Sentences with phrase «which films and performances»

Now that we've got just a shade over six months of the year out of the way, you can start to figure out which films and performances from he first half of 2015 have the potential to sustain awards buzz and which won't.

Not exact matches

Redstone was so upset about the disappointing performance of Mission: Impossible III, which grossed almost $ 100 million less than the previous installment, he blamed Cruise and his controversial behavior leading up to the film's release for costing the studio money.

The more surprising performance came from the faith - based film I Can Only Imagine, which expanded to about 600 more theaters and made another $ 13.8 million, down only 19 percent from its opening weekend.

His rise to fame and relationship with his first wife, Jane, who was a Christian, was dramatised in a 2014 film, The Theory Of Everything, in which Eddie Redmayne put in an Oscar - winning performance as the physicist battling with a devastating illness.

There are also problems with the long - term performance of implants, such as release of debris from bioactive films which can potentially lead to osteolysis and chronic inflammation.»

«The key to the film's performance is the highly - ordered spacing of the pores, which gives it a more mechanically robust structure without impairing the refractive index,» says Xu Zhang, lead author of the paper and a Ph.D. student at NC State.

a great music film this is the words which i can say about Justin Timberlake + the Tennessee Kids great work by Jonathan demme and great performance bt Justin Timberlake is this movie a history is counted they show the people the history not just the concert i love how jonathan direct this and i love the edition i love how justin timberlake is humble and lovely funny smart with everybody i'm more in love with him.this deserves an emmy and a grammy for best music film at grammys 2018 everybody should watch this movie is amazing congrats justin timberlake netflix and jonathan demme great music film truly amazing maybe we have this film in dvd soon i will love if its happen i» ll love some extras yes i will.

Once the fear has passed, just in time for nap, visual and musical style are sometimes played in an immersive fashion by highlights in a directorial performance by Nicolas Winding Refn that bring some life to the film, though not as much as John Turturro's inspired lead performance, which does about as much as anything in bring the final product to the brink of decency, which is ultimately defied by the serious underdevelopment, overambition, monotonously unfocused dragging and near - punishingly dull atmospheric dryness that back a questionable drawn non-plot concept, and drive «Fear X» into mediocrity, in spite of highlights than can't quite obscure the many shortcomings.

The film's most joyous musical scene comes not at the big climax performance (which is definitely pretty great), but rather about halfway through, when the campus» four a cappella groups meet at the bottom of an empty swimming pool (just go with it) and have a battle.

But i was impressed with some of its character work and David Carradine «s magnificent performance which made the film.

a great music film this is the words which i can say about Justin Timberlake + the Tennessee Kids great work by Jonathan demme and great performance bt Justin Timberlake is this movie a history is counted they show the people the history not just the concert i love how jonathan direct this

Despite snatches of songs here and there, it is not until the end that the film bursts into a flood of music with a symphonic performance by Mr. Cave and the Bad Seeds at the Sydney Opera House: a grandiloquent finale in which his agonized introspection finds transcendent release.

A great deal of the impact in The Piano Teacher comes from Isabelle Huppert's performance, which comes as her finest career moment, as well as one of the year's early choices for 2002's Best Actress (personal list, of course: I highly doubt that the conservative Academy of Motion Picture Arts and Sciences will be able to make it through the film).

I think this beautiful adaptation gets no justice, the melodic storytelling and dramatic performances don't seem out of place in this tragic film, it keeps to the Shakespearean roots by maintaining the language which in its form sounds poetic, the story has however been updated to suit

There are elements of tragedy and comedy in this character and in this performance, and in that regard, Mendelsohn and Gerry are the heart of this film, which plays out as a tragic comedy in one moment and comic tragedy in the next.

But once you get past that element of Kidd's screenplay (based on the novel by Helen Schulman), there's certainly a lot here worth embracing - particularly Linney's performance, which is incredibly strong (though not entirely surprising, given how effective she's been in films like You Can Count On Me and Mystic River).

I think this beautiful adaptation gets no justice, the melodic storytelling and dramatic performances don't seem out of place in this tragic film, it keeps to the Shakespearean roots by maintaining the language which in its form sounds poetic, the story has however been updated to suit today's audience.

