Sentences with phrase «more as character actors»

Older now, they are still in the game, but more as character actors than objects of desire.

Not exact matches

«In my usual character, I am not disposed to taking issue with anyone or group, especially on a matter that I think could be settled internally, more so, when some of the key actors are not sincerely committed to bringing an end to the festering crisis that has set us back as a party.»

Granted, these movies are based on superhero comics, which do this sort of character development a lot, with characters baldly stating what they're thinking or feeling because of the comparative struggle of comics to delve into their characters» heads, lacking consistent devices for inner monologues (as a more traditional novel would have) or the benefit of an actor's performance (as a movie or TV show would have).

You find out more about that process is the 5:29 «Bringing the Characters to Life,» which includes interviews with the animation staff, as they talk about how they worked with their own reference videos to figure out how the «actors» move.

He's marvelous, as are all the British character actors — Maggie Smith, Emma Thompson, Jim Broadbent, David Thewlis — who pop up to reprise characters from earlier films, sometimes without speaking more than a line or two.

Many of the familiar Hogwarts characters get to take a final bow, as it were, with some of the actors relegated to eye - blink cameos (like Emma Thompson) and others given a bit more to do (like Maggie Smith, Robbie Coltrane, Helena Bonham Carter, and Alan Rickman).

A dozen or more excellent character actors keep things fairly interesting, and the cast includes everyone from the Young Actor of the Moment, Timothee Chalamet (as a marginal member of Blocker's gang), to Rory Cochrane as Blocker's longtime friend, a ruined man with too much blood on his hands.

Buscemi is an old hand at stringy curmudgeons, but Del is a subtler and more complex creation than most of them, and the actor seizes the chance to muddy the waters: the character is a genuinely well - meaning mentor to Charley, as well as, professionally speaking, a treacherous schlub.

The two actors approach the character in vastly different ways, with Burton going in a far more theatrical direction than Farrell, who instead portrays Alexander as a conflicted yet headstrong warrior.

The enjoyment comes from the two masterful Method actors, the introspective Brando - like Sean Penn searching for the truth about his role and the more instinctive Nicole Kidman playing to the exotic foreignness her character conveys in a rather prim way, as they play their frustrated oil and water would - be lover roles without even touching or expressing any love except through quiet sighs (a restrained a romance as there ever was in a movie).

Unfortunately, when those same character actors aren't given roles with any depth, their skills are practically useless, and what could have been a film as exciting as Jones» previous similar effort, THE FUGITIVE, becomes little more than another RAMBO style action vehicle, with about the depth to match.

An actor is not only going to have to sell the more otherworldly aspects of the hero, but the vulnerable, failed and broken surgeon side of the character as well, something we believe Mortensen could pull off.

That's not to say the performance wasn't great and that the film wasn't one of the best of the year — it just wasn't the type of film that garners awards for its actors as it was far more concerned with docudrama authenticity than it was with giving its actors full - bore characters to develop.

Barely eighteen months on, we're getting part two, which promises bigger and more spectacular action, and some new blood in the shape of top - notch character actors Philip Seymour Hoffman and Jeffrey Wright, as well as rising star Sam Claflin.

Natalie Portman has hinted at being a versatile actress, willing to go deep to access the emotional soil for a part, but never has she committed this fully and completely, giving herself over as actors sometimes do — Robert DeNiro is Raging Bull, Meryl Streep in Sophie's Choice, Vivien Leigh in A Streetcar Names Desire, Charlize Theron in Monster, Marion Cotillard in La Vie En Rose, Dustin Hoffman in Midnight Cowboy (Tootsie, Rain Man, etc.) These are those rare occasions when the actor is eclipsed by the character, the performance that then reaches something more than likable, believable; it becomes moving art.

Theoretically, a flowing, surging river of zombies — with mouths and outstretched arms threatening to devour any living flesh it encounters — should be more terrifying than a few actors as zombies sprinting at a character, but it fails in execution thanks to CGI that makes the zombies look rubbery.

She's surrounded by a very good ensemble; Brian Marc (apparently a musician - turned - actor) doesn't hit a false note as Blue, who is a more complicated character than we might initially think.

The use of Chris Hemsworth, who has come into his own as a great, self - deprecating comedic character actor in some of his more recent movies, is also one of the film's greatest highlights, playing a extremely dumb but also extremely loveable hunk that Wiig's Erin can't get close enough to.

No, the white characters in «Mudbound» are products of their time, and there's an honesty to that which sometimes supersedes choices that might otherwise have been more satisfying or dramatic — much as the casting favors actors whose weathered faces and strained expressions look as if they might have been lifted from Richard Avedon's «In the American West» series.

The actor said while the character is certainly a villain, he'd more accurately described him as a «revolutionary.»

He was reportedly one of the more flamboyant characters of the industry with a fiery temperament, courting other strong personalities like director Michael Winner and actors Shelley Winters and Charles Bronson, who regarded him as akin to the old bosses of the studio system.

Meanwhile, more weight is given to some very famous Hollywood heads cooing their admiration for Altman but as a leading American critic pointed out, where are the regular recurring members of Altman's ensemble of character actors.

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.

