Sentences with phrase «only characters in the film»

Sam Worthington plays Joe, the only character in the film who truly understands her, while dealing with demons and anxieties all his own.

The only character in the film who is even modestly appealing is Goodman's serial - murdering Charlie Meadows.

They are the only characters in the film, appearing in military - style skirts and polished black shoes.

Not exact matches

And only 32 % of films featured 10 or more female characters in speaking roles (compared to 79 % with 10 or more such male roles).

Wicked too has characters just as nasty as the Wicked Witch in the original film, only now they're turning the tale on its head, and showing that the characters that we used to love may not be so nice after all.

This list is limited to those that focus mainly on Jesus» life story as told in the Gospels; thus, it does not include films about characters who are only peripherally connected to Jesus, such as Ben - Hur (1925, 1959).

Still, the findings are an unfortunate reality and according to the report the odds are even worse for women as, «only 22.3 percent of senior characters in these acclaimed films were female.»

So if we can increase the percentage of women working behind the scenes on films, not only will women's voices be heard more, but we'll see a result on - screen in an increase in the percentage of female characters.

Peres is clearly an insular character, and it's in this way that the films gets the closest to justifying its tagline; Peres sacrifices his emotions, only allowing them to exist internally, in order to lead his country.

In one Star Wars film the good character Obi Wan says «Only the Sith deal in absolutes.&raquIn one Star Wars film the good character Obi Wan says «Only the Sith deal in absolutes.&raquin absolutes.»

The actor proved his dedication to the role by staying in character throughout filming, which not only impressed Russell and Eklund, but will most likely surprise viewers as well.

She's little more than a spoilt brat who treats everyone around her with contempt, even her loving father, Considine, the only remotely sympathetic character in the film.

Several characters, including Nelson (P.J. Byrne), Okoye's right - hand person, are carefully introduced in the film's first part only to completely disappear later.

In one of the strongest scenes in this final film, a character tells Harry about the importance of words and how things that exist only in the mind are as real as anything elsIn one of the strongest scenes in this final film, a character tells Harry about the importance of words and how things that exist only in the mind are as real as anything elsin this final film, a character tells Harry about the importance of words and how things that exist only in the mind are as real as anything elsin the mind are as real as anything else.

The only complimentary thing about the film is the description of being a low - budget sexploitation feature in which the characters are amateurs and don't even remove their bathing suits.

But she therefore typically can never be aware of the film's overall meaning or additional layers, as she has to stay in character and stick to what only her character knows.

The only science fiction characters I can think of that came along before this film that may have influenced it in one way or another are Flash Gordon Buck Rogers and, believe it or not, Duck Dodgers.

Once there, the charmless, taciturn hitman makes guns, shares some wine with a local padre and visits a brothel, «befriending» Clara (Violante Placido), a preposterously beautiful prostitute and the only likeable character in the whole film.

The film only genuinely falters in its string of resolving scenes (We learn some vital things, such as the extent of Curtis» need to bet on a loser and the subtle way the crux of Gerry's character is revealed in his meal choice, but many of the late scenes feel more uncertain than everything else in the film).

Getting short - shrift in all of this is Kevin (Thomas Ian Nicholas, The Rules of Attraction), who is pushed mostly to the side here — although that may be intended irony, since his character was the most sexually experienced in the original film, making him the guy most likely to have had his glory day in high school, only to go downhill from there.

In a film with simple characters mounted on an even simpler premise, it's only natural that bodies become the main subject.

With only three characters in the whole film, each part is vitally important to the story, and it's a joy (albeit a nerve - wracking one) to watch Kingsley, Wilson, and Weaver interact.

Here, they pop in only briefly — along with an assortment of characters from the first two films, including Bill Paxton's Dinky Winks and Steve Buscemi's mad - eyed Dr. Romero — for the final, nonsensical showdown.

the script is linear and actually makes sense, but it's such a cold film that it only works as a procedural film, much in the way The Day of the Jackal (1973) dealt with icy characters from opposing sides eventually converging in a climax.

If sitting through a film where the main character is in a constant state of suffering and losing his grip on reality, doesn't appeal to you then avoid this, but by avoiding you would only miss out on an acting masterclass.

Only when the lessons end and characters become simply individuals trying to connect and communicate in the desolate landscape of a forgotten America does the film resonate.

The only reason my rating is so high is the fact that I never expected it to be as good as it was, It come as quite a surprise how funny it was, Ice Cube basically plays the same character that made his role in the Jump Street films so good, It's nothing new but it's full of cheap laughs from start to finish and the fight at the end was pretty entertaining, Yes it's predictable but it's allot of fun.

