Sentences with phrase «male characters in the film»

While there are male characters in the film, the movie never takes the time to see the world through their eyes.

Not exact matches

And only 32 % of films featured 10 or more female characters in speaking roles (compared to 79 % with 10 or more such male roles).

And we found that in family films, 81 % of the jobs are held by male characters.

At the end of a big rhinoceros battle, a male character submits to Gurira in the film's single most iconic shot, while an earlier scene in which she tosses aside a bad wig ranks as the most gay - friendly Marvel moment to date.

But, Black Panther is not your typical male - dominated comic book - based movie, practically every other strong character in this film is a female.

He reportedly auditioned for a small part, and though the show's producers did not deem him right for the characterization, they felt so impressed by Eigenberg's presence that they created the character of Steve Brady especially for him, as an extension of his own personality; the plan, again, was to create a sincere, committed, down - to - earth male paramour to offset Miranda's (Cynthia Nixon) cynicism.Though initially intended as a temporary part, the popularity of the character among viewers (and Eigenberg's onscreen chemistry with Nixon) led to Eigenberg's permanent inclusion on the show, as well as subsuquent movies.Circa 2002, Eigenberg expanded into film roles by playing the business partner of Richard Gere in Mark Pellington's underrated supernatural thriller The Mothman Prophecies.

She succeeds in creating a character that is more than a beautiful waif preying on the male characters of the film.

There's the potential for some fine performances here, but these characters exist only as an extension of the males in the film and their actions are merely reactions to the men in their lives.

In their attempt to give a woman a diverse part, they end up flipping the film back in the direction of the male character, by default, because human beings aren't interested in one - dimensional assholes like MaviIn their attempt to give a woman a diverse part, they end up flipping the film back in the direction of the male character, by default, because human beings aren't interested in one - dimensional assholes like Maviin the direction of the male character, by default, because human beings aren't interested in one - dimensional assholes like Maviin one - dimensional assholes like Mavis.

The pursuit of laughs, friendship and criminals in action crime buddy cop films has always been a thriving success with male characters, from ’21 Jump Street» to «Die Hard» to «End of Watch.»

Unfolding like Roman Polanski's take on «The King of Marvin Gardens» while simultaneously serving as a suitable spiritual sequel to the director's debut, «Afterschool,» in which the male desire to connect meaningfully with others is frayed and warped by life experience, «Simon Killer» is Antonio Campos» latest chilly, chilling character study, with Corbet effectively replacing Ezra Miller, who led the previous film, as a neuroscience major who studied how the eyes and the brain relate, but has a seriously loose wire between his own brain and his heart.

In these films a woman's internal life and character arc are important on their own, and don't depend on the male's story arc.

A role in Captain Marvel would interesting, as he's played military characters before and if the film focuses on Carol's time in the military they'll be plenty of male roles to fill for her peers and superiors.

They fall into their roles as the film progresses, and particularly as it accelerates in its third act - Hanks displaying a dogged determination, Streep shining in a feminist transformation as her formerly meek character stops deferring to the wills of male «advisers» and begins to truly assert herself.

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.

Of course you saw this coming, but Disney's latest animated film is more than deeply watchable fare with a good gender balance in the cast — a wonderful thing in its own right — it's hilariously funny, genuinely moving and its sisterly leads are compelling characters with relatable arcs, whether you're male or female.

The film opens with male paleontologist Alan Grant (Sam Neill) and female specialist in paleobotany Ellie Sattler (Laura Dern) traveling to Jurassic Park to see investor and billionaire John Hammond (Richard Attenborough), along with mathematician Ian Malcom (a saucy Jeff Goldblum), and a few characters that you don't really remember because they die early.

Starting right where the last film left off, with minimal exposition, Breaking Dawn — Part 1 finds Bella Swan (Kristen Stewart) finally giving in to one of the marriage proposals the male characters have been pitching at her since the series outset.

It's a very male - skewing movie in more ways than one (the female characters are beyond secondary) and you can not argue there is an element of the Academy that falls for those types of films.

Something striking about your films is the concept of maturity within your characters, especially in this story with the three male leads.

Not only is the salacious and sensationalist male gaze, which is often present in films of this nature, completely absent, but Shortland avoids going through the motions of delivering the obvious plot points to instead focus on the subjective experiences of the character.

And Stan impresses as a portrait of beta - male monstrousness; there's a complicated nasty «nice guy» character, a meek abuser, that might have interestingly been expanded upon here among the film's he - said, she - said comic abuse sequences in which Harding and Gillooly beat up on one another for broad laughs to the sound of 1970s pop music needledrops.

In Les innocents (1987), he famously presented bisexual and Arab characters, and in his next film, J'embrasse pas (1991), he tackled the topic of gay male prostitutioIn Les innocents (1987), he famously presented bisexual and Arab characters, and in his next film, J'embrasse pas (1991), he tackled the topic of gay male prostitutioin his next film, J'embrasse pas (1991), he tackled the topic of gay male prostitution.

The film also takes shots at celebrity / fame culture, but pushing aside the earlier predatory male character in favor of a «women eat each other alive, but literally» story makes it fall short for me.

