Sentences with phrase «of a movie like paul»

How do you cut someone like Paul Rudd out of a movie like Paul Feig's Bridesmaids?

Not exact matches

In those good moments, usually well - composed shots of Jackman by himself, it's like a terrible future version of a good Paul Newman seventies movie.

Why It's Paul Bettany's Movie: Creation is a biopic that seemingly exists to give Paul Bettany a major leading man role, rare for him after years of playing second fiddle to the likes of Heath Ledger (A Knight's Tale), Russell Crowe (A Beautiful Mind, in which Crowe romanced Bettany's future real - life wife, Jennifer Connelly), and Russell Crowe yet again (Master and Commander: The Far Side of the World).

For Mana, showing up for practice and competing in the meet are acts of open defiance, and Ariki isn't the kind of character you want to make angry, which pulls the openly conflicted Gen into the center of a potentially violent situation — one that feels like something out of a Paul Schrader movie (say, Travis Bickle's foolhardy attempt to liberate Iris at the end of «Taxi Driver») rather than the sort of climax audiences might anticipate from this otherwise Disney - appropriate inspirational drama.

shrieks Paul Giamatti's squirrelly record executive, sounding very much like a character in a movie insisting on the historical importance of its subjects, which isn't necessarily a bad thing.

And seeing the water balloon - like explosion of Paul McCrane's mutant in the original was way more visceral than the clinical exposure of what little of Murphy remains in the robotic shell (which is about as «gory» as the movie gets).

Paul is a director who, like many of the movie brats, has a reputation that precedes him — whether it be writing American cinema classics like Taxi Driver or Raging Bull, directing the popular and canonized films American Gigolo and Mishima: A Life in Four Chapters, or the lore surrounding the era, popularized by Peter Biskind's book Easy Riders, Raging Bulls.

During this recent interview to discuss the TV version of Zombieland, co-creators and executive producers Rhett Reese and Paul Wernick talked about the journey from TV series to movie and now back to TV pilot, what it's been like to work with Amazon, what motivated the decision to have the same characters from the movie on the TV show, how they envision it as a road show, how much gore they can have, what Kirk Ward (who was originally cast as Tallahassee before being replaced by Woody Harrelson) brings to this version of the character, what led them to the 30 - minute format, whether they could have any surprise cameos (Bill Murray made a very memorable one in the film), what will determine whether the pilot is successful enough to go to series, and when they might know if they're picked up.

At the film's press day, actor Paul Giamatti, who's also an executive producer on the movie, talked about what drew him to John Dies at the End, his most memorable experience of the shoot, working with such new actors, how he sees the industry now, and that he doesn't think a film like Sideways would even get made today.

«That was kind of like making this movie with me and Paul.

Paul Rudd still stars as Ant - Man, Michael Douglas plays Henry Pym, the inventor of the shrinking formula in this version of the movie (and not the original superhero like he is in the comics) and Lily who recently revealed a few more details and said her character Hope Van Dyne «is the daughter of the founders of The Avengers, Ant - Man and the Wasp» which will no doubt lead to lots of confusion as we know from the MCU Ant - Man and The Wasp weren't in those original movies (she's referring to what happened in the comics).

Unlike the clean, cohesive Casino, the action sequences here look like jumbled rejects from one of Paul Greengrass's Bourne movies (don't get us started on that phony - looking parachute drop).

It's certainly looking promising, and with original director Paul King returning to helm the sequel, it looks like a worthy follow - up to one of the best family movies in recent years.

Like Paul Verhoeven's great movie satires, Edge of Tomorrow works because it is first and foremost a brilliant example of the very form it seeks to satirise.

Some movies, like some clothes, are functional without being particularly beautiful — but some movies, like writer - director Paul Thomas Anderson's luxurious and breathtaking «Phantom Thread,» are the equivalent of high fashion, allowing us to get lost in the beauty and fantasy of their folds.

It doesn't so much re-litigate her case — tried in real court and the one of public opinion — as jazz up the juiciest details: the «motivational» maternal shit - talk that Janney performs like a profane comedy routine; the on - the - ice outbursts, sometimes punctuating Gillespie's robustly staged skating sequences; and every twist and turn of Gillooly's hapless criminal conspiracy, which turns the backstretch of the movie into a dimwit caper, dominated by Paul Walter Hauser's broadly farcical take on Eckhardt and his mouth - breathing delusions of grandeur.