Both principal actors have a strong enough sense of their characters, even as they're pulled into increasingly harrowing places, to make the film a more successful one than Loach's last few, but it's still schematic and predictable, and it aggressively stacks the deck against Blake and Kattie in a way that makes it more effective as social activism, and less so as drama.

After more than 50 years as an actor — years that have included 80 - plus movies, dozens of TV shows, Oscar and Emmy nominations and a reputation as one of the classic character actors of his generation — Bruce Dern didn't exactly think that his career was over.

English character actor Timothy Spall plays the painter over the last 25 years of his life as his work began to grow more abstract.

The 34 - year - old actor stars as Thomas McGregor in the new live action / CGI comedy directed by Will Gluck, but Gleeson has admitted filming the adaptation of the beloved Beatrix Potter character was more painful than he anticipated.

Garfield, in his second outing as Spider - Man (he has signed on to star in one more), agrees the character has come to own his powers in much the same way the actor has come to own the role.

Actor Winston Duke gave a wonderfully enigmatic performance as M'Baku, and he deserves more time to develop that character.

«I wanted to bring balance to these two families and I saw it more as a dark mirror of each other,» she says, crediting her actors for embodying these hardened and layered characters so deftly during a 26 - day shoot on location in Louisiana.

I know it would have been far more enjoyable with a different actor as the title character.

But Reynolds, whose failures as a movie star have forced him to become one of the most interesting actors of his generation, convincingly bluffs his way through the more unbelievable moments, allowing the character to embrace his purpose as Gerry's perfect foil.

Although he is the first - billed actor in the cast, it is the character of Zero, played by Revolori as a teenager and F. Murray Abraham as an older man, who narrates most of the film and whose character technically has more screentime.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

But at least scripters Tony Gilroy and William Blake Heron give her a character to work with, which is more than be said for other talented actors filling out the ensemble, such as Julia Stiles (merely marking time as the baddies» resident computer expert) and especially Clive Owen, who is completely wasted as a barely - seen and - heard evil operative.

Screenwriter Goyer attempts to start new discussions, but gaps form, and Snipes comes off more as a former character - actor, now focused on his love of martial arts, and as an executive producer, concerned with the full exploitation of the Blade franchise.

But even with a new actor in the role, Cuarón essentially re-imagines the character as more jolly and quick - witted.

Singh plays the character with aplomb in what is certainly a career - defining role for the actor who is more often cast as the romantic lead in mega Bollywood productions.

The other extras are the same as on the DVD: much - coveted deleted scenes, including one with legendary character actor Dick Miller, a «Siskel & Ebert» TV special on Tarantino, short documentaries, and much more.

Many of the familiar characters get to take a final bow, with some of the actors reduced to eye - blink cameos (like the great Christopher Lee) and others given a bit more to do (like Evangeline Lilly as Tauriel).

Affable actors, known characters, familiar situations; it could easily be more of the same as the first installment.

Hader's character is more allowed to embrace comedy (the subject material is so dark and bleak that the script does need the actors to tell jokes just for the audience's survival), his character using dry sarcasm as a shield against the gritty reality of life.

A while later, through multiple doors and around many more corners, past the soundstage that contains the set for the interior of the apartments for characters played by Hawkins and Jenkins — including a bathroom specially designed for a scene when it will be completely filled with water — actor Doug Jones is in full costume as the creature.

At first, Cusack over-does the tortured genius angle and actually makes the Poe «character» pretty unlikable (especially compared to a similar schtick from Robert Downey Jr as Sherlock Holmes); however, as the film's murder plot takes hold, the actor backs - off from showcasing his practiced version of Poe and locks into a less ambitious, but more likable, approach — simply reacting to the various in - moment happenings.

Gen is supposed to be a powerhouse character and one that Kiwi actor Cliff Curtis, familiar to Western moviegoers from such films as Live Free or Die Hard and Sunshine (and TV viewers from AMC's «Fear the Walking Dead»), should be more than capable of bringing to life with zeal.

Craig's character, as well as that of Ford, are bad men with good qualities underneath, nuanced thanks to the quality of the actors to be more than just white hat and black hat Western archetypes.

«The Eye of the Storm» does feature a terrific cast of some superb Australian - born actors, specifically Geoffrey Rush, who had known better times not far back when cast as the king's speech tutor, Lionel Logue, in Tom Hopper's «The King's Speech,» and Judy Davis who had a small but more accessible role as Phyllis, the wife of Woody Allen's character Jerry, in Allen's «To Rome With Love.»

As an actor, which is more challenging, keeping true to your character while doing all that shoot «em up stuff, or the heavy dialogue scenes?

Especially when «24» gives you trickier plotting, more believable stunts, top - flight production values, first - class actors (Kiefer Sutherland, Mary Lynn Rajskub, Stephen Spinella, William Devane, Ray Wise, Jean Smart...) and characters for whom you can actually feel something besides an indefinable creepy revulsion (though some have that quality, too), week after week (and in digital surround and HDTV, no less)-- making pre-packaged, pre-fab disposable summer action products like «Miiii» seem as dinosaurish and unnecessary as they truly are.

Cregger's bland yet personable turn as the central character is certainly in sharp contrast to Moore's aggressively zany performance, with the actor's incessantly over-the-top work hitting the viewer like nails on a chalkboard and ensuring that the film becomes more and more of a chore to sit through as it progresses.