Also, Ed Speleers as our hero Eragon gets my vote as
most wooden performance in a fantasy / sci - fi flick since... well... Hayden Christensen as Young Darth Vader in Attack of the Clones and Revenge of the Sith.
The acting was okay for the most part (Marsden and Perabo were pretty good but Glenn and Thornton gave two of
the most wooden performances I've seen recently), the attacks by the bear were not that well made but it could've been worse but, ultimately, the movie is entertaining and in the end you really care for the 3 main characters (Perabo, Marsden, Jane).
Not exact matches
I don't normally notice, or care about, such trivialities, but this was one of the
most plotless movies I've seen in a long while, filled with
wooden acting
performances (Urban seemed to be on auto - pilot, and Clancy Brown as the lead Viking looks to have had his usual menace stifled by the uncomfortable head gear) and underdeveloped characters.
The movie is pretty awful in
most respects — its script formulaic (James R. Webb, adapting John D. MacDonald's novel The Executioners), its direction plodding (the lumbering J. Lee Thompson), its lead
performances wooden (Gregory Peck, Polly Bergen, Lori Martin).
Character
performances are generally good with voice acting for the
most part being done really well with only a very few minor extras sounding a little
wooden, but this can be forgiven considering the amount of other main characters that are available to interact with throughout.
It's not a museum, but here is a list of just some of the current offerings: an up - to - the - minute program of filmic contemplations on race by one of today's
most sought - after American artists (Carrie Mae Weems); an invigorating pairing of enigmatic artists from the mid-20th century (Francis Picabia) and today (Sigmar Polke); witty, laboriously hand - carved
wooden replicas of cheap plastic seating by a young South African (Cameron Platter); little - seen commercial work by an artist best known for his ruminations on photographic truth (Larry Sultan); a reinterpretation of a well - known installation - cum -
performance from the 1980s (originally by Sultan and Mike Mandel); a show of serious political works by distinguished artists, pitched as an interactive project to young audiences («Rise Up!