.

With these three films, Spielberg has crafted something like a Trilogy of Good Decisions, in which, at pivotal moments in our nation's history, more or less decent people took the opportunity to make the right choices based on fundamental beliefs in foundational American values.

Like two of the year's other standout American films, Kelly Reichardt's «Old Joy» and Ryan Fleck's «Half Nelson,» it's a movie of ideas in which the ideas flow effortlessly out of the material instead of being plastered on top with a heavy cement roller (as in «Crash,» «Babel» and «Little Children»).

The Beijing - raised, London - and Mount Holyoke — educated filmmaker shares with the American Honey helmer an interest in young people at the margins, a knack for eliciting fantastic performances from amateur or under - the - radar actors, and what film critic April Wolfe described to me as a «dream - like realism.»

Dorsey's movie career ranges from heavy drama (WALK THE LINE), to lighthearted family comedy (JUST LIKE HEAVEN, Disney's GIRL VS. MONSTER, and the American Girl series MCKENNA SHOOTS FOR THE STARS), but her appearance in the Golden Globe ® and Academy Award ® nominated film MONEYBALL established her as a bona - fide star.

If that sounds to you like the film with in a film from Inglorious Basterds, but American, you'd be correct.

I really like the American pie films and this one is the best in my opinion.

Paul is a director who, like many of the movie brats, has a reputation that precedes him — whether it be writing American cinema classics like Taxi Driver or Raging Bull, directing the popular and canonized films American Gigolo and Mishima: A Life in Four Chapters, or the lore surrounding the era, popularized by Peter Biskind's book Easy Riders, Raging Bulls.

Woody Allen is so reliant on American jazz in his films, when he moves away from it, it always feels like a big change.

At a time when retributive wars in the Middle East have become all the rage, it is unsurprising that revenge has also returned to our cinemas, with recent American films like The Punisher, Man on Fire and the remake of Walking Tall all exhibiting a gung - ho enthusiasm for extrajudicial retaliation (and all featuring protagonists who, like Richard, have a military background).

It addresses like few American films do the difficulty of making and maintaining a living in a swiftly - tilting economy, the shrinking corporate universe that's resulted in monopolies in fact if not in name, and the financial tightrope of second mortgages and a credit card dependency.

I always liked the creatures in the Harryhausen - type films, but really these American Christmas specials were probably the thing that really made me want to do it.»

TCM Select Pick of the Week: Some Like it Hot (1959), Billy Wilder's best loved film and the AFI's number one pick for best American comedy of all time, plays the St. Valentine's Day Massacre for farce when the two musicians (Tony Curtis and Jack Lemmon) who witness the brutal gangland slaying elude mobsters by hiding out in an all - girl band.

At least the movie gets a solid performance out of Asano, a well - known face in American and Japanese cinema for his work in films like the Thor franchise and Ichi the Killer.

At least the movie gets a solid performance out of Asano, a well - known face in American and Japanese cinema for his work in films like the

Fans of writer - director David O. Russell like to compare his films to those of Preston Sturges, who in the 1940s produced the most singular run of movies in the history of American comedy, including The Lady Eve, The Miracle of Morgan's Creek, and Hail the Conquering Hero.

American director Tobe Hooper began his film career like many people in the field, working on industrial films and TV advertisements.

For example, prior to digital distribution, horror films from filmmakers working in countries like Japan, Spain, and Italy were traded on VHS and DVDs by American fans of the genre, including movies that never saw an official theatrical release in the United States.

His very early movies were great fun and laid in the tradition of American slapstick like «The Three Stooges «and The Marx Brothers, and afterwards he changed course and made some extremely profound films in the 60s and 70s.

Like with Elizabeth Banks [in Wet Hot American Summer] and then Zooey Deschanel — I did this short film where she's my wife.

Slightly similar to The Longest Day in one respect, like that film it told the story of an infamous day from the perspectives of the different sides — the build - up to the Japanese attack on Pearl Harbour is seen from both their perspective and the Americans», with an almost documentary - like approach aided by a lack of genuine movie stars producing a very fine, compelling picture.

