Sentences with phrase «screen roles like»

Rickman was already a succesful actor on stage in the 1980's, but rose to prominence with unforgettable on screen roles like Hans Gruber in the original Die Hard, the Metatron in Dogma, Alexander Dane in Galaxy Quest and of course Snape from the Harry Potter series.

Not exact matches

A role similar to Clint Capela's — a screen setter and rim runner surrounded by shooters — seems like the best way to unlock his potential.

He is not Coquelin though in a sense that he isn't as extremely fast and mobile, and for that reason he needs somebody like Rambo, who covers a lot of ground and does his share of running, while Chambers does his Arteta role of screening the defence and passing out of it.

They have never been given the opportunity to be role players, they come off screens trying to score when thy can't score... The defense knows that and clamps down even harder... with Kawhi they are just trying to find open lanes that they like... it's so different

Her segue to the big screen, with roles in movies like Paper Towns, Suicide Squad, and the upcoming Life in a Year.

He would continue appearing on the English screen over the following years, with roles in projects like Erik the Viking and Rogue Trader.

Ms. Huppert is not a terribly sexy actress, but she brings to the role a terrible sexuality — she moves across the screen like a nun shedding her habit down to her lace skivvies.

Since their notable appearance in a song and dance routine with actor Dick Van Dyck in the 1964 film Mary Poppins, these little black and white creatures have scored numerous screen roles in films like Madagascar, Cat's Don't Dance, Surf's Up, Happy Feet and this fall's sequel Happy Feet Two.

In the meantime, Cooper would nab starring roles in more and more films, like the thriller Limitless and the big screen adaptation of The A-Team.

First up, he played the title role in the blue - screened sci - fi action flick Sky Captain and the World of Tomorrow, starring alongside the likes of Gwyneth Paltrow, Angelina Jolie, and a «resurrected» Laurence Olivier.

While he has accrued several noteworthy screen assignments (including the starring role of a nasty hockey player in 1992's The Cutting Edge), D.B. Sweeney is best remembered for his even - keel portrayal of the tragic Shoeless Joe Jackson in Eight Men Out (1988); if he looked like a «natural» on the ballfield, it was because Sweeney had once actually played minor league baseball with the Kenosha Twins, hanging up his spikes after a knee injury.

Over the coming years, as Davenport transitioned into more adult roles, she continued to maintain a consistent presence on screen, appearing on TV series like Shameless and Save Me.

A massively charismatic figure on screen despite a real life stature of just 3» 9.5», Mark Povinelli studied at Miami University before beginning an on - screen acting career with roles on TV shows like Fraser, and movies like The Polar Express.

Upon his return from military service, Damone resumed his film career, enjoying featured or co-starring roles in major musical productions like Hit the Deck (1955) and the screen adaptation of Kismet (1955).

At the same time, Uchida is responsible for some of the most remarkable swordplay films of the 1950s and»60s; his five - film Musashi Miyamoto epic (not screened at MOMA), starring Kinnosuke Nakamura in the title role and Ken Takakura as his arch-nemesis Kojiro, surpasses the better - known Inagaki Samurai Trilogy starring Toshiro Mifune in terms of both drama and swordplay, yet remains little - known in the West (despite its availability on DVD in the U.S.) After the BAM retrospective (and others) in 2008, most of Uchida's films remained unscreened and undistributed in America, so with MOMA's bigger series recently ending, it's time again to encourage distributors like the Criterion Collection, Kino Lorber, and Arrow Video to bring out more of the director's masterpieces, both for critical reconsideration and for those whom the veteran filmmaker will be a major new discovery.

If you put an overtly comedic actor like Will Ferrell or Jason Sudeikis into his role here, that would be one thing but since Statham has spent most of his screen career playing the straight version of this role, it makes his performance even funnier as a result.

Naomi Watts — so wonderful in better horror fare like The Ring or thrillers like Mulholland Drive and Funny Games — does the best she can here with a comparatively inferior character, but Charlie Heaton, who broke out as the protective and lovelorn older brother in last summer's Stranger Things, and Jacob Tremblay, Oscar - nominated for his role in 2015's Room, are stymied in roles that require too little in the way of nuance or are lacking in enough screen time to show real depth.

