Sentences with phrase «low key character»

As Richard, Edgerton's ideally cast to play a low key character less invested in grand statements than maintaining his private life.

He embraced the big green angry one for THE AVENGERS franchise, but it appears Mark Ruffalo has his sights on a lower key character...

Not exact matches

Investigating successful kids and programs at low - income schools and high - achieving prep schools, as well as interviewing psychologists and neuroscientists, Tough challenges some conventional wisdom on causes of failure (poverty, teacher quality) and contends that nurturing character in children and young adults is the key to success.

Whichever side you come down on, Johns» and Squires» low - key performances are impressive, and the technological / red - tape hurdles their characters face feel stingingly accurate.

It's a low - key premise that's employed to almost prototypically deliberate effect by director Julie Lopes Curval, as the filmmaker, working from a script cowritten with Sophie Hiet, offers up an uneventful narrative revolving around the central character's subdued exploits (eg Alice goes to school, Alice deals with her mother, etc, etc).

A low - key character study whose gently repetitive rhythms mask an unusually keen sense of nuance and subtlety.

Carried by an appropriately low - key Adam Driver and Jarmusch's casual genius for capturing offhand remarks, Paterson is his most absorbing character study since «Broken Flowers» — and far more grounded in real life.

Pop Aye never dips into cutesiness or sentimentality, even when you might find yourself wishing it would; it's less a big - top circus and more a low - key character study.

There is a darkness in all these «average» characters, underlined by low - key acting and the film's sinisterly calm, measured pace.

More puzzling, Depp's mildly mocking, low - key charm makes his character inscrutable.

Bringing his distinctively low - key delivery to a range of parts that were by turns mystical, sinister and conflicted, Sarsgaard secured his place in the pantheon of great Hollywood character actors.Saarsgard delivered solid performances in Year of the Dog and Rendition (both 2007), and co-starred with Dennis Hopper and Patricia Clarkson for the psychological drama Elegy in 2008.

When Damned first landed on Channel 4 two years ago, the social services comedy made a gentle splash on our screens with its blend of low - key laughs and gentle character work.

We'll hopefully get a low key miniseries on the BBC that focuses on the characters with less recognizable actors and a much smaller budget.

Arguably, Montiel's most interesting (and low - key) character study to date is 2014's Boulevard, featuring the late Robin Williams as a closeted gay man coming to terms with his sexuality despite the protestations of his wife (a stellar Kathy Baker).

This low - key character study from filmmaker Joshua Marston is built around a woman who prefers to make up her life as she goes along — one new, invented identity at a time.

Little Accidents is very low - key, focusing more on character relationships than the more high - energy «WE HAVE TO BRING THE GUILTY PARTIES TO JUSTICE!!!!!!» tone that another movie might have gone with.

A low - key comedy about a couple going through divorce may not sound like the stuff of cinematic magic, but with its spot - on character observation and sardonic wit The Squid and the Whale is an unexpected delight.

Everything cruises along at an intriguing but relatively low - key pace, until an intense, long, powerful extended sequence in which all four characters let loose with unfiltered honesty and anger.

It was inevitable that after building his name on these very low - key, intimate character dramas, Ponsoldt would eventually want to attempt an elevation into new territory, and that's where he found himself with the prescient tech thriller The Circle, based on Dave Eggers» acclaimed novel, for which Eggers and Ponsoldt collaborated on the screenplay.

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.

Small and earthy, this low - key drama simply follows a group of 30 - ish characters as they use their friends to sort out their own issues.

Hilary Swank (Million Dollar Baby, The Core) comes closest in a vampish femme fatale role, but with the low - key Hartnett on the other side, they feel like characters from different movies altogether.

Yet the way that Fleck and his writing - directing partner, Anna Boden, turn this low - key character study into something so epiphanic and ecstatic is absolutely miraculous.

From the opening embassy break - in to the central computer - hanging set piece, Brian De Palma's low - key outing is the closest the series has felt to the original TV show, while the use of familiar characters turned a smart blockbuster into a gripping look at a world of deception and distrust.

There's plot and there's character, but tone defines Alexander Payne's films — often they have a very particular low - key mood, and «Nebraska» is full of little, quiet moments, both emotional and funny.

That film's mix of complicated yet grounded science fiction and low - key character work endeared it to audiences who were willing to put the mental work in needed to understand the extraordinarily obtuse plot.

It's nicely balanced by Taylor - Joy's low - key grit as the heroine, although Shyamalan deprives the audience of true gratification, in the heartless way he ultimately dumps her character.

It's a farcical but low - key setup that, for a while, Shelton and her cast play for all it's worth, creating intimacy and discomfort in equal measure as the characters spend time together, the sisters dredging up old embarrassments as Duplass attempts to figure out where he stands with each.