Featuring a memorable ensemble cast of both British and American actors, the film centers on a group of reckless criminals that inadvertently become involved in a labyrinth - like plot full of two - timing back stabbers set to the tone of Ritchie's trademark comic violence and tongue in cheek humor.

There is much to think about and process in one viewing, as the struggle of surviving here evokes other recent hard - hitting films like Moonlight, the similarly Orlando motel - set 99 Homes, and American Honey.

It's a level of obviousness matched by the film in moments like one in the middle of the game where Efraim screams «fuck the American taxpayer!»

After watching a film like Pulse, I feel a bit insulted that movie executives think so little about the intelligence of the American movie - going public that the vast majority of the attempts at popular entertainment are completely stripped of anything remotely resembling a thought - provoking element, eschewing those in favor of noise, special effects and music stimuli to try to induce a subconscious reaction in the audience.

But for those interested in this time in American history, those studying music or anyone who likes a good story with interesting characters this film is a must see.

Yet, people still flock to films like Pulse in droves, leading me to think that perhaps the movie executives know more about the intelligence of the American public than I'm willing to believe.

In the 1950s, the American Western film achieved the pinnacle of the genre, producing seminal films like High Noon, Shane, The Searchers, and Rio Bravo.

Scott Cooper) Cast: Christian Bale, Casey Affleck, Woody Harrelson, Zoe Saldana, Forest Whitaker Muscular American crime movies have always been popular at Cannes, and with films like «Drive,» «Lawless,» «Killing Them Softly,» «Mud» and «The Paperboy» all premiering at the festival in the last few years, it seems that they're particularly to selectors» tastes at the moment.

That's like Native American music playing in a Middle - Eastern film.

Noticeably absent from the list are awards players like «Loving,» the Jeff Nichols film about America's interracial marriage ban, «Hidden Figures,» about African American women in the space program and the multi-generational drama «20th Century Women.»

Though an entire subplot devoted to homosexuals in a film like this is usually cause for trepidation, American Wedding distinguishes itself with a refreshing affection for its gay characters — enough so that a few same - sex smooches are shown without irony, a same - sex dance is left uncommented - upon at the reception of the wedding in question, and a gay character named Bear (Eric Allan Kramer) is allowed to be a key figure in two set - piece gags.

Set and, at least in part, shot in Georgia's Okefenokee Swamp, it's the director's most Ford - like film, in part thanks to a cast of Ford regulars (among them Walter Brennan, John Carradine, and Ward Bond) and a script by frequent Ford collaborator Dudley Nichols, and in part simply due to Renoir's own sensibilities translated into an American vernacular.

I didn't mean that I hope there's a wave of remakes, just that there might be an interest in classic American genres like film noir and the western once again.

The result is a film which, like its slippery American heroine, is madly in love with language, from tongue - teasingly delicious sarcasm to some truly outrageous swearing.

I like, too, Breen successor Geoff Shurlock (Kurtwood Smith) declaring that no toilet had ever been shown in an American film up to that point when, you know, that's not true, either, and Shurlock probably knew it.

I came to the city as a teenager in the late»70s, too late for the New Yorker Theater itself but right on time for the Cinema Studio on 66th and Broadway, where I spent half of my student life seeing and re-seeing movies like Wenders's The American Friend and Godard's aforementioned return to 35 mm feature filmmaking, and the Metro on the corner of Broadway and 100th Street, where I saw Oshima's early films for the first time.

Charlie Kaufman went from TV scribe to red - hot screenwriter in 1999 with «Being John Malkovich,» and his timing couldn't have been better: That's a year the industry looks back upon as being a flashpoint of American indie cinema, with rule - breaking, ambitious films like «Pi,» «Boys Don't Cry,» «The Blair Witch Project,» «Three Kings» and «Fight Club» in multiplexes.