Sentences with phrase «than actor at»

He is clearly more brand than actor at this point, but he never comes across as mercenary.

Not exact matches

At least he got the brooding mood down right, which is more than we can say for some actors on this list.

Based on data investigators have been accumulating, it's likely a «non-state actor» rather than a particular government group carried out the hacking, according to a Wall Street Journal article quoting Director of National Intelligence James R. Clapper's comments on Tuesday in New York at the Council on Foreign Relations.

At worst it lends credence to the argument that, contrary to received wisdom, central banks are in fact political actors rather than neutral custodians.

While Black Panther rode a huge wave of critical acclaim and fan excitement to the biggest opening weekend ever for the month of February (and the fifth - largest of all - time), raking in more than $ 426 million worldwide, a small number of Internet trolls still did what they could to dampen the good vibes surrounding the trailblazing film, which features Marvel's first African - American director (Ryan Coogler) and a cast led by black actors such as Chadwick Boseman and Lupita Nyong» o. Starting last week, in the first few days of Black Panther «s highly - anticipated theatrical release, some Twitter accounts started trying to spread false accounts of attacks at screenings of the movie.

«Unfortunately, a few bad actors are taking advantage of the [VA home loan] program as home lenders have begun targeting veterans and servicemembers to generate profit and fees at their expense, often leading to higher loan amounts and putting families in a worse financial position than they started off,» observed Senator Tillis.

To be fair, I thought this production did a MUCH better job at balancing Broadway and Hollywood actors than these productions normally do.

It features the seductively soothing tones of actor Mark Rylance — from Wolf Hall — as Bing's guardian Flop, and all the children are bigger than the adults, reflecting how child - centric life is at that age.

Hollywood actors who win Oscars live on average three years longer than those who are nominated for an Oscar, but never win one, according to Sir Michael Marmot at the Fabian Health Inequalities conference this week.

To return to precarity, then: we can do more than one thing at a time as theorists and as political actors.

Back in January 2009 at the Screen Actors Guild Awards, Evan was more femme fatale than tomboy.

The stars showed off their sleeker side at the 2013 Screen Actors Guild Awards, where classic silhouettes, understated sparkle, and more than a few bridal trends (blush!

He enrolled in the Masters of Fine Arts program at the Actors Studio Drama School at New School University and began molding his abilities around a love of the craft, rather than a paycheck.

Tim Robbins ranks among contemporary cinema's most acclaimed and provocative voices; a multifaceted talent, he has proved so adept at wearing the various hats of actor, writer, and director that no less a figure than the legendary filmmaker Robert Altman declared him the second coming of Orson Welles.

The second film's success was perhaps even more staggering than the first: The Godfather, Pt. 2 garnered six more Oscars, including a win for Coppola in the Best Director category; Robert DeNiro won his first Academy Award in the Best Supporting Actor field; and the movie itself became the first and only sequel ever to win Best Picture honors.Next, Coppola began adapting the Joseph Conrad novel Heart of Darkness, transferring its story to the heart of the Cambodian jungle at the height of the conflict in Vietnam.

The performances all around are great, and the cast does an admirable job portraying actors and other characters that The Room aficionados are more than familiar with at this point.

Even Pike, at her most actor - ish here, gets more attention for her suffering than the Native American characters.

Buscemi is an old hand at stringy curmudgeons, but Del is a subtler and more complex creation than most of them, and the actor seizes the chance to muddy the waters: the character is a genuinely well - meaning mentor to Charley, as well as, professionally speaking, a treacherous schlub.

Also impressive is director Wenders» use of his and Lisa Rinzler's shoots in Assisi, black - and - white, deliberately faded and silent film, showing an actor playing St. Francis who at the key point in his life heard God tell him to restore a dilapidated church — which I believe he did thinking that God's will is more important than his father's rage at the saint's alleged throwing away his money.

Or was the actor simply incapable of running more than ten paces at a time?

He's a devotee of unadorned camerawork and semi-improvised dialogue — but some actors are better at improv than others.

It's a larger - than - life ensemble, and feels at times as if director Craig Gillespie gave each of his actors the same instruction — elbow your way to the front of this movie.

From the shoddy editing to the campy screen writing (if it wasn't completely improvised, hard to tell when no real actors were actually hired), Dead man's shoes never aspires to be much more than a low budget B - movie at best.

Featurette one, Into The Wild; The Story, The Characters is 21 minutes worth of interviews with actors, Penn, Krakauer, and varying bits of behind the scenes footage used mostly as a backdrop for the interviews, rather than for giving us a look at production methods.

Even as characters are tweaked and actors bring a slightly different energy than his other movies, The Best of Me is still the same mushy Nicholas Sparks adaptation with drama so overwrought audience members can't help but laugh — at least until they're sniffling during the closing credits.

If you want nothing more than to watch zombies get mowed down in elaborate ways while a bunch of actors shout at each other, Wyrmwood: Road Of The Dead certainly offers that.

Yet unlike so many of the director's previous cinematic puzzle games, Redbelt cares far less about tricking its audience than about plumbing its protagonist's psyche in a way both viscerally exciting and intensely analytical, a nifty trick that's aided by a host of uniformly sturdy but tonally divergent supporting actors (dainty Emily Mortimer, chilly Rebecca Pidgeon, hammy Rodrigo Santoro, goofy Tim Allen) who don't, at first glance, seem well - suited to coexist with each other.

Plenty of actors have more than one film at Toronto, but this year Denis Villeneuve joins the elite group of directors to have two films play the festival.

