Sentences with phrase «performances in films such»

Reiser has had notable performances in films such as «Diner,» «Bye Bye Love,» «The Marrying Man,» «Aliens,» «One Night At McCool's,» and «Beverly Hills Cop» (I and II).

Scream queen, Rose McGowan may be best known for her performances in films such as GRINDHOUSE, SCREAM and supernatural TV show Charmed, but she's just unveiled her directorial debut at Sundance 2014 with short feature, DAWN.

From Oprah's Oscar - nominated work in «The Color Purple» (1985) through her fine performances in films such as «Beloved» and «Selma,» she has demonstrated a remarkable ability to disappear into characters whose adult lives couldn't be more dissimilar to hers.

The younger sister of Dakota Fanning and an actress since she was 2, Elle Fanning is a known quantity to many moviegoers through performances in films such as «Somewhere,» «Super 8» and «We Bought a Zoo.»

«Already a global superstar, entertainer and athlete John Cena has put audiences around the globe on notice with his standout performances in films such as the hit comedy «Trainwreck» and «Sisters,»» noted Neuhauser.

To be honest, I though Reese Witherspoon was good as June Carter, especially when compared to her performances in film such as Legally Blonde.

Not exact matches

He also produced a series of Disney concerts around the world, such as «Fantasia Live in Concert,» that feature orchestral performances and film clips.

ArsenalFanTV specialises in filming videos where fans are able to express their unbiased opinions on topics such as the performance of the team, transfers and on how the club is run.

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.

All performances remain irrelevant in the face of such expensive, explosive combat and destruction, and there the film excels: You will feel blown back into your seat, starting 40 seconds into the story.

Already a familiar face in world cinema thanks to fine performances in such films as Open Your Eyes and Talk to Her, Spanish actor Fele Martínez teetered on the brink of international success in the wake of work for such internationally recognized directors as Alejandro Amenábar and Pedro Almodóvar.

Drawing inspiration from such pivotal usage of practical effects in films like E.T., The Empire Strikes Back, and The Thing, the team intends on building a practical robot puppet for the young actor playing Wei to interact with and get better performances from.

Instead of keeping in tune with such an origin, the film's primary primate, George (a motion captured performance by Jason Liles) is simply an albino gorilla who's best friends with a primatologist / beefcake named Davis Okoye (Dwayne «The Rock» Johnson).

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

For over a decade, sold out audiences have enjoyed Rocky Horror - like participation consisting of hilarious traditions such as screen - shouting, football playing, throwing spoons at the screen, rooting on the shockingly long establishing pans of San Francisco, and generally laughing hysterically at the film's clunky pseudo-Tennessee Williams dialogue, confused performances, and bizarre plot twists, like the mother - in - law character whose breast cancer ought to play like it matters a great deal, but really comes off as a non-sequitur.

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.

After these notable performances, Mihok continued to create memorable and diverse roles in such films as THE DAY AFTER TOMORROW, DARK BLUE, BASIC, CONNIE AND CARLA, director Shane Black's KISS KISS BANG BANG, 10TH & WOLF, HOLLYWOODLAND, SEX AND DEATH 101, THE LONGSHOTS, Marvel's PUNISHER: WAR ZONE, and the unsettling motion - capture performance of the Alpha Male creature that went toe - to - toe with Will Smith in I AM LEGEND.

Ejiofor's performance is typically unshowy yet subtle, conveying a dignity and humanity that the film needs in the face of such unfathomable injustice.

The film boasts performances by Brea Grant (Rob Zombie's Halloween and H2, «Dexter,» «Heroes») and 80's horror icon Barbara Crampton, who starred in From Beyond and Re-Animator before popping back up in modern horror films such as Adam Wingard's You're Next and We Are Still Here.

Most of the performances are over the top and the inconsistencies in character development make the story hard to follow and the characters difficult to connect to, sadly this film boasts itself as a fable, indicating a moral lesson, but there are no such lessons to be had at the end of this film, if you can make it there.

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.

I'd say the true star of the film is Josh Brolin, who has proved in the past few years that he can do many things, such as giving an Oscar - caliber performance in Milk (which also stars Gangster Squad's Sean Penn), do an uncanny Tommy Lee Jones impression in Men In Black III, and proves here that he can dish up a good dash of old - fashioned rough - and - tough heroisin the past few years that he can do many things, such as giving an Oscar - caliber performance in Milk (which also stars Gangster Squad's Sean Penn), do an uncanny Tommy Lee Jones impression in Men In Black III, and proves here that he can dish up a good dash of old - fashioned rough - and - tough heroisin Milk (which also stars Gangster Squad's Sean Penn), do an uncanny Tommy Lee Jones impression in Men In Black III, and proves here that he can dish up a good dash of old - fashioned rough - and - tough heroisin Men In Black III, and proves here that he can dish up a good dash of old - fashioned rough - and - tough heroisIn Black III, and proves here that he can dish up a good dash of old - fashioned rough - and - tough heroism.

For as good as Isaac is in the role, however, it wouldn't be nearly as effective without T - Bone Burnett's excellent soundtrack, especially when such a large chunk of the film is dedicated to the musical performances.

Just as Bill Murray did with his early work in such films as Meatballs, the roguish Rockwell effortlessly works well as a role model for a young troupe of misfit kids, and his warm and affecting performance ranks as one of his most appealing character portrayals to date.

His relationship with the odd boy out, Gerner (Makepeace, My Bodyguard), might be one of the more touching mentor performances I've seen in such a fluff film.

But by bringing in a host of cameo performances, all with silly foreign accents (Ashley Judd as a photographer sporting a Russian accent as if she's from Kentucky and the Australian actor Geoffrey Rush as Trotsky, who is never able to overcome sounding more Australian than Russian), it took away from the film's energy and left it stuck in the usual banality reserved for such Hollywood biopics.

