Sentences with phrase «movies than any other character»

Once there was a film historian who opined that Wallace Ford was in more movies than any other character actor of his prominence.

Not exact matches

Other than that acquisitive movie - mad mindset, it is a pandering, self - flattering mess, featuring unearned catharsis, lazy clichés and characters presented in broad, sometimes - offensive stereotypes.

Even as characters are tweaked and actors bring a slightly different energy than his other movies, The Best of Me is still the same mushy Nicholas Sparks adaptation with drama so overwrought audience members can't help but laugh — at least until they're sniffling during the closing credits.

The first hour of the movie is virtually unwatchable, with Braff oddly sprinkling in fantasy sci - fi sequences that are supposed to convey the character's inner - life, but never really add anything to the film other than make it feel alternately goofy and pretentious.

While I can understand why people do nt like Michael Cera, I thought he did very well in the role and I was glad to see him playing against type, since movies like Youth In Revolt have shown that Cera is more than capable of playing characters other than the stereotypical nerdy, awkward guy.

For instance, even the humanisation of the villain is less compelling than Fritz Lang's portrayal of Peter Lorre's character in M, though an attempt to make him seem ordinary is more evident here than in other serial killer movies like Dahmer (2002).

Out of the ensemble, some eggs are more rotten than others, but for the most part, Free Fire is a movie in which we're rooting the characters to find a solution, not kill each other.

Wilson has been turning up in too many movies as the charming, deadpan co-star for us to be charmed anymore, while Murphy must play something other than that smart - aleck motor - mouth character if he has to be funny again.

The movie's shambling, episodic structure ensures that certain sequences fare much better than others, and it's ultimately clear that Nebraska is at its best when focused on the father / son dynamic between Dern and Forte's respective characters - with the heartfelt authenticity of such moments generally compensating for the movie's various deficiencies.

All the other actors are trying to do their job seriously and trying to portray theirs characters at least as believable but you can tell that any time Adam, David, Rob, Chris, and Kevin where in a scene together they where just goofing off with each other rather than make a movie.

There are also two female characters (Ruth Wilson as the Ranger's sister - in - law and Helena Bonham Carter as a one - legged brothel madam) who are here for no apparent reason other than to keep the movie from being an all - boys show.

Miller's both incredibly winning at the more upbeat side of the character (it's a version of the gay best friend archetype we actually recognize from real life, rather than from other movies), but sells the broken - heartedness, the step - sibling bond with Watson, and the general sense of being on the wrong side of the cool kids beautifully.

In the 70s, the «day in the life of...» occupation movies were more the norm as far as comedies went, with an ensemble cast of colorful characters, and not much plot other than to watch them all interact and laugh at the results.

Those later elements are really the only thing that sets this apart from the countless other cop - tracks - down - a-killer movies out there, because for all its clichéd plot points and stock characters, it's obvious screenwriters Robert Fyvolent, Mark R. Brinker, and Allison Burnett are more concerned about coming up with graphic death scenes than anything else.

This movie is very character driven, with more than half the films run time taking place with our main characters just sitting in detention and talking with each other.

What makes «Funny Games» different than any other campy - scary horror movie that gets off on tormenting its characters and teasing its audience?

Packed with cliches, there's nothing remotely original about this East London crime thriller, which seems to be based on other similar movies rather than an original story or characters.

Boogie Nights contains more great characters and scenes than most movies deliver nowadays, and definitely is worth watching for no other reason than to view one of Hollywood's major filmmaking talents in action.

Acclaimed filmmaker Steven Spielberg is all set to helm his first superhero movie and it is going to be none other than DC's cinematic adaptation of the comic - book character Blackhawk.

Though the narrative shares some obvious similarities with the three - act structure of the first movie, «Catching Fire» is superior in just about every way, including stronger, emotionally - charged performances from Lawrence and Hutcherson and better character development for the other tributes, who are more than just numbers and faces this time around.

There is fine support from Brittany Snow and Anna Camp, landing the kind of jokes that remind you there is more to their characters than the other movies perhaps suggested.

Think back to other movie characters from the «70s — Harry Callahan, Popeye Doyle, Travis Bickle, etc. — and none of them are clean - cut and totally righteous, making them anti-heroes and much more interesting than traditional «good guys», which is how they would have been defined had this been set in a different era.

Minions explains how they evolved along with other life on Earth, in a prologue that is actually a better idea for a story about these characters than the one the movie ultimately gives us.

We're all familiar with The Bechdel Test, the measure of whether a movie has at least two female characters who talk to each other about something other than a man.

The characters are more important elements here than in any of the other movies, and that decision by screenwriter Chris Morgan is the screenplay's deadliest fault.

He has become a component of that bigger universe of super-powered characters, where heroes pop in and out of other heroes» movies (mostly during post-credit scenes) for little reason other than to set up an unstoppable team of superheroes.

And while the cast is wall - to - wall great, what's notable (for genre fans, anyway) is that the title character is played by none other than Anya Taylor - Joy, who broke out in this year's hit horror movie The Witch — only now it looks like she's the one doing the tormenting.

Searchlight will seek to emulate the Sundance - launched success it had in the past with the likes of «Napoleon Dynamite» and «Little Miss Sunshine» — other movies with quirky and appealing lead characters — but will need to sell a film that at heart is far more of a quiet drama than it might appear.

In another standout track, Small Fry's writer / director MacLane shares his influences (a day of fast food research in Portland, working in a ball pit) and the stories behind all of the short's characters, i.e. the fictitious movies and TV shows where Neptuna and others come from (more thought went into that than you might have guessed).

We recently had a chance to sit down and speak with Dianna Agron about her new film, her character, and how this movie will be different than other aliens films.

While I don't know anything about the character other than the fact that she is a Russian spy, I am pretty sure these images are going to get a lot of people even more excited about the movie.

Ryan — the Iron Man movies are well - equipped to leave you prepped for this film — this film probably incorporates more characters from that than any of the others.

Unlike other filmmakers with an eye to recreating the past, del Toro puts his movie love at the service of, rather than a replacement for, his characters and his story.

The movie manages to end on a quasi-hopeful note for two of the characters, but there's no real sense of happiness other than the audience simply having survived the ordeal and being able to go on with life.

Nick and Norah's sharp, self - conscious repartee has a snappiness that's closer to the way real suburban teenagers speak than the baroque one - liners Diablo Cody put in the mouth of Juno (not to mention every other character in that movie, appropriate or not).

More like a Guy Ritchie movie than a Tarantino one, the boys then indulge themselves in a series of wandering conversations, throwing crass jokes around, and having chance encounters with eccentric characters — all of which turned up knowing each other and eventually come to a head with a final chase / shootout.

And truth be told, this character is never much more than Jack Nicholson in «The Departed,» Jack - lite, just as the movie lacks the artistry and Scorsese tension to be anything other than «Son of the Departed.»

It has all the elements of his past movies, unfortunately this movie is highly uninteresting and the characters, other than those played by Joaquin Phoenix and Josh Brolin, are easily forgettable as they don't have any developing introduction and vanish off the screen as quickly as a Penn and Teller magic trick.

It is a very cool story with a very hilarious Borat - Ozzy type character... this is just a great movie and since it's a comedy but achieves so much more... maybe it should win best film awards... I feel excited for the cast but also for the original the room cast... I hope somethings good comes to them other than just Greg and Tommy...

Probably the greatest superhero movie ever made that's not based on pre-existing characters from another medium, and better than almost every other superhero movie, period.

There is a half - baked uprising against WCKD that is only tangentially related to the main characters and serves little purpose other than to paint an explosive background to what's meant to be the true emotional stakes of the movie: Thomas saving his friends.

Mickey Rourke just tattoos people and tells stories instead of fighting, which makes his role essentially pointless, and the movie doesn't really know what to do with Dolph Lundgren other than to make his character crazy, nice, evil, nice and then shove him aside for all of the good stuff.

Phil Lord and Chris Miller (Cloudy with a Chance of Meatballs, The LEGO Movie) helped put together the story for Sony Columbia's first animated Spidey feature and it includes all sorts of Marvel Comics characters you won't be seeing in the Spider - Man: Homecoming sequels, and for readers, it stars none other than fan - favorite Miles Morales!

For the initiated who are somehow invested in these characters for no reason other than nostalgia, it may deliver as a lobotomized Happy Meal of a movie.

Between the upcoming movie, the character's 50th anniversary, and the new comic book seriess, there's more talk about Black Panther now than ever - and these three creators (and «other Mighty Marvel Guests» according to NYCC) are scheduled to talk about T'Challa, Wakanda, and Black Panther.

There's no justifiable reason for this movie to be nearly two hours long other than to cram in as many songs and characters as possible.

I must say that this was one of the worst movies I've ever watched, «Evil Dead» was better than this mound of shit... Gareth Edwards should be banned from directing hence forth, and now I hear he's directing the new Star Wars spin - off... I'm not one to talk down to others but let's be honest, you have to be retarded to like this movie... It made absolutely no sense, the script (the most important piece to any movie) was terrible, the plot was stupid, the acting was horrible and it seemed that the actors who were chosen were acting for a different movie all together... Where was the sense of urgency, I mean there were 300 foot tall behemoths walking through buildings and all you could show us was who was going ride with the little boy on the school bus... Maybe if all the main characters died and they just let Godzilla do his thing from there on out an eyebrow could've been raised but unfortunately, there isn't one good thing to say about this movie... I'm shocked the WB handed over one their biggest names to Legendary Pictures... Let's not forget what they've done with Superman Returns... This is shameful...

«What makes this standout from other Anderson films (besides having a plot) is that the characters — particularly the dogs — are much more well - rounded than the caricatures who you usually parade through his movies.»

Instead, writer / director Tom Gormican (one of many responsible for the production of «Movie 43») lets the pieces of the story haphazardly fall where they may, not letting his characters develop into anything other than the asses they started as (although Mikey is a decidedly smaller ass than the others).

Every other character — Li - zhen's philandering boss, Chow's happy - go - lucky friend, the nosy landlady («Young wives shouldn't stay out so late — people will start to wonder»)-- is a satellite, and the husband and wife go almost unseen, their offscreen voices used as rhythmic punctuations in a movie that feels less like a narrative than a beautifully drawn - out musical improvisation — Wong Kar - wai's «Blue in Green.»