But even at a scant 90 minutes, the film manages to cover a lot of ground, hopping around from interviews to live footage, the highlights of which are a live studio take of «Higgs Bossom Blues,» a 9 minute epic whose slithering slow build plays out uninterrupted and the finale, a blistering live performance of «Jubilee Street» featuring a string section and children's choir, intercut with scenes of Cave onstage over the years.

What human intrigue there is finds itself secured by consistently inspired performances, the highlights of which include the dashing, then - up - and - coming Jude Law as Lord Alfred «Bosie» Douglas, - a man who must choose between embracing his lover and escaping the tragic fate of this lover - and, of course, leading man Stephen Fry, whose capturing of Oscar Wilde's classic charisma, broken by a profound vulnerability which Fry captures through striking dramatic layers, molds a leading man more consistently engrossing than the film itself.

Formulaic, cheesy with its fluff and histrionics, - to the point of superficializing a sense of narrative weight, and inconsistent with its tone, pacing and overall structure, this film falls as a pretty forgettable war drama, flavored up by the decent visual style, worthy subject matter, lively direction and endearing performances which secure Jesse Hibbs» «To Hell and Back» as an almost thoroughly entertaining and sometimes effective, if ultimately underwhelming account of Audie Murphy's struggles as a farm boy - turned - military man.

The hard - to - characterize film (which blends comedy, musical, political drama and more) follows Halla (Halldóra Geirharðsdóttir, in a highly praised performance) as she battles the local aluminum industry in order to protect her beloved Icelandic Highlands.

In what may be the film's most bravura sequence, Isabelle meets the young and swarthy actor after a performance, after which she manages to painstakingly cajole him back to her place.

Its very downbeat vision may turn off auds, which is a pity because the film has a great many qualities, not least the admirable performances of Stahl, Close and Pelletier.

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.

There are several great performances, and each actor brings something unique to the screen, which elevate the film significantly.

James Franco and Jonah Hill deliver two exceptional performances, which helps elevate the film's script far past its original expectations and helps create a film that's both a twisted character study and an examination of what the truth really means.

Two performances in Game Night stood out to me, which is an accomplishment, since everyone in the film gave memorable and entertaining performances from Magnussen's look of child - like wonder when he was right about something everyone else doubted to Horgan's quick wit and ability to quickly and naturally go from moments of honest laughter to moments of unforgettable deadpan.

There is a certain intimacy to Hibbs» efforts, though not as much as there is to the efforts of a cast full of dated performances, some of which are dated to the point of mediocrity, while other hold up well enough to be rich with charisma, if not a little dramatic weight, with Audie Murphy himself, as himself, all but carrying the film with his particularly grounded charisma, and charming chemistry with his peers.

You know what's coming next, even if Slade does not, which makes the moment at once profound and painful, a moment premised on Henderson's lovely performance throughout the film, Slade's closeness to the president — visibly and emotionally — and Lincoln's own gentle, sweet - natured respect when in Slade's proximity.

Despite solid performances and beautiful cinematography, this film, like much of Jacques Audiard's work, never quite seems to find its footing, which is unfortunate, considering the potential with which it began.

Rupert Goold's True Story is a dark and relentless drama, with two absolutely phenomenal performances by James Franco and Jonah Hill, which not only elevates the material, but saves the film's soft ending from becoming a complete disappointment.

It is hilarious and heartbreaking all at once, especially when factoring in Dave Franco's performance, a beautiful game of shadows in which he's forced to play the more respected artist against his older, more famous brother (who, just to kick things up a notch, method - directed the film as Wiseau).

The performances further distinguish this the portrayals of notable figures in this film, which delivers on plenty of neat cameos and supporting performances by recognizable talents who nail the recognizable figures, while leading man Alan Rickman more - or-less carries things with his trademark dry, soft - spoken charisma, which captures the mysterious madness and cleverness of Hilly Krystal.

Throughout the film there are several cinematic camera tricks, which hit the mark about half the time (and are annoying the other half), and overall the performances of the cast are good, though I thought that the cheerleader's portrayal was a bit uneven, perhaps due to the script that had her alternatevely playing hot and cold.

