In films such as «Inside Llewyn Davis» and «A Most Violent Year,» Oscar Isaac, the man with two first names, has shown an uncanny knack for playing quietly intense,
often unlikable characters that nonetheless have an undeniable magnetism.
Not exact matches
The
characters were all dumb and
unlikable, the dialogue was unbelievably clumsy and absurd quite
often throughout, and of course, the ending deliberately left the door open for potential sequels to follow, go figure!
His
characters are
often unlikable to the point of abrasiveness but Perry, a sensational writer as well as a director, expertly unveils the weaknesses in these people as much as their barbed wits.
It isn't simply that her voice comes out clear and her
characters feel tailor made for her; there's a sweetness in both films that was absent from Baumbach's previous efforts — a desire not just to present flawed people who were
often unlikable but show that these deeply flawed,
often unlikable people can also be lovable.
But it's Frances McDormand's complete commitment to her
often unlikable and sometimes unhinged
character that lifts Three Billboards in Ebbing, Missouri to a higher moral plane.