Sentences with phrase «soapers of»
Meticulously produced, So Big is one of the better «saga» soapers of the 1950s, with Jane Wyman repeating her «aging» process from 1951's The Blue Veil.
https://www.rottentomatoes.com/ Not exact matches
She ended her film career in 1953, occasionally reemerging on television, notably in the role of Catherine Harrington on the prime - time soaper Peyton Place.
Early features (produced mostly in Australia) included Praise (1998), Dogwatch (1999), and Erskineville Kings (1999), but Edgerton came into his own with his popular ongoing turn as Will McGill on the Aussie soaper The Secret Life of Us, then branched out into increased international exposure with onscreen contributions to two of George Lucas» Star Wars films, Star Wars: Episode II — Attack of the Clones (2002) and Star Wars: Episode III — Revenge of the Sith (2005).
THR describes the film as «a heartfelt but rather generic coming - of - age dramedy,» and Variety sees «a formula - hugging coming - of - age soaper» but enjoys the «memorable perfs from its trio of young talents.»
Needless to say, it's overwritten, carefully enunciated in the hollow cadence of an M. Night Shyamalan supernatural soaper, and gruellingly mawkish in a ridiculous visit to one of those sanatoriums where Sissy Spacek appears in a hilarious cameo (channelling Carrie screen mom Piper Laurie's feverish religiosity), telling Rachel to be a good mommy and kill her possessed kiddo because, hell, that worked so great with bad seed Samara, right?
Avildsen and screenwriter Robert Mark Kamen (perhaps the most immodest human being on a planet that knows M. Night Shyamalan) return for this sequel and the next — proving a lot of things, chief among them the truism that quality fades with each successive Xerox and that maybe Avildsen is a hack who happens to have stumbled upon a couple of entertainingly macho soapers.
Rhinoceros Eyes is an embrace of dreaming as Chep (Pitt), cocooned in a decrepit moviehouse, sneaks away nightly to watch the same B - movie soaper, to return, popcorn in hand, the voyeur of the undressed windows along his path home.
A film without surprise geared toward maximum comfort and familiarity, The Emperor's Club is bound to garner some fans for its easy solutions and broad topics (like any other populist soaper, I guess) but, like Hoffman's own version of A Midsummer Night's Dream (which saw Kline as its highlight), it's possessed of a peculiar rootless malaise.