Sentences with phrase «mostly white actors»

When: January 8th Why: Believe it or not, «The Forest» isn't a remake of a Japanese horror flick, but rather an original story whose makers somehow thought it would be a good idea to cast mostly white actors in a movie about a real - life problem in Japan.

Not exact matches

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Moonlight, an intimate story of a black boy in Miami coming to terms with his sexuality, had a low profile in the industry — it was the first movie fully financed by upstart distributor A24, and the most famous person in the cast was Mahershala Ali, a TV actor largely unknown to Telluride's mostly white audiences.

Three years after the film exploded on contact, Chicago movie critics Gene Siskel and Roger Ebert used it on their popular TV show as Exhibit A for a serious discussion about why movies starring Black actors were mostly failing to find favour in white America.

Shot mostly in black and white, it's an Oedipal melodrama about two brothers (the over-serious, monotonous Vincent Gallo and youthful Leonardo DiCaprio lookalike Alden Ehrenreich) whose lives have been blighted by a talented but egotistical father (Klaus - Maria Brandauer, a fine actor wasted here).

Every single character in the film is a walking stereotype, and in typical rom - com fashion, they're mostly white — including the Colombian - born Alejandro, played by British actor Barnes — and extremely privileged.

Soap operas have long been popular in the African American community, but the actors are mostly white.