And the triumph of the film is the balletic gracefulness with which the performances and style exteriorize the interior worlds of the characters — how voluptuously alive the film's layered approach to melodrama is to people hesitatingly approaching the bridge to freedAnd the triumph of the film is the balletic gracefulness with which the performances and style exteriorize the interior worlds of the characters — how voluptuously alive the film's layered approach to melodrama is to people hesitatingly approaching the bridge to freedand style exteriorize the interior worlds of the characters — how voluptuously alive the film's layered approach to melodrama is to people hesitatingly approaching the bridge to freedom.

In addition to his studio films, Monaghan garnered excellent reviews and a lot of buzz at the 2014 Sundance Film Festival for his performance in JAMIE MARKS IS DEAD, which was a Sundance 2014 Official Selection in the dramatic competition.

The film would only be very good were it not for Vega's performance, which ranks right up there with the five women nominated for best actress this year and, in some cases, surpasses them.

The cast is made up of an actual family, including his father Tim Jandreau and his sister Lilly Jandreau, which is perhaps why their performances feel so authentic and why this film seems like an intimate, verité - style documentary at times.

Overall, the performances and the basic outline of the story buoy the film, which could have taken more time to develop its characters.

The suspense of the film (which is so hugely violent that its PG rating is a mystery), is unrelenting and the performances first - rate.

Efficient and absorbing... In spite of Kaufman's frequent faults of taste and judgment, the film flies on the strength of its collective performances — which range from the merely excellent (Scott Glenn) to the sublime (Ed Harris).

In short, if we carefully examine the state of contemporary cinema, we easily acknowledge that even though there is a defining economic and technological imbalance between Hollywood and the rest of national film industries, first, it would short - sighted to understand Hollywood cinema as a monolithic structure which survives through the repeated performance of a practice of top - down cannibalism.

Some of the biggest and brightest stars in British comedy appear in this performance film, which documents a revue staged by John Cleese of Monty Python as a benefit for the human rights group Amnesty International.

Additional film credits include TALK TO ME; the 2006 Oscar ® winning Best Picture, CRASH, which Cheadle also produced; HOTEL RWANDA, for which his performance garnered Academy Award ®, Golden Globe ®, Broadcast Film Critics Award and Screen Actors Guild ® Award nominations for Best Actor; OCEAN»S ELEVEN, OCEAN»S TWELVE, and OCEAN»S THIRTEEN, directed by Steven Soderbergh; Mike Binder's REIGN OVER ME with Adam Sandler; the Academy Award ® winning film TRAFFIC and OUT OF SIGHT, both also directed by Soderbergh; Paul Thomas Anderson's critically acclaimed BOOGIE NIGHTS; BULWORTH, SWORDFISH, MISSION TO MARS, John Singleton's ROSEWOOD, for which Cheadle earned an NAACP Image Award nomination; FAMILY MAN, directed by Brett Ratner and starring Nicolas Cage; COLORS, HAMBURGER HILL, and the independent features MANIC and THINGS BEHIND THE SUN.

The British Irons has an extraordinary legacy of film, television, and theatre performances including: THE FRENCH LIEUTENANT»S WOMAN, in which he starred opposite Meryl Streep; THE MISSION; and David Cronenberg's DEAD RINGERS.

Of the world premieres, the major gets for Toronto include Freeheld, Peter Sollett's LGBT drama starring Julianne Moore and Ellen Page; Stonewall, Roland Emmerich's drama about the birth of the gay rights movement; Alan Bennett's The Lady in the Van, which is rumored to feature an awards - worthy performance from Maggie Smith; Jay Roach's film Trumbo, starring Bryan Cranston as the famed Hollywood screenwriter Dalton Trumbo, who was blacklisted in the 1940s; Terence Davies's anticipated follow - up to The Deep Blue Sea, Sunset Song; Charlie Kaufman's first stop - motion film, Anomalisa; and Eye in the Sky, Gavin Hood's thriller about piloted aircraft warfare, starring Aaron Paul and Helen Mirren.

Major highlights making their world premieres include Shawn Levy's all - star ensemble drama «This Is Where I Leave You,» starring Jane Fonda, Jason Bateman and Tina Fey; Michael R. Roskam's «The Drop,» which features James Gandolfini's final performance; Liv Ullman's film adaptation of the famed play «Miss Julie,» starring Jessica Chastