Sentences with phrase «most other characters in the film»

At times, he genuinely seems sympathetic, mainly because we spend more time with him than most other characters in the film.

Not exact matches

Having all just finished college, each is deciding on what path to take in life, and its Jim who has chosen the most shocking path for the group of friends as he has chosen to ask his girlfriend Michelle, the infamous flutist of the first two films (the wonderful Alyson Hannigan, which, ya know, she is so good in it, we did nt need the other girl characters, which is sad to say, but eh, this was always about the guys so who cares?).

In fact, the film's most powerful moments occur when other characters show empathy toward the boy — most notably in a scene where he is caught trying to dine - and - dash, and his fate is decided by a waitresIn fact, the film's most powerful moments occur when other characters show empathy toward the boy — most notably in a scene where he is caught trying to dine - and - dash, and his fate is decided by a waitresin a scene where he is caught trying to dine - and - dash, and his fate is decided by a waitress.

Though it's mildly raunchy in the Apatow style (he co-produced), The Five - Year Engagement, like most of the films Segel's co-written, also allows its female characters to be recognizable human beings with senses of humor and personality traits other than niceness.

Most of Lady Bird's teen characters are united by these and other populist totems (in one adorable departure from a world of cultural verisimilitude, Sacramento seems to be a haven for Stephen Sondheim nuts), but the film finds them increasingly aware of the highly visible class markers that separate them.

The foundation of the film, as well as the foundation for most of the other characters in the film, is the happily married couple of Tom and Gerri, played by the terrific Jim Broadbent and Ruth Sheen.

And in the course of the film, Chris Cooper's character is the one who goes from the person who knows the least about the other people in his life to the person who knows the most.

Though it's evident that Marina comes from a different class than most of the film's other characters, A Fantastic Woman is withholding about her background and family — and this would be less of a problem if Lelio and co-screenwriter Gonzalo Maza offered her much in the way of motivation or aspirations.

Aside from the well - noted fact that more superior long - form drama (and comedy) can be found on television than in cinemas, the two most interesting motion picture experiences I had in 2012 were in galleries: The Clock (Christian Marclay, 2010), a staggering and hypnotic achievement of which I still have some of its 24 hours to catch up with, and two multi-screen installations by Candice Breitz: «Him» and «Her» in which many scenes from the films of Jack Nicholson (in Him) and Meryl Streep (in Her), isolate the actors from their filmic background leaving the actors to speak to and interrogate each other across space and time on many themes of character, identity, success, failure, anger and disappointment.

Most of his other early roles are disappointing, either showing his tendency to go overboard (his lawyer in «Criminal Law» is more over-the-top than Kevin Bacon's psychopath) or select roles in films where eagerness trying on new accents and psychological profiles seem to overshadow coherent character work («Chattahoochee»).

Every other character is secondary to the hero as the film uses their struggle and pain as a way to draw more attention the who the film feels is most important, in this case, David Oyelowo's character.

Thus you get stuff like the Wreckers, who even the other characters in the film describe as «assholes» who get more screen time than most of the other Autobots in the film despite not appearing until well into the second half.

As daffy father Clark, Chase turned the film into a huge hit, harnessing a likable befuddlement that kept the series going even as the sequels were increasingly less well received and tiresomely slapstick.Chase's other big hit came in 1985, when he starred as the title character in Fletch, the film widely considered the actor's best and most complimentary of his sharp talent for wordplay.

Most the other Actors / Actresses in the film fall flat and just don't ever feel like key characters.

Although the leader of this new incarnation of these iconic characters does remain on board as producer, he quickly departed the director's seat in favor of that other epic space saga (the one he not so secretly always favored), and was replaced by Justin Lin, who is most known for directing four of the Fast & Furious films.

In a different, perhaps more box - office - savvy film, Kai would be a Western audience identification figure, but in 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characterIn a different, perhaps more box - office - savvy film, Kai would be a Western audience identification figure, but in 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characterin 47 Ronin, he's the most mysterious character, an outsider devoted to social codes of selflessness and rank, content to receive no respect from the other characters.

It's a shame that the violence does mar the film, as it is mildly enjoyable in most other respects, with fun characters and interesting toys for Richie to play with.

Characters pop in and out of the story with little explanation; others yell and fight with each other for no reason; and Anna Paquin (who plays one of the most annoying film characters in recent memory) simply isn't a good enough actor to carry the whole thing on her Characters pop in and out of the story with little explanation; others yell and fight with each other for no reason; and Anna Paquin (who plays one of the most annoying film characters in recent memory) simply isn't a good enough actor to carry the whole thing on her characters in recent memory) simply isn't a good enough actor to carry the whole thing on her shoulders.

4 Still others see Marge as the moral center of the film, suggesting that it is her very morality that gives her the ability to love and empathise, but also the capacity for shame — something sorely lacking in most of characters.5 The thing that Marge «just can't understand,» in her brief conversation with Grimsrud, is this: «There's more to life than a little money.

Heathcliff, Cathy & co are as blunt towards each other as characters of their fledgling age probably would be (this is a world where virtually no one makes it past the age of 25, seemingly), and Arnold's approach of casting relative newcomers pays, for the most part, great dividends, even if it makes the film a little rough around the edges in places.

The unfortunate trade - off is that the logistics of Ragnarok's script dictate that with Blanchett and Hopkins on Asgard, Hemsworth (and lots of the film's most entertaining side characters) on Sakaar, and Hiddleston on Sakaar but in a different setting, the film's best players hardly get to play off each other.

The film — a character study about two road workers who bicker and banter with each other as they tediously paint road lines in a burned down Texas state park — is a notably weightier comedy than most Rudd vehicles (this isn't one), striking some beautiful, poignant notes along with the funny dialogue.

They begin to heal each other, and Hong Chau's performance is remarkable: She starts off as a borderline stereotype — a bitter refugee spitting venom in broken English — and then melts into the film's most surprising character.

One moment is when Joi and Mackenzie Davis» character sync up in of the most poignant moments of the film and the other is when a certain character is briefly revived.

The larger problem with that is the treatment of the women in this film, making one of their two female characters a high ranked military official who spends most of the time feeling insecure and being derided by other men, including those who were supposed to be her peers.

Robinson, Grant, McGann and other principals recount insightful and amusing anecdotes about the making of the film (most interesting of all: Grant had never gotten drunk before playing his hard drinking character), and diehard Withnail fans weigh in with their favorite characters, moments, and lines; not being a fan of the film, it was particularly interesting to find out what scenes and pieces of dialogue are especially notable for fans.

Most characters are named after someone connected to horror films, and generally are also connected to each other in some way, either as Vietnam war veterans from the same platoon, or as secret lovers.