Sentences with phrase «side characters in the film»

Joely Richardson has some nice moments as Maggie's empathetic but realistic stepmother, but almost all the side characters in the film are footnotes.

Not exact matches

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.

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.

With dogged determination, the producers continued onward with Star Trek II: The Wrath of Khan (1982), at which point fans finally flocked to the series, rallying behind the film's crisp space battles and the melodramatic tête - à - tête between Shatner and Ricardo Montalban.Shatner had to wrestle with his advancing age and the deaths of several characters in Star Trek II and Star Trek III: The Search for Spock (1984), but by Star Trek IV: The Voyage Home (1986), the actor got to indulge in his more whimsical side, which has since characterized his career.

This film is very difficult to score - I do agree with one reviewer who found it very unlikely that Dennis Quaid's character would just dump Cathy and live with a man - because he definitely would lose his job and everything - in that era men did those things on the side while still being married.

This film is very difficult to score - I do agree with one reviewer who found it very unlikely that Dennis Quaid's character would just dump Cathy and live with a man - because he definitely would lose his job and everything - in that era men did those things on the side while still

The other major flaw is that so much time was spent in this movie on it's stylistic looks which as i said earlier were flawless but so much time and effort was spent on these that it seems to have taken away from the character development side of the film.

Roger Rabbit is a film in which humans and cartoon characters (toons) live side by side in a kind of shaky harmony.

John Cho, who drew my attention for the first time when he appeared in «Harold & Kumar Go to White Castle» (2004), shows another side of his talent here in this film, and he has an unaffected onscreen chemistry with his co-star Haley Lu Richardson, who previously played a substantial supporting character in «The Edge of Seventeen» (2016) and will probably advance further considering her charming presence on the screen.

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

On a more negative note, the film is designed and crafted in such a way that you take one side, with a certain perspective more prominently presented than the other, while the fact we're dealing with an ensemble feature does mean there's a lack of emotionality attached, as with so many characters to explore, we drift between them without ever feeling as though we've truly got to the bottom of their respective character developments.

In the 1960s, the top earners that centered around a female character were: The Sound of Music (which was the highest grossing film of the decade), Dr. Zhivago, Mary Poppins, My Fair Lady, Funny Girl, Cleopatra, Guess Who's Coming to Dinner (debatable), Bonnie and Clyde (debatable), Let's Make Love, West Side Story.

«There is a silent side of the characters, and the music in this film is trying to connect with the silence,» Iglesias said.

And, while the near - naked Mystique character from past films does not make an appearance in this X-Men adventure, a nude Jackman is seen (obscurely) from the side and rear.

Stellan Skarsgard, as an intimidating but seemingly earnest Russian crime boss who desperately wants to get his family out of Russia, practically steals the whole film, and top - notch support work is provided by the likes of Naomie Harris as McGregor's loyal wife and reluctant partner - in - espionage, Damian Lewis as a (seemingly) trustworthy British operative, and Jeremy Northam as a shady character who may be playing both sides of the fence.

The fact that it also wants to go in - depth with any character and their little side story ends up hurting it as distracts from the overall arc that the film is trying to tell, which is Matthew's and Tina's search to get their daughter back.

Mulan is a very likable character and all the side characters are all very well done comedically and are some of Disney's most memorable characters, and we all know what character we all love in this film Eddie Murphy does one of his funniest performances in this movie and Mushu is just one of those characters that I think Disney just chose a perfect actor to play this character.

While watching the bourgeoisie cavort in Bernardo Bertolucci's indulgent new «Stealing Beauty,» there's reason to recall the early, politically impassioned stage of the film maker's career, during which he might have preferred to see such characters lined up against the side of their villa and shot.

The film operates chiefly as a character piece: on the one side is a group of left - wing radicals fronted by Brigitte Kuhlmann (Pike) and Wilfried Böse (Daniel Brühl); on the other sits Israel's top brass including Prime Minister Yitzhak Rabin (Lior Ashkenazi) and Defence Minister Shimon Peres (Eddie Marsan, late for his The Death of Stalin audition); and in the middle Nonso Anozie emphatically steals the show as Uganda's chuckly despot Idi Amin.

This film is pretty much a very pared - down version of the lengthy saga that appeared in the comics, stripping away many characters, side plots, and all sense of depth that were explored on the printed page.

Thoughtful and generous, it's that rare ensemble film that gives its side characters enough room to breathe and grow: Two romantic interests — played by Manchester by the Sea's Lucas Hedges and Call Me by Your Name's Timothée Chalamet, both superb — as well as an upbeat nun (the legendary Lois Smith) stand out in this loving ode to mothers, daughters and the girlhood towns we never fully leave behind.

Venom without Spider - Man may sound dicey to some, but many of the antihero's biggest fans would likely be unsatisfied with a repeat of the character's campy role in Spider - Man 3 - so it seems Sony may be erring on the more adult - oriented side for this film rather than trying to square it with Tom Holland's decidedly family friendly take on the wallcrawler.

Her character still occasionally bumbles her way through some situations, and there's a section of the film where McCarthy's Susan Cooper has to play up her aggressive side in order to fool a villain into believing she's a hard - edged security professional.

By this point of the series, the films are becoming bogged down by the very large number of characters and side stories introduced in the first three films (and books), so keeping tabs on just who is thinking what about whom can prove an arduous task for those not intimately knowledgeable about every aspect of the series.