Along with films like Jim Sheridan's Brothers, Paul Haggis's In the Valley of Elah and Grace is Gone, starring John Cusack, it's a «coming home» movie about the effect of the current conflicts on military lives back in America.

Director Paul W.S. Anderson (Resident Evil, Alien Vs. Predator, and a lot of films like those two) shoots for the sensory overload of a Michael Bay movie and falls short.

Starring: Laurence Fishburne, Sam Neill Directed by: Paul W.S. Anderson Written By: Philip Eisner Rating: R (US) Running Time: 1 hr 35 min Two Cents: This plays out like a collection of ideas taken from better movies, which then s...

Such plans become immaterial when in an instant, millions of people around the world suddenly disappear, leaving behind their clothes like the Santa who falls off the roof in The Santa Clause (disappointingly, the clothes are not neatly folded as they were in Apocalypse, a little - known 1998 movie also from writer - producer Paul Lalonde).

The director has dropped his best of list for 2011, and let's just put it this way: Paul W.S. Anderson «s ridiculous and dumb «The Three Musketeers» made the top 11, while movies like «Drive,» «Rampart» and «Meek's Cutoff» didn't.

The vast technical background necessary for creating cinematic stories, illuminating interviews with the greatest living filmmakers, in - depth analyses of high quality movies... The material provided by Cahiers du Cinéma, Sight & Sound, Cinemagic, Cinefantastique and many others has inspired thousands of people to dedicate their lives to filmmaking, and thanks to the wonders of modern technology, these priceless cultural beams of historic value and prime educational significance continue to inspire, astonish and enlighten us, bringing up a new generation of artists who might persevere and thrive to one day fill the shoes of the likes of Orson Welles, Krzysztof Kieślowski, Jean - Pierre Melville, Agnes Varda, Paul Thomas Anderson, David Fincher and dozens of others whose work continually delight and move us in every way possible.

ROUGH NIGHT Director: Lucia Aniello Starring: Scarlett Johansson, Jillian Bell, Zoe Kravitz, Ilana Glazer, Kate McKinnon, Paul W. Downs, Demi Moore, Ty Burrell, Ryan Cooper I feel like movies about bachelor / bachelorette parties should just be a subgenre of their own.

The film ultimately plays like a Disney film that utilizes an inordinate number of «F - words», and it even reminds a bit of the Paul Giamatti movie Win Win.

The young boy does things only a child in the movies would ever do, here listening to 70s music like Paul Simon or a the Best of Bread compilation, in addition to knowing all about the politics of the era.

AICN pointed out a press release today from MGM that lists a new RoboCop movie alongside upcoming franchise films already in development like Quantum of Solace, The Thomas Crown Affair 2 (with RoboCop director Paul Verhoeven on board) and everyone's favorite future films, The Pink Panther 2 and 3.

But the actor, who died yesterday in a freak automobile accident at the age of 27, went in the opposite direction, putting his franchise clout to work on movies by cult directors like Jim Jarmusch (Only Lovers Left Alive), Joe Dante (Burying the Ex), Paul Schrader (Dying of the Light) and Michael Almereyda (Cymbeline).

I had a window before I promote Green Inferno, and I wanted to make a movie like Roman Polanski or Paul Verhoeven made when they were young, a classic psychosexual thriller that's not a horror movie, but would have everyone on the edge of their seats.

Paul Franklin has made his mark in cinema in the dizzying world of visual effects, having done work on the likes of a few Harry Potter films, a Bond movie, and most recently, Captain America: Civil War.

The marriage of these talents to Paul Reuben's (Meatballs Part II, Cheech & Chong's Next Movie) juvenile character is perfect, because only in a world gone bizarre could a man like Pee - wee Herman exist — a world that Burton creates with just the right amount of whimsical energy required.

Sublime characters actors like Viola Davis (Doubt), Peter Sarsgaard (An Education), Paul Dano (There Will Be Blood) and Celia Weston (Far from Heaven) fill the edges of this movie and make the overall experience a far more pleasant one than it has any right to be.

It is a symptom of Marvel's oppressive world - building that so much of the film's run time is devoted to new characters like the twins, or Vision (Paul Bettany, actually having a face on screen for the first time in the franchise), or Ulysses Klaw (Andy Serkis, a villain for a movie that will not see the light of day for three more years), squeezing the interstitial moments down to little more than an afterthought.