A working actor for four decades, Campbell is probably best known for his role of Ash in the «Evil Dead» films and TV series, but has also turned in fine performances in such films as «Bubba Ho - Tep,» Congo» and the television series «Burn Notice.»

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.

The film treats Lucy as such a blank (or worse: she strives to match her mother's poetic talents) that she can look vapid, but in fact Ms. Tyler's performance has small, distinct shadings.

Following his arresting performances in such films as The Funeral and Palookaville (Sundance 1996), Vincent Gallo trumpets his arrival as a premier filmmaker with the dazzling Buffalo 66.

While such a heavy - handed approach certainly bogs the story down in parts, the film is worth seeing for Rogers» fantastic performance alone as well as the sheer bravery of story's final 15 minutes.

But perhaps the most mind - boggling of his triumphs in the film is that he wrangled such an iconic performance from Jennifer Lopez.

Fifty years after it first appeared, Mike Nichols» film (re-released in a restored 4K digital print) makes such beguiling viewing largely because of Hoffman's performance as Benjamin, which combines humour, boredom and panic in equal measure.

Ronan's character changes the lives of many in the film and at such a young age she delivers such a brilliantly chilling performance.

In your films, the performances are so emotionally rich and have such clarity in terms of tonal shiftIn your films, the performances are so emotionally rich and have such clarity in terms of tonal shiftin terms of tonal shifts.

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.

Anthony Perkins who played Norman Bates in the film has such an amazing performance in the end that is beyond scary, it gives me chills every time.

His swan song, Parade, sorely underrated by the small number of critics who've actually seen it, was a clean break from Hulot, and as such, feels more free than anything else Tati ever made — it's a difficult film for people who may be expecting another lighthearted, whimsical comedy, instead of an experimental film that uses a circus performance as its foundation, but in its own way, it's the ultimate Tati, an undiluted expression of what he loved to do and to see, and what hats to put on.

The sex scenes are also handled with a frankness and intimacy that you don't see in films too often, and that, coupled with a pair of superb performances by John Hawkes and Helen Hunt, is what makes «The Sessions» such a real joy to watch.

Starring the bandleader Paul Whiteman, then widely celebrated as the King of Jazz, the film drew from Broadway variety shows of the time to present a spectacular array of sketches, performances by such acts as the Rhythm Boys (featuring a young Bing Crosby), and orchestral numbers overseen by Whiteman himself (including a larger - than - life rendition of George Gershwin's «Rhapsody in Blue»)-- all lavishly staged by veteran theater director John Murray Anderson and beautifully shot in early Technicolor.

It was everything from watching performances to books and movies; not just ballet films, but films that were in the same «tone», such as The Double Life of Veronique (1991, Krzysztof Kieslowski) or had similarities in the characters» relationships, such as The Piano Teacher (2001, Michael Haneke).

With Costner and Reilly's spot - on performances, as well as a thoughtful script such as this, it probably could have been a great film in the hands of a Ron Howard or Rob Reiner.

Although he was just a background voice in his first film, Jack's appearances in such television shows as The X-Files (1993), his breakthrough performance in High Fidelity (2000), and his rock - comedy band, Tenacious D, have created an ever - growing cult following.

Ronan, who's amassing a very impressive resume in diverse and extolled films such as Atonement (2007), The Grand Budapest Hotel (2014), and Brooklyn (2015), here presents what may be her career - best performance as the titular rebellious heroine.

The emphasis on the paternal has been most explicit in films such as The Indian Runner, History of Violence (David Cronenberg, 2005), The Road (John Hillcoat, 2009), and Captain Fantastic, and are also clearly present in such diverse performances as Mortensen's roles in The Prophecy (Gregory Widen, 1995), The Reflecting Skin (Philip Ridley, 1990), The Passion of Darkly Noon (Philip Ridley, 1995), The Lord of the Rings trilogy (Peter Jackson, 2001 - 2003), and Jauja (Lisandro Alonso, 2014).

Arguably the more interesting performance came from Tom Hiddleston as the villain of the piece, Loki, looking as though he borrowed a lot from Brad Dourif's slimy performance as Grima Wormtongue in Peter Jackson's Lord of the Rings films, albeit with much more command and presence that such an antagonist requires.

But a wobbly finale doesn't detract from all the other wonderful things about this film, such as the performances from Kirsten Dunst and Sam Elliott in supporting roles, and Adam Driver's unexpectedly sympathetic «bad guy».

The director, who came from a privileged London background and has made prestigious, classic films like «Les Misérables» and «The King's Speech,» now tackles an issue which has drawn some attention in our own time, and has done such a remarkable job, helped by Oscar - worthy performances from both principal actors, that the sometimes lightly comic but mostly easy - to - take romance should attract a wide audience.

Best Actress: Annette Bening — Kids Are All Right — stern, intelligent yet moving and likeable — it takes a real pro to accomplish that with such style and verve Nicole Kidman — Rabbit Hole — heartbreaking but resilient — a perfect balance between broken and fixed — it is so joyful to watch a character so succinctly communicated Lesley Manville — Another Year — heartbreaking with closeup after closeup of vulnerability and grasping hope — truly a fragile and pulsating performance Julianne Moore — Kids Are All Right — courageous and oh so human — sexy and vulnerable in an earthy way — her struggles with herself are the heart of the movie and she carries it magnificently and warmly Natalie Portman — Black Swan — the tour de force this year — the crazy, emotionally volatile core of a crazy, emotionally volatile film — some wonder if it might be «easer» to play such big emotions but the incredibly thin wire she has to traverse in such an extreme environment is daunting and she makes it work and gives us believability and solicits true sympathy in the middle of a fright fest — a truly accomplished achievement