Sentences with phrase «other performances in the film»

Neither these nor any other performances in the film depend on self - conscious histrionics; Jones in particular portrays a crafty codger with some secret hiding places in his heart.

Nicole Beharie As scorching as the performances from Michael Fassbender and Carey Mulligan in «Shame» were, there was one other performance in the film, from a less familiar face, that was almost as memorable.

Not exact matches

Hopper's choice to have the actors singing during filming, rather than lip - synching to a pre-recorded soundtrack, gives such impact to the performances — even with his overuse of certain other filming choices — creates such a complete world that even with its flaws, Les Miz had me in the palm of its metaphoric hand throughout.

Many film fans assume that Mitchell won his 1939 Best Supporting Oscar for his portrayal of Gerald O'Hara in the blockbuster Gone With the Wind; in fact, he won the prize for his performance as the drunken doctor in Stagecoach — one of five Thomas Mitchell movie appearances in 1939 (his other films that year, classics all, were Only Angels Have Wings, Mr. Smith Goes to Washington, and The Hunchback of Notre Dame).

«Just Go with It» has major problems with its lack of wit and exhausted repeated jokes, but thankfully, Aniston's performance is able to boost up the comedy in the film; adding to an amount that ranks higher than many other films that try the same formula of comedy as of this film With Sandler's and Aniston's connection being believable, «Just Go with It» manages to hit the mark for several adults and teens to enjoy.

Other big names in film, such as Ellen Burstyn, Sam Elliot, Dennis Leary, and even Jennifer Garner all gave great performances.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

Washington also turned in powerful performances in a number of other films, such as Mississippi Masala (1991), as a man in love with an Indian woman; Philadelphia (1993), as a slightly homophobic lawyer who takes on the cause of an AIDS - stricken litigator (Tom Hanks); and Devil in a Blue Dress (1995), as a 1940s private detective, Easy Rawlins.

Also earning the highest Metascore of the festival, the film is a «tender, wrenching, and beautifully made movie,» according to Owen Gleiberman of Variety, with a «remarkable performance» by Mary Kay Place in the title role as a widow who spends her days caring for others, including her drug - addicted son.

However, the film is electric and the performances are exceptional, set against the backdrop of humor (dark or otherwise), a banging soundtrack and a story you may know but will appreciate in a whole other manner.

In his feature film Art Party, Smith builds on his 2011 protest with a mix of performance, interviews and imagined scenes, en route to the 2013 Art Party Conference, where he and other speakers championed the importance of art and its place in the education systeIn his feature film Art Party, Smith builds on his 2011 protest with a mix of performance, interviews and imagined scenes, en route to the 2013 Art Party Conference, where he and other speakers championed the importance of art and its place in the education systein the education system.

Moss» striking performance led many viewers to question where she had been all these years; like many other fledgling Hollywood actresses, she had done time as a model and an actress in second - rate films while waiting for her big break.Born in Vancouver, British Columbia, on August 21, 1967, Moss decided that she wanted to be an actress at an early age.

What it does have is Samuel L. Jackson in a pinpoint performance as an unctuous old house slave who's more layered than he appears, and when Django, Schultz, and Candie are sitting around the parlor trying to outwit each other, the film achieves that QT hypnotic mood.

She gives a terrific performance in Love and Other Impossible Pursuits and it's a shame that film was never released.

That losing streak is almost certain to be ended in February, this film and this year being the obvious vessels to recognize not just a fearless, committed, and physical performance full of snot and beard but a body of work over the past quarter - century seemingly unrivaled by any other actor.

The film is graciously written, with endless back - and - forth dialogue sequences that among other things, bring out Robert De Niro's most memorable performance in a long time as Pat's OCD - suffering father.

Harrison Ford has remarked that The Mosquito Coast is his personal favorite entry in his filmography, and though that does surprise given how many great films he's been a part of, it definitely isn't quite like any of his other films in terms of his performance.