Director Paul Verhoeven (Total Recall, Basic Instinct) worked tirelessly to revise scenes while actors like Kurtwood Smith, who plays Clarence Boddecker, the film's main heavy, improvised some of the movie's best lines.

The 39 year old has made his name in dramatic films with roles in movies like End of Watch, Shooter and Fury, so he was worried he would mess up as the sidekick of Ant - Man's alter ego, Scott Lang, played by Paul Rudd.

Movies based on graphic novels don't need to be superficial; just look at «American Splendor,» in which Harvey Pekar was a bohemian grouch with attitudes a lot like Wilson's, but Paul Giamatti endowed him with a streak of vulnerability.

I was expecting something dark and dour, but Victor Frankenstein is written by Max Landis, who generally writes genre movies with strong humor impulses (like Chronicle and the upcoming American Ultra), and is directed by Paul McGuigan, who's done a lot of the direction for the slick BBC Sherlock.

The movie goes out of its way to inform us that Reiss is a Nobel Prize winner, as if all Nobel laureates go a little wiggy, like Demi Moore in «Charlie's Angels: Full Throttle,» or Linus Pauling.

Unlike the lost, lonely souls of the first two movies, New Jersey lawyer Mike Flaherty (Paul Giamatti) feels like he belongs.

Like many, I hope Aaron Paul finds success, but his post - «Breaking Bad» big screen career gets off to a lackluster start in Need for Speed, an unintelligent and underwhelming racing movie that won't do much for anyone who isn't riveted by the sights and sounds of fast cars in motion.

Having already discussed the making of «Paul» in detail during our first interview, we turned our attention to other topics, including the current string of alien movies hitting theaters and what it's like working with your best friend.

Playing like a boozy, floozy Antipodean mash - up of TV staple The Wonder Years and Paul Mazursky's middle class mores romp Bob & Carol & Ted & Alice (1969), Elliott casts the terrific Atticus Robb as his adolescent alter - ego Jeff Marsh, a sensitive teenager whose obsessions know only two forms — movies and girl - next - door Melly (Darcey Wilson), an equally ill - at - ease tweenager barely coping with the madness that unfolds daily in their cul - de-sac existence.

I know it says based on a true story but with the addition of cast like Christopher Walken and Paul Sorvino to add more Italian to the screen so that mafia has a bigger presence, it feels like the movie is going to run itself into the horrible wall of cliche more than once during the runtime and I'm just going to want to hope someone had attached a bomb to my seat.

Seems like a corny mix of «Doctor Dolittle» and «Night At The Museum,» but with Kevin James in the lead there will sure to be laughs — he did, after all, make «Paul Blart: Mall Cop» a surprisingly funny movie.

Instead, his movie's appeal is limited to whatever charm Johnson can muster from thin air and the genius of seismologist Paul Giamatti, who gets to look in the camera and say ominous things like «People need to know that the shaking is not over.»

It's like a second - rate Coen brothers movie, although Paul Walter Hauser is a riot as Shawn Eckhardt, the pal of Gillooly's, who boasted of being a world - renowned surveillance expert but lived in his parents» basement.

is a deliriously biblical portrait of the artist as a godlike monster (for the record, I liked it), this new film by Paul Thomas Anderson offers a more graceful and far more complicated version of the same idea... Quiet, moody, and deeply perverse (I'll say no more), this fascinating movie reminds us that Anderson is the kind of alchemist - director who can turn somebody ordering breakfast into a classic scene.»

At this point almost all characters present for Civil War have been in other ensemble MARVEL films like the Avenger movies with the exception of three specific heroes; Black Panther (Chadwick Boseman), Ant - Man (Paul Rudd), and Spider - Man (Tom Holland).

She's worked plenty, but outside of small roles in the likes of Hanna and A Most Wanted Man, she hasn't had the sort of exposure you might expect from an actress getting a leading role in a Paul Thomas Anderson movie.

As with all Paul Schrader movies, Dog Eat Dog is a down and dirty bit of nastiness that leaves viewers feeling like they need to scrape something off of the bottom of their shoes by the time the credits roll.

I have never not loved a Paul Thomas Anderson movie, and this one looked like it would contain everything I could have wanted: something weird and kind of kinky, set among the fashion world in London, starring Daniel Day - Lewis.