Sentences with phrase «only person in the film»

Not exact matches

When a friend's son (who was, so tragically, dying from an incurable illness) made a wish: to meet Luke Skywalker, it fell on me — the only person the dad knew who worked in the film business — to make a call.

Wood, the actor who famously played Frodo in the Lord of the Rings films, told the Sunday Times that abuse runs rampant throughout Hollywood because of all of the «vipers» and people who only have their own interests in mind in the industry.

Growing up in the second poorest county in Illinois, where many families below the poverty line depended on venison from hunting to get through the winter, the only times I saw people like me on TV were in Dukes of Hazard reruns (my own family has a storied moonshining history) and in a VHS copy of the 1974 film Where the Red Fern Grows.

Filmmaker Steve Cowan posted full transcripts of his interviews with Cuomo and Maffei on the film's website, which include Maffei's observation he supports public campaign finance «because it means the only people we'll have to worry about in our day are the taxpayers and constituents in our district, and that's what we're supposed to do.»

People who rely on them end up in a bubble, with the system only showing them games or films like ones they have already enjoyed.

In this film they not only help heal these people who are sick on a physical level but on an emotional, physical and spiritual level as well.

As in the first film, Ron's unbelievably nasty, narcissistic behaviour only alienates the people around him about half the time, and soon he's being courted for a gig at a newly launched 24 - hour news channel.

The secret hidden camp where all the «special» people train looks pathetic, like a Scout camp you would go to over the summer holidays, plus it only seemed about a 5 min walk from a main road 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.

Well, to be fair, people just might not remember this film, which is so forgotten that it's emphatic about its starring Robert Donat, whose only had «The 39 Steps», «The Private Life of Henry VIII»... and 1934's «The Count of Monte Cristo»... within a three - year span... starting at his second year in the business, going for him.

Debut director Ricardo de Montreuil only cares about filming pretty people in the most hackneyed positions imaginable.

Eva is distraught, but the amour of the film's title is definitively not that between child and parent; rather it is an all - consuming, hermetic, specifically romantic love, one that exists and is only understandable in the space between two people who've spent their adult lives together.

That aspect of the film is clearly in a fight with all the «why did you come here» Syd Field motivational padding between its troubling setpieces, and it's a very studio - suit move to assume that the only way to give «meaning» to a film is to have people talk about it.

Harkening back to Hitchcock in a way most people only dream of, it greatest heir (De Palma) particularly is interested in his black and white films for David Selznick (Notorious, Spellbound) in reaching the desired world of intrigue, then the film kicks in and Cruise gets his hands dirty in a way many wondered if he would have the guts to.

Even as Snooki and «The Situation» are, in the context of the film, held at arm's length (figuring into a second - half subplot, they're often seen only on monitors and television sets), the Farrellys seem to be saying: «Yes, we even have room for these people.»

This isn't to say that he was the only talented person who participated in the making of the film; Don Cheadle, Thandie Newton, Terrence Howard, Jennifer Esposito, Sandra Bullock, Brendan Fraser, Michael Pena, Matt Dillon, and Ryan Phillippe are just a few of the members of the cast, which is as artistically diverse as it is racially diverse.

Some of the jokes fall flat, others are badly telegraphed and it weaves in and out of being a documentary and just a film to the point of distraction but it ' s hard for me to dislike the movie since I ' ve worked with people like this especially the director, Harry Penderecki... only not as likeable.

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.

The Pacifier is a film made by people with only one object in mind — to cash in on Diesel's popularity, while also trying hard for the actor to crossover into more than just lowbrow action vehicles.

Williams really only had two brief appearances in the film, but that fact wasn't enough to keep people from paying their money and selling out the opening weekend performances.

Unlike the small museum from the first film, the Smithsonian would surely be overrun with people, even in the middle of the night, so there's really no explanation as to why Larry seems to be the only one trying to keep the peace for such a major institution full of priceless art and historical artifacts.

Ike's reinforcement of Philip's worst habits doesn't help any — in a way, «Listen Up Philip» is as perverse a mentor - student film as «Whiplash,» where the teacher only gives his pupil advice that will make him a worse person.

He did appear first in Knocked Up, but this film is where he not only wrote but also starred alongside a comedy powerhouse of people to back him up.

As the film started to elicit gasps Ramsay started to relax — the 2000 - person theater eventually breaking into a seven - minute standing ovation at the film's end — she had found a way not only to capture that storm of explosions going on in Joe's head, she had found a way to engage an audience in his story.

And that is the only reason why all of those exterior shots in the film look so tactile and beautiful and hand - crafted, and that is one of a thousand suggestions that people who have that depth of talent and experience can just bring.

But while director Oliver Hirschbiegel («DasExperiment») very effectively takes youdeep inside Nazi Germany's crumbling heart and brings many infamous momentsacutely to life, his film doesn't offer much in the way of new insight.The script is more of a textbook play - by - play than an examination of impulsesand psyches, and while the Hirschbiegel and his cast add those dimensionsthrough their fine work, it seems the only way he could invest the audiencein these events was by seeking out a sympathetic minor character — inthe person of Hitler's young secretary, Traudl Junge (Alexandra Maria Lara)-- and beef up her significance.

In fact the people I was watching Super Troopers with went back to watch the opening sequence for a second time only minutes after the film finished.

, Bronson (Refn, 2008) because many people saw it as a flawed film, Alpeis (Alps, Giorgos Lanthimos, 2011) because it was an extremely acquired taste, and Only God Forgives because it was hated and loved in equal extremes among those who saw it.

But this film redeems Barnum, the huckster extraordinaire, as a proper subject of millennial celebrity worship, a phenomenon in which famous rich people are not only accepted as role models but presented as paragons.

Another film that only focuses on privileged white people, and forgets that in 2015, more trans women of colour have been murdered than ever before.

You only wonder if the third film, FIFTY SHADES FREED (whose tease plays in the middle of the credits), will portray Ana and Christian as a domesticated couple who've gotten «relationship fat» and spend their nights on the couch, watching garbage people on Bravo.

Am I the only one who liked the «summation of films nominated for best picture» bits better when the people introducing them weren't the ones in the movies?

As previously reported, the film casts the same people in a similar situation as Olympus, only this time, the U.S. president (Aaron Eckhart), his devoted Secret Service bodyguard (Gerard Butler), and the Speaker of the House (Morgan Freeman) are in London to attend the prime minister's funeral.

Brie Larson in Room is the real wild card as she and her film really burst onto the scene in late summer, culminating in a surprise People's Choice Award win at the Toronto International Film Festival in September that cemented her as not only a contender but as a threat to win.

This legendary horror film by director Steven Spielberg not only created the «summer blockbuster» but also managed to scare millions of people around the world from going in the water.

What made it even more remarkable at the time was that Kline was known almost exclusively as a dramatic actor, in films like Sophie's Choice, The Big Chill, and Cry Freedom — only people who'd seen him onstage or in The Pirates Of Penzance could have anticipated such a broadly comic turn.

With one of the deadliest wildfires in the state's history raging in California, it doesn't seem likely many people will want to see a movie about a tragic wildfire, but Only The Brave is a solid film that is a timely reminder of what is at risk when a wildfire breaks out.

Carol's domestic predicament plays in tandem with the romance, providing the film's drama and offering up one of its most moving aspects, which is Carol's remarkable strength and resolve, as she determines «not to live against my grain»; she's tragic in the way that only fiercely independent people can be.

THE DVD Anchor Bay's 2 - disc DVD release of Near Dark is not only gorgeous in every technical aspect, but something that gives a great deal of comfort and hope to cinephiles everywhere: we're in good hands when people who recognize the artistry and importance of this little film are given the means and the opportunity to produce something definitive.

People used to criticize Armando, saying that he was a pornographer who only cared about money, and that that was the only reason he included nude scenes in all his films.

The Squid and the Whale is a sometimes difficult film to watch, but that's only because it is often frank and honest in its portrayal of four very confused, somewhat maladjusted people.

This film stars Sandra Bullock (While You Were Sleeping, Love Potion No. 9) as Angela Bennett, a beta tester for various software programs who comes upon a computer disk which has a flaw that allows access into the top secret files in the mainframe of a defense computer or some such (It's a MacGuffin as Hitch would call it, I don't need to know what it does, only that it's important and people want it.)

Robert Pattinson is clearly relishing putting the Twilight franchise ever further in his career's rear - view mirror, but even when you think his Jerome is just about the only vaguely moral person in this film's twisted universe there comes a twist which throws you completely off, as the script essentially points out that Hollywood is a corrupt and corrupting place where no real human values apply.

Nochimson's article details the origins of this «eternal studio in the Eternal City» (it was movie - mad Mussolini's baby), its brief role as housing for people displaced by World War II, and its reemergence as a major site of spectacular movie projects, not only for Federico Fellini (whose La dolce vita, Amarcord, and And the Ship Sails On are just three of the many projects he filmed partly there) but also for Jean Renoir (The Golden Coach) and Bernardo Bertolucci (The Last Emperor).

Ridley is the newcomer of the group; her only credits up to this point are guest roles in British TV shows (including Mr. Selfridge), one short film, and an upcoming movie called Scrawl that stars other people you probably haven't heard of.

From the very first lines, in which Trent tells Duncan he's only a 3 out of 10 as an overall person, we sympathize with him, but it is as the film progresses that we truly begin to relate to him, sharing in his miseries and joys.

I admit that partly stems from the fact that, at the age of nine, I correctly called her now - notorious «My Cousin Vinny» win, a decision I suspect is only sneered at by people who haven't watched the film since 1992 and have consequently forgotten just what a ballsy, entertaining performance she gives in it.

Without a studio behind it, the film got only modest attention in theaters, but people will be catching up with it for years to come.

The only people actually acting in the film are Jacki Weaver and Zac Efron, who play jobbing actors tasked with bringing two of the more memorable subplots in Wiseau's script to life; they're both wonderful.

This gag was used to much better effect in Joe Dante's Gremlins 2: The New Batch (where it was similarly adapted for VHS viewers), not only because the monsters had a good reason to stop the film (they are gremlins and it is the nature of gremlins to muck up mechanical things, quite unlike mad slashers, who should just want to slash people), but also because Dante built on the joke by filtering it through his uniquely off - beat sensibility.