I missed Zellweger on - screen more than I thought I did, especially in this type of role, playing flawed, down - to - earth women who aren't flawed just because they say they are, but because they feel like the same type of hot mess I can be.

Whilst the focus of many reviews of Lost in Translation has been on the renaissance of Bill Murray's career, Coppola's choice in casting him in the starring role and to juxtapose him with Scarlett Johansson is inspired in its exploitation of his deadpan, ironic screen persona established in films like Groundhog Day (Harold Ramis, 1993).

There's Malcolm (newcomer Shameik Moore), who's trapped in the»90s with his flat - top haircut and loud clothing; Diggy (22 - year - old Kiersey Clemons in her first big screen role), a lesbian who cares not for what anyone thinks about her preference for dressing a little differently; and Jib (The Grand Budapest Hotel «s very own Tony Revolori), who may seem like a misfit but his 14 % African blood speaks for itself, thank you very much.

Like his contemporary Ben Whishaw (who could just as easily have slotted in here), Friend is ushering in a newly delicate breed of leading man to our screens, and if the film retains the acuity of Colette's characterization, this could be a prescient role for the actor.

One can only imagine how much better the film would be by plugging a better actor like Coburn in the lead role and giving someone with much more martial arts skills and screen presence like Bruce Lee in the other roles.

Thus far, Cooper is largely known for his comedic chops, but taking on a project like Dark Invasion — as well as his upcoming role in period drama Serena (alongside Silver Linings Playbook co-star Jennifer Lawrence)-- could go a long way to help audiences accept him as a more well - rounded screen presence.

The story of Moses has been adapted for the screen many times before, from live - action epics like The Ten Commandments to DreamWorks» animated tale The Prince of Egypt, but Scott's film seems to be part of a recent push for Biblical and / or religious themed epics in Hollywood; another upcoming title is Ben - Hur, which will star Jack Huston in the title role.

An interview with Grant conducted by an off - screen sycophant gives Grant the opportunity to muse over questions like, «Was it challenging to play two roles and direct?»

Also welcoming the exposure are Dennis Quaid (getting more Harrison Ford - like with age) and Helen Hunt, who are both benign in the parental roles, which have them sharing the screen for the first time in nearly thirty years (the last was a brief meeting of a mentally - impaired Mickey Rooney's two young friends / guardians in the 1983 telemovie sequel Bill: On His Own).

Starting with his role as Ra's al Ghul in Batman Begins, Liam Neeson has transformed from a strong actor with a formidable screen presence into the current definitive movie badass, following his turns in films like Seraphim Falls, Taken, Unknown, and The Grey (among others).

In a stunning conclusion to what has become one of the most compelling off - screen Hollywood dramas of 2017 yet, Josh fucking Brolin has swooped past the likes of Michael Shannon and David Harbour to snag the role of mutant bounty hunter Cable in Deadpool 2.

She had smallish TV roles in the likes of «Body of Proof» and «Blue Bloods,» and on the big - screen in «Our Idiot Brother» and gave an excellent performance in Alex Gibney «s «Client 9,» but it's «Boardwalk» that really provided a showcase.

Off - screen sound, whether of children playing or a couple arguing on the subway, plays a critical role in the film's portrayal of a woman so consumed with regret that the outside world feels like a distant echo.

Davis, of course, has been a familiar on - screen face since her small but memorable early roles in eventual classics like «Tootsie» and «Fletch,» continuing through star turns in enduring iconic films including «Beetlejuice,» «The Fly,» «A League of Their Own,» «The Long Kiss Goodnight,» «Stuart Little» and career high points like her Oscar - nominated turn in «Thelma & Louise» and her Oscar - winning performance in «The Accidental Tourist.»

Screen Rant got a chance to talk with both Zazie and Julian on press day, where we discussed how hard it was to keep their roles a secret from their friends and family, how much research went into their respective roles, and what it was like being mutants.

Henson has played action - adjacent roles before, but nothing like her role in Proud Mary, where she plays a hit - woman who commits murder on screen with a casual calm.

While it's disappointing to see a fantastic character actor like Ben Mendelsohn wasted in such a small role, he makes the most of his limited screen time, especially considering his rascally outlaw doesn't even enter the story until the final act.