The one interesting side note to the film, however, is the fact that Jaime Winstone has taken on a role that is a departure from her usual bad girl characters, which is something that may well serve her well in the future, even if her first step into new territory is something of a misfire.

While I do think, from a story standpoint, it's a shame that Garrigan wasn't limited to being a mere witness to the events of the Amin era, as he was portrayed more in the book, instead of a constant catalyst for Amin's rage, considering he is a fictional character, we'll just chalk up his constant missteps as dramatic license taken by the screenwriters in drawing out Amin to commit some of the most heinous acts of torture shown in film this side of a Mel Gibson directorial effort.

«Furnace» director Scott Cooper describes Bale's character in that film as «a very good man who is beset on all sides by relentless fate,» a dark and quiet soul who stands to lose everything he loves.

Characters mask their personal motivations such that one is always wondering whether a particular person will turn out to be on the good or bad side — perhaps another advantage this film has over its predecessor, in that its release is long after most of its audience would have read its source.

I love the way characters dance in your films and how the camera always observes them as though from the side of the room.

Tillotama Shome wore a sari on the beach, a beautiful counterpoint to the indignities her character suffers in a film that has captivated audiences in Critics» Week, the smallest of the three side events that follow the official section of the Film Festival.

Both About Time and Ruby Sparks are about manipulation, but where Kazan makes sure to consider the dark side of it all, Curtis revels in About Time's Britishness and charm, confronting these themes through a completely different lens that further marginalizes McAdams» character and then skips off into the sunset with the sort of weepy feel good climax you expect from a film with Richard Curtis» name on it.

Thor has previously been the beefy serious Avenger, but in this film, we get the playful more comedic side of the character.

Thoughtful and generous, it's that rare ensemble film that gives its side characters enough room to breathe and grow: Two romantic interests — played by Lucas Hedges and Timothée Chalamet, both superb — as well as an upbeat nun (the legendary Lois Smith) stand out in this loving ode to mothers, daughters and the girlhood towns we never fully leave behind.

A couple of characters in this film are depicted as dark heroes — meaning that even though they have an evil side to their character, they also have a good side.

While I wouldn't mind playing with some of these side characters and superfluous plotlines in a video game, as an adaptation of a beloved work that has enchanted many millions of readers, young and old, I'm left longing for a different kind of fan film — the inevitable one in which someone edits out all of the stuff not from the writings of Tolkien — and makes it the movie it always should have been from inception.

The one trait they share with the characters in the Monty Python film is that they look on the bright side of life.

One of the re-curring questions from fans was how some of the prominent Marvel Studios characters not in Civil War would side if they were part of the film.

Even in films such as Cabin in the Woods and Rush the actor has played the comedic side of his characters extremely well.

Really only Tsui Hark has managed to make a great movie out of an origin story (with A Better Tomorrow III: Love and Death in Saigon), and that was by turning the ostensible hero into a side character for much of the film, allowing it to be driven by his mentor.

Yes, the plot is a little on the tedious side, as there are quite a few characters for a film that's just a little over ninety minutes, and as a result, not very much time is spent in fleshing out the relationships fully.

In case we're unclear on which side the film comes down — or how its lessons might be relevant to the present day — a central character helpfully summarizes at the conclusion: «There will always be those who mean to do us harm.

In this film we see a darker side, a more survival inspired character with flaws.

This is a movie in the true tradition of film noir — which someone who didn't write a dictionary once described as a movie where an ordinary guy indulges the weak side of his character, and hell opens up beneath his feet.

Difficult People, the sadly cancelled Hulu sitcom from Julie Klausner and Billy Eichner had an episode where Julie's character was trying to work both sides — appearing in a Woody Allen film to boost her career while still trying to protest it.

There isn't enough story here to sustain a full - length feature, and Shyamalan probably would have been better served making this the first short in an anthology film (indeed, it is rather reminiscent of a «Twilight Zone» episode, «Five Characters in Search of an Exit»), rather than stretch it out with weaker side stories and needless cCharacters in Search of an Exit»), rather than stretch it out with weaker side stories and needless characterscharacters.

This isn't to put down the film's first half, which sets up a genuinely distinctive near - future world (where Johnson's retro trappings make narrative sense, rather than feeling tacked - on), introduces two tremendous sides of the same coin in the performances from Bruce Willis and Joseph Gordon - Levitt, plenty of intriguing philosophical dilemmas, and a grisly hall - of - fame demise for Paul Dano «s character.

While he fuels the fun side of the film, as the drama settles in, you are left realising how hollow the character has become, having nothing to look forward to outside of the parties.

While the literary fans will most likely be split as far as how Yates and Goldenberg have chosen to adapt the Rowling opus, fans of the movies can finally have something to smile about, and one can only hope that future film versions will continue this new trend on sticking to the basics to tell a story in an appropriately cinematic fashion, leaving the side stories and whimsical superfluous characters better left to the realm of the richly - developed book forms.

The unfortunate trade - off is that the logistics of Ragnarok's script dictate that with Blanchett and Hopkins on Asgard, Hemsworth (and lots of the film's most entertaining side characters) on Sakaar, and Hiddleston on Sakaar but in a different setting, the film's best players hardly get to play off each other.

Claude Chabrol's final film, written with Depardieu in mind, is inspired in part by Simenon's Inspector Maigret, and follows Bellamy as he unwinds the strange story of the murder, while also, like Simenon, becoming fascinated by side characters, such as Bellamy's troubled half - brother.