The film looks fine from a technical standpoint, and things move along without too much muss or fuss, but likeable actors and competency in the lensing fall far short of turning this plot into something worth following for more than a few snickers at its expense.

Punch - Drunk Love enthrals for its craftsmanship and its conviction, for its fabulous instinct for magical realism (a harmonium appearing in the middle of a road, a telephone booth light coming on at the moment of joyous connection), and for a pair of performances that almost speak more for Anderson's talent for casting than the actors themselves.

In addition to the three - day «Citizen Kane» workshop, I did a Q&A with the actor Jason Patric after a screening of James Foley's «After Dark, My Sweet» (1990), a modern film noir that made both of the Best Ten lists on «Siskel & Ebert,» but sank so quickly at the box office that it never played Chicago and grossed less than $ 2 million.

Natalie Portman has hinted at being a versatile actress, willing to go deep to access the emotional soil for a part, but never has she committed this fully and completely, giving herself over as actors sometimes do — Robert DeNiro is Raging Bull, Meryl Streep in Sophie's Choice, Vivien Leigh in A Streetcar Names Desire, Charlize Theron in Monster, Marion Cotillard in La Vie En Rose, Dustin Hoffman in Midnight Cowboy (Tootsie, Rain Man, etc.) These are those rare occasions when the actor is eclipsed by the character, the performance that then reaches something more than likable, believable; it becomes moving art.

Do you think actors are better at social interaction than the average person?

Pirates of the Caribbean is the first film ever released under the Walt Disney Pictures brand to receive higher than a PG rating (the film is rated PG - 13), and the team assembled to make the film is a virtual Who's who of hot properties: Director Gore Verbinski had a huge hit last year with the spook fest The Ring, Writers Terry Rossio & Ted Elliott were the writing team behind Shrek, Actor Johnny Depp is so extremely selective in his roles no one would ever imagine he'd do a Disney film, Orlando Bloom is fresh off the Lord of The Rings Trilogy, Geoffrey Rush has at least one Academy Award under his belt, and Keira Knightley has become a hot property after her performance in the run away indie hit Bend It Like Beckham.

To mark the occasion, and to acknowledge that more than half of 2013 is behind us, I've compiled a list of the finest film performances delivered by actors this year, at least until this point.

Super Troopers 2 elicits chuckles here and there, and a few laugh - out - loud moments, but the overall impression is of actors working harder at amusing themselves than at making sure we're amused too.

Theoretically, a flowing, surging river of zombies — with mouths and outstretched arms threatening to devour any living flesh it encounters — should be more terrifying than a few actors as zombies sprinting at a character, but it fails in execution thanks to CGI that makes the zombies look rubbery.

There's little doubt, however, that the movie, even during its less successful moments, benefits from the thoroughly (and uniformly) superlative work of its various actors - McDormand and Rockwell are especially magnetic here - and there does reach a point at which Three Billboards outside Ebbing, Missouri becomes far more engrossing and captivating than one might've anticipated.

All the other actors are trying to do their job seriously and trying to portray theirs characters at least as believable but you can tell that any time Adam, David, Rob, Chris, and Kevin where in a scene together they where just goofing off with each other rather than make a movie.

I didn't blame the actors at all for that, since the movie was British / Romania co-production, but it made the movie look worse than it probably would've been had it been in Romanian.

With more limited screen time than they're used to and even more limited elbow room, the actors and characters (in what at least some knew would be their swan songs in these costumes) snap off one - liners and sharp remarks with an extra edge of sarcastic disdain.

The Belgian actors Renier and Schoenaerts, both at the top of their game, make their characters» emotional responses to traumas more indelible than the bloodyings they receive.

Anderson — who's become even more of an actors» director in his last few films than he was already — is at the peak of his powers here, ironically but appropriately directing «Vice» in such a way that phrases like «peak of his powers» (and other language connoting masculine swagger or preening mastery) seem contrary to the spirit of the thing.

If The House on Haunted Hill and now 13 Ghosts have anything to prove, it's that if you are going to update a B - movie with a bigger budget and better actors, at least have the decency to make it better than the original.

I'm hearing (not altogether surprising) rumblings that Robert Downey Jr.'s role in Joe Wright's «The Soloist» is larger than Jamie Foxx's homeless violinist Nathaniel Ayers and that he'll be pushed as a leading actor contender by the good folks at Paramount Pictures and DreamWorks SKG.

Watching two of our best young actors go at it for almost two hours ought to be more rewarding than «Blue Valentine,» starring Ryan Gosling and Michelle Williams as Dean and Cindy, a couple falling out and in and in and out of love.

The actors aren't all well cast (I counted only about three I'd consider to be above average for their respective roles — Acker as Beatrice, Fillion (Waitress, White Noise 2) in the supporting role of Dogberry - the only time the audience I viewed the film with laughed at anything in the film that came from actual dialogue, rather than the injected slapstick and actors occasionally comical facial expressions, came from Fillion's delivery - and British actor Paul Meston in the minuscule part of Friar Francis) The rest often appear as though they're reciting lines without any sense of meaning in the words they are saying, and when one of those happens to be the male romantic lead, that's one hell of a liability.

2006's «A Good Year» teamed Scott, his favorite actor Crowe, and Marion for a romp through chateaus and beautiful scenery that grossed fewer than $ 8 million at the American box office.

Christian Bale is fantastic as Moses and while I would have rather had a more Egyptian Ramses than Joel Edgerton, at least he is a terrific actor.

It's pretty sad when, out of two actors playing the same person (albeit at different ages), the one with much less experience and no expectations does a better job than the star, who wants his credibility to hinge on this film.