The performances are appropriately low - key and naturalistic and the evolution feels organic, thanks in large part to the collaboration of the actors and incorporating elements of their own experiences in the characters.

Director Paul McGuigan is much better known for cheerfully low - rent genre silliness (Push, Lucky Number Slevin, Victor Frankenstein) than for penetrating character studies, but Film Stars Don't Die In Liverpool finds him helming a much lower - key story.

The film strikes a smart, low - key tone that respects viewer intelligence while giving us characters who, though amusingly odd, are interesting and developed enough to invest in.

Manglehorn is along the same lines as Green's most recent films, a low - key character driven drama, but from the looks of the trailer it may be less successful than his last two efforts.

This is one of those low - key, character - based, slow - burner horror stories, but it leads to some very creepy places.

Rather than throwing his hat into the Saw - Hostel splatter arena, the filmmaker whips up frenzies both more modest and punchier, using resourceful characters to question order and reality, drawing on elements from Prince of Darkness and In the Mouth of Madness, and tempering the screenplay's unreliable - narrator clichés with a scrupulous attention to low - key dread, ensemble interaction and unerring camera placement that's downright classical.

Shelly has infused Waitress with an appropriately low - key sensibility that proves effective at initially drawing the viewer into the proceedings, as the filmmaker does a superb job of establishing the small - town environs in which the almost uniformly quirky characters reside - with the pleasant, easy - going atmosphere generally compensating for the movie's sporadic deficiencies (ie the difficult - to - swallow nature of Jenna's ongoing decision to stay with Jeremy Sisto's absurdly sinister Earl).

This low - key character study — which chronicles his life prior to founding the alt - rock band The Smiths — tends to indulge in the sorts of clichés that its subject spent his career assailing.

A Netflix - and - chill movie for the generation that might have to look up what «Netflix and chill» means, «Our Souls at Night» reunites Jane Fonda and Robert Redford in a sweet, low - key romance that operates best when it eschews plot and just lets us get to know these characters as they get to know each other.

Their characters» romance is credible because it's low - key.

Crossfire Edward Dmytryk, USA, 1947, 35 mm, 86m This adaptation of writer / director - to - be Richard Brooks's novel The Brick Foxhole, about a group of vets, led by Robert Mitchum's Sergeant Keeley, searching postwar Washington for their amnesiac friend (George Cooper) so they can clear him of a murder charge, embodies the essence of what has come to be known as «film noir» — moody, troubled characters; nocturnal action; chiaroscuro cinematography; low - key acting spiced with bits of bravura eccentricity; and a plot so crazy that it feels like a nightmare.

Despite outward appearances, Fracture isn't quite the fast - paced legal thriller that one might have expected from the film's promotional materials (there is, in fact, only one courtroom sequence of any real significance); screenwriters Daniel Pyne and Glenn Gers have instead crafted a story that generally has the feel of a low - key drama - with Gosling's character ultimately forced to choose between his ambition and his morals.

«Everything Else» («Todo lo demás»), the first narrative feature from the documentary filmmaker Natalia Almada, is a low - key character study whose gently repetitive rhythms mask an unusually keen sense of nuance and subtlety.

As with The Station Agent, The Visitor is a low - key, naturalistic, beautifully observed character study about the quiet angst of the buttoned - down soul.

That I'm talking about light as a character should probably tip you off that Coppola is at her most low - key in «Somewhere,» but there's barely a note in this moving, finely wrought miniature that isn't in key either.

The low - key tone and casual pacing create an atmosphere akin to a fly - on - the - wall doc, while a nuanced moral conflict builds through the plight of the title character: an affable but flawed widower whose liberal values clash with his community as he struggles to gain custody of his child.

Instead, the screens utilize a low - key, alternating colors vertical - line design, with tiny pictures of four characters adorning the Main Menu and a small shot of Hayley Mills attached to the Set Up menu.

This Icelandic / Danish drama about a lunkish, immense, balding fortysomething feels like a typically frosty, low - key Danish character study.

«Bone Tomahawk» filmmaker S. Craig Zahler turns in another viscous blend of low - key character study and violent low - art pulp

Like O'Hehir, I've come to this conclusion after two weeks of preparation for the 50th New York Film Festival — a time in which I've seen a great many films, from Antonio Mendez Esparza's quietly powerful Here and There to Cristian Mungiu's riveting yet low - key Beyond the Hills to Christian Petzold's modest character drama Barbara.

Don't expect bombast, though: festival programmers describe it as a «low - key epic,» which hopefully means that the filmaker's impeccably nuanced feel for relationship drama and beautifully sketched sense of character is still intact.

Performances are solid all around, with Nicolas Cage being decidedly more low - key than usual while still giving his character some color.