It's the job of the femme fatale to create castration anxieties among male characters and audience members, anxieties that are then obliterated at the end of the film by her being punished in some way.

Further, the film's male characters seem purposefully two - dimensional, and it even features its own Manic Pixie Dream Guy, a studly musician that Cheryl meets and has a one - night stand with in the final act.

Notably, while there are male characters in the cast (including husbands and fathers), they aren't the main characters and barely appear present in the trailer — suggesting an approach similar to the The Women where the staging of scenes emphasizes that the female characters» story is happening primarily in spaces unique to them and often overlooked in other films.

Strong male newcomers were hard to come by in 2015, but Goggins, otherwise known for his TV work, was particularly interesting, playing a character with many contradictions and possibilities — and he kept all those possibilities in play until the end of the film.

Whether she is defined for audiences by Rita Hayworth as the hair - flipping title character in the 1946 noir Gilda or by Scarlett Johansson as an irresistible, ethereal being in the 2013 sci - fi drama Under the Skin, male film characters have had plenty to concern themselves over when a potential love interest starts batting her eyelashes or — as Oscar - winning actress Jennifer Lawrence (Silver Linings Playbook) does in her new spy thriller — bares all for the uncomfortable assignment at hand.

Directed with an awfully heavy hand by Alexandros Avranas, the film has its own obsession with extreme close - ups, characters constantly entering rooms and closing doors, and, more problematically, scenes of naked women in bondage being debased by fully clothed males.

In a crowded sea of male - dominated Hollywood films and paper - thin female characters, little independent gems like «Landline» generate even more of an electrifying spark.

The best scene in the film involves Gunn's character berating a male underling for giving her a cookie with only three chocolate chips while his cookie is oozing with chocolate chips.

Special Features Alternate Ending Alpha Males — The cast describes how the tough characters in the film blur the lines between the good guys and the bad guys.

As a TV blares the ridiculously macho propaganda of male self - help guru Frank T.J. Mackey (Tom Cruise), one by one we're introduced to the characters, storylines, and relationships that intertwine over one eventful 24 - hour period detailed in the film.

In film after film, his male characters operate...

Not only have they been acting for decades already but this year they have whole films built around them; these aren't girlfriends propping up the male character, but leads in their own right.

Set in London within the ritualized underworld of the Russian mafia — the dread vory v zakone — David Cronenberg's Eastern Promises couldn't be further, in terms of ambience, from the Americana of A History of Violence; and yet the two films are bonded, first by the enigmatic presence of Viggo Mortensen, once again playing a character with a mysterious past, and by the eroticized violence that is the currency of Cronenbergian male relationships.

I say refreshing because it takes that tired format and attempts to turn it on its end by turning the tables on the meet - cue at the beginning of the film — a role almost entirely reserved for the male character in this boy - meets - girl formula.

The actress shone from the first as the most progressive, contemporary character on the show, and aside from further TV roles on «Misfits» and alongside one of our male picks, Daniel Kaluuya, on «Black Mirror,» the show also landed her the lead role, alongside Felicity Jones, in the British film «Albatross.»

It's a lovely portrait of male friendship; considering «Shaun of the Dead» and «The World's End» so frequently put Frost and Pegg at odds, it's nice to see their characters so thoroughly on the same team and enjoying one another's company, delighting in their killer cop movie one - liners and the intense action that invariably breaks out near the film's climax.

(For example, even the incredibly wise Sarah Polley, who made this weekend's wonderful; Stories We Tell, conceded at a Q&A for the film that she hadn't even noticed her lead female characters are defined by their relationships with their male partners, as pointed out by an older woman in her audience.)

The scene involves male character LeFou, who in a side - plot to the main story tries to come to terms with his feelings for the film's male antagonist, Gaston.

But there are also some important differences: Biff Grimes (Cagney) lacks Jim Corbett's gift for dominating the events of his own life; women have far greater importance here, with the title character (Rita Hayworth) and Amy (Olivia DeHavilland) being the central forces of the film; male friendship is complicated by betrayals and delusions (here the Jack Carson character is the traitor, while the unfortunate Grimes is rather like the Carson character in Gentleman Jim).

Even the female cameos in the film have the celebrities being downgraded from influential people in their respective fields to nothing but sexual objects used to reward the undeserving male characters.

Rey was an available option in a film largely dominated by male characters.

What's weird is how the game depicts the way in which members of the audience are drawn toward the film; adult males correspond to the dark blue stars on an actor's card that represent his or her dramatic acting skills, while women are drawn in by the red stars that correspond to character acting, and children are lured by comedic acting displayed as green stars.

For example, there is no mention of psychoanalysis nor of Laura Mulvey's seminal article, «Visual Pleasure and Narrative Cinema,» where the feminist theorist and filmmaker, writing in the British film journal Screen in 1975, first used the term «male gaze» to describe directors to render female characters objects of desire for the male viewer.

Andreatta says the shirts for the male characters are custom - made; and the tailor she works with in Toronto, where the show is filmed, has dozens of lawyer clients who order custom suits and shirts.