Nothing in this film is as daring as those choices — as played by Harrison Ford, Solo was a borderline antihero and the only major character in the original trilogy who had a dangerous edge, albeit one that Lucas and company immediately began sanding down — and as young Solo, Alden Ehrenriech doesn't convince as a cocky young pilot and smuggler who's been prematurely soured by a hard - knock life.

The only bad things I found in the film were its pace, and the handling of the slave characters.

Crusty characters, a bluegrass soundtrack and a dysfunctional family that could exist only in the minds of Hollywood screenwriters make this film more precious than real — or funny.

There's so little to say in this film, and if there was a little more heart here, then the final product would have stood as genuinely decent, but as things stand, this effort is not only forgettable, but mean -, if at all spirited, with unlikable characters behind a meandering narrative that mediocrity goes secured.

In the long flashbacks that form the bulk of the film, Jerry's only real sign of dysfunction is his indifference to Elizabeth Hurley's character, an ambitious Englishwoman named Sandra who has her own high - powered television career.

At the center of the film, however, is a story that not only functions as true continuation of the events in the original, allowing the characters to grow and change in different ways than the first chapter, it's surprisingly emotionally engaging and resonant.

You wan na fix - THIS IS THE ONLY WAY TO MAKE THIS FILM ENJOYABLE - Pretend you are watching a sub-story of STAR WARS as Liam Neeson is in it and there is a character named «LUKE».

It's a scene that makes sense from a character perspective, but the way it's wedged into the story stops the film in its tracks and it doesn't improve from there as only seconds later Tris and Four have to discuss Caleb's leaving, combined with the requisite «It's not your fault» moment.

Many of the characters are one - dimensional and are only in the film for the gags.

This was also the first time Joseph not only got top billing (his name was even bigger than the director's name in the end credits) but his character completely carried the film.

In some ways, Lucy represents the point at which both roles converge, and Johansson has the unusually difficult job here of subtly conveying her character's observations, reactions and eventual epiphanies in a mostly deadpan, flattened - out register that becomes only more subdued as the film progresseIn some ways, Lucy represents the point at which both roles converge, and Johansson has the unusually difficult job here of subtly conveying her character's observations, reactions and eventual epiphanies in a mostly deadpan, flattened - out register that becomes only more subdued as the film progressein a mostly deadpan, flattened - out register that becomes only more subdued as the film progresses.

This sense of dread stems partly from our assumption that something bad is always bound to happen in a Haneke film (Georges and Anne are favorite character names of his), but more because we know that sooner or later, whether it happens within the time frame of the film or not, there's only one way that a story of two very old people in poor health can end: these people are going to die.

Of all Coppola's subjects, they are by far the most unpleasant: there is only one likeable character in the entire film, and that is Hilton's dog.

There's a once - in - a-lifetime feeling to the trio's every interaction — not only as characters but as performers — that makes the film's casually tragic climax that much more devastating.

Not only that but the creators make the crucial mistake in any film by having faceless characters just for death sequences, in the finale when the Decepticons begin their assault numerous robots touch down and fight resulting in many deaths of unknown Decepticons.

Not only that but Vigalondo got us to side with each of the characters in the film despite each one have their own flaws.

, the so - sad - they - can - only - be-Irish melodies of Carter Burwell's Miller's Crossing score, or even with The Big Lebowski, where they concocted a soundtrack as strange as the characters in the film, assist on that one to a young Kenny Rogers.

If you only watch one film this year wherein a Game Of Thrones character escalates through the ranks of a elite prison gang of white supremacists after manslaughtering Schmidt from New Girl in a drunk driving accident, make it Shot Caller, currently streaming on Amazon Prime.

Even though it tells a simple tale, has only two main characters and features several scenes that are mostly silent, it is more moving, more memorable, and just so much BETTER in every way possible than 95 % of the films I see each year.

Stewart plays out the film as if it were a traditional «haunted house» film, but because we already know it is about alien life, we merely watch the characters go through predictable motions until the story catches up with what we already surmise, and the only things keeping viewers reeled in are basic questions such as, «why are they doing this?»

There's the potential for some fine performances here, but these characters exist only as an extension of the males in the film and their actions are merely reactions to the men in their lives.

And while you can admire, in theory, a movie about that kind of stasis — about a real - life situation in which things are bad and can only, maybe, get ever - so - slightly better — in actual practice, this is a film as depressed as its characters.

Ultimately what I took away from the film is that Jackie is the only character in the movie who is not a complete fuck - up (at least as much as a criminal of his stature can be).