The film is a major threat for the Cast Ensemble award at the upcoming Screen Actors Guild awards, with supporting players like Mahershala Ali (charming as ever), Jim Parsons (playing an against - type), Kirsten Dunst (feverishly addictive in her mean woman role), and Glen Powell (playing the late John Glenn) all crucial to the film's inevitable success.

The first time Marilyn Monroe, in the role of the perfectly named Sugar Kane Kowalczyk, walks onto the screen in Billy Wilder's Some Like It Hot, even the train cat - calls her with a whistle of steam.

It also seems like Jr. may be channelling a little bit of Adrien Brody in the role, which adds even more to his captivating and watchable screen persona.

«It's about bringing new characters to the screen... Black Widow couldn't be more important than as an Avenger herself and, like Hulk, The Avengers films will be the films where they play a primary role.»

Best - case scenario: Cranston — a gifted and charismatic comic actor who's just as good when he's deadly serious — finally gets a big - screen role that plays to all of his strengths, and viewers get to enjoy the likes of Stephen Root, Michael Stuhlbarg, and Louis CK playing a variety of historical and composite figures.

Coming up this month are films like «Selma,» the Martin Luther King Jr. biopic; new work from Tim Burton and Nicolas Cage; Reese Witherspoon in her most transformative role to date; a stage - to - screen adaptation of one of the theater's most beloved composers and lyricists; and a contemporary reboot to a musical classic.

In this exclusive, uncut interview, Sheen talks about the female focus of Far From The Madding Crowd, the need for balance and complexity in women's roles in movies and a living female icon he'd like to see portrayed on screen.

As happy as we are that the entire central cast is coming back to reprise their ridiculous roles — that is, Jason Bateman as Michael Bluth, Portia de Rossi as Lindsay, Will Arnett as Gob, Michael Cera as George - Michael, Tony Hale as Buster, David Cross as Tobias Funke, Jeffrey Tambor as George and Oscar, Alia Shawkat as Maeby, Jessica Walter as Lucille, and Ron Howard as himself — there are a few cameo characters that deserve some more screen time as well, like Charlize Theron as Rita Leeds, Henry Winkler as Barry Zuckerkorn, Bob Einstein as Larry Middleman, and Ben Stiller as Tony Wonder.

The Frank star, who reprises his role as the young Erik Lensherr in X-Men: Days Of Future Past, said he would have liked to share screen time with his elder counterpart in the second film, but remains hopeful that an encounter could occur in the third instalment, Apocalypse.

And while Strange may not be the most engaging of protagonists, Cumberbatch makes the leap from the small screen and a string of serious feature film roles to blockbuster leading man territory like he's been firing off zingers, juggling green screens and carrying franchises his whole life; if there were ever any doubt of Benedict's star quality, this is bona fide proof he's an A-lister with a capital «A».

Lawrence maintains a consistent production value, and it helps having great actors like Julianne Moore, Elizabeth Banks, Jeffrey Wright, and the late Philip Seymour Hoffman — in his final screen role — keep popping up.

Ricky Gervais» David Brent are big shoes to fill, especially for a relative unknown like Steve Carell, but he attacks the juicy role with a certain comic grace that you can't help but laugh watching him on screen.

Both Stewart and Lively are captivating love interests, and while supporting roles from the likes of Corey Stoll and Parker Posey are barely there (Stoll's gangster is an almost comically lazy caricature of a 1930's mob man), both remain magnetic screen presences with so little to do.

Other good actors like Parker Posey (Personal Velocity, The Anniversary Party) and Ed Begley, Jr. (Auto Focus, Get Over It) have potentially hilarious roles, but are on screen for such a small amount of time.

Even small cameos by Heather Graham (who has not lit up the screen since her role in «Judy Moody and the Not Bummer Summer «-RRB- and Melissa McCarthy (who should stop starring in drudge like «Identity Thief «-RRB- does nothing for this picture.

As for the portrayals, Teller (who, incidentally, looks nothing like a real boxer), Eckhart and Hinds are fine and mostly believable in their roles (especially the first two), but this author can not help but speculate that this real - life struggle and redemption story could have been told much better with some genuine emotion instead of the mediocre tale we see on the screen.