For some, it will be very bad news that Ritchie (who co-wrote King Arthur: The Legend of the Sword with Joby Harold and Lionel Wigram) stays in his lane with this film; if you didn't enjoy the look and pace and overall vibe of other Ritchie movies, such as Snatch or Sherlock Holmes, then you might feel that his often jarring and visually exhausting style could overpower the strong performances from a great cast.

Not many will debate against that Woody Harrelson is one of the greatest actors of his time (this year alone he has appeared in a wide variety of films and given a pair of incredible performances in War for the Planet of the Apes and Three Billboards Outside Ebbing, Missouri), but his portrayal of Texan Lyndon B. Johnson in the biopic about the polarizing political figure simply titled LBJ (directed by Rob Reiner of A Few Good Men fame among other widely regarded classics) is a mixed bag.

Chenoweth, on the other hand, is much more naked in her ego - driven ambitions than Carole Lombard in the film or even Madeline Kahn in the original Broadway production of this musical, in which Kevin Kline gave the first of his many Errol Flynn impersonations (and Kahn got fired for missing too many performances).

(1) The Intouchables, an $ 11.5 million dramedy, based on a true story, that was co-written and co-directed by Olivier Nakache and Eric Toledano and has become the second highest - grossing French film of all - time in France and grossed more than $ 355 million internationally (more than any other French film and, for that matter, any non-English-language film, save for The Passion of the Christ); and (2) Rust and Bone, a fictional drama that was co-written and directed by Jacques Audiard, a best foreign language film Oscar nominee three years ago for France's Un Prophet, and features tour - de-force performances from Marion Cotillard, the best actress Oscar winner five years ago, and Matthias Schonaerts, the star of last year's Belgian nominee Bullhead.

However, other film critics apparently weren't nearly as willing to sit back and enjoy the spectacle, or find delight in the performances of Anthony Hopkins and Stanley Tucci, as The Last Knight now holds a 17 percent rating on Rotten Tomatoes.

Q: Because you've done a lot of acting in the past, when directing the performances in the film did you apply what you'd learnt or valued from directors on other projects?

Real - life stuntwoman Zoe Bell (who doubled for Uma Thurman in «Kill Bill» and Lucy Lawless in «Xena: Warrior Princess») and Tracie Thoms (whose role would have been played by Pam Grier or Samuel L. Jackson in any other movie) deliver great performances throughout their half of the film, but it's Kurt Russell who walks away with «Death Proof» as Stuntman Mike, yet another excellent addition to his rogue's gallery of classic characters.

Quite an interesting first film by Foughi and likewise a suitably intense performance by Jabbari, on whom lenser Sina Kermanizadeh concentrates sometimes in sharp close - up and other times in soft focus.

Ben Kinglsley, Linda Fiorentino, Greg Kinnear, all of these are highly able actors that have given great performances in other films, but none of these (and, yes, that includes the almost always flawless Kingsley) gave me anything to enjoy from here.

The film starts off rather promisingly with an engaging performance from Fabian, but eventually degenerates in style and content to a pastiche of other horror films such as The Blair Witch Project, The Exorcist, Children of the Corn, and so on.

Funny, subtle, surprisingly heartfelt, and indisputably brilliant, it features Gene Hackman's best performance since Unforgiven and is one of two films this year in which Gwyneth Paltrow proves herself to be an actress of depth and talent (the other is Shallow Hal).

At its core, it is a derivative film, not only because it is a remake, but it is also very similar to other films to come out in the years before it, including Alien and Invasion of the Body Snatchers, but it still manages to hold its own through the fantastic action, Ennio Morricone's (The Untouchables) sparse and haunting score, and the lively acting by all of the performers, with especially memorable performances by Kurt Russell (Stargate, Tombstone) and Keith David (They Live, Final Analysis).

And the performance immediately kicked off awards chatter as did the others in the film, particularly Sam Rockwell whose racist mama's boy police officer rides an arc to redemption.

It's a stupid idea, in other words, one exacerbated by the casting of the usual suspects of beautiful young things who here find themselves trapped in a bad rave by some twisted games master (Lance Henriksen, in the kind of performance you praise for his knowing how wretched the film is — let's think on that for a moment).

He's a perfect Michael Mann hero, in other words — a master at what he does with a hidden romantic side, and Day - Lewis» the quietness of Day - Lewis» performance makes his few stirring speeches (his offered self - sacrifice, the famous «I will find you» to Cora in front of the waterfall) all the more potent because Day - Lewis» face and neck seem to be summoning up all of the energy he's kept conserved in his body throughout the rest of the film.

They chat about classic films and performances they admire (from To Kill a Mockingbird to Casino), their past experiences in film and television, and working with each other.

As the film heads into awards season following a summer release, talk will presumably build about which of the women leads the film, but any such debate should be nipped in the bud: Moore and Bening are as democratic a partnership as the characters they play, each performance informing the other to an equal extent as they intricately map out their roles in the parenting game.

Let's just say they involve a karaoke performance, nudity, a very hairy embrace, and finally, a from - the - heart statement about how we could and should live our lives, which in almost any other film would seem like treacle, but here is thoroughly earned and provokes the tears that lay beneath the laughter all along.

Other notable films featuring Weisz are Enemy at the Gates, About a Boy, Constantine, The Fountain and The Constant Gardener, for which she received the Academy Award for Best Supporting Actress, the Golden Globe Award for Best Supporting Actress and the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Supporting Role.

In spite of the visual splendor Storaro provides, his images are, like Winslet's performance, inevitably hollow when taking into account the lack of quality every other facet of this film provides.

Should we look for her authorship of the film anywhere other than in her performance as Ronit?

The only redeeming quality to the film (other than the aforementioned running time) comes from the quality performances by the lead actors, especially Peter O'Toole, who exudes devilish charm in one of his best performances in years.

Hall makes the other two players in her ménage à trois look like Ken and Barbie dolls; her performance just about saves the film, but it's a bit of a wasted opportunity to tell what was a remarkable story.

Memories from production, the high - grossing performance, and other observations are complemented by lots of clips from the film in this interesting piece.

My other favorite performance is Reda Kateb playing the musician Django Reinhardt in the film Django.

The other Satellite winners in the film acting categories were Jessica Chastain («The Tree of Life») and Viola Davis («The Help»), the latter tabbed as a lead performance.

Other reasons to see the film: Mary Steenburgen's crisp, dryly humorous performance as the determined Ms. Rawlings; Torn as the grizzled but poetic swamp rat; Peter Coyote as the suave local store owner who comes calling on the New York woman, and Dana Hill (the oldest daughter in «Shoot the Moon») as the little girl who inspired The Yearling.

While Hawke's other filmmaking endeavors (Chelsea Walls, The Hottest Scene) has been similarly produced outside of the big studios and with muted commercial prospects, he has retained star power on the opposite side of the camera with performances in big wide release films, from Training Day to Daybreakers to The Purge.

Other than the performances, the film is watchable because of the real Muhammad Ali, who is seen in extensive and absolutely captivating video footage.

Iconic film roles include a wide variety of films ranging from his Oscar - winning performance in Good Will Hunting to other notable performances in films like The World According to Garp, Moscow on the Hudson, Jakob the Liar, Hook, Patch Adams, Desconstructing Harry, Insomnia, One Hour Photo, The Final Cut, Man of the Year, August Rush, Flubber, Toys and Jumanji.

In that film she gave a delightful performance as a woman ready to find purpose in a life that others thought had lost all meaninIn that film she gave a delightful performance as a woman ready to find purpose in a life that others thought had lost all meaninin a life that others thought had lost all meaning.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

Thanks to performances in Oscar - winning film Get Out, Black Panther, and a number of other blockbusters, Kaluuya is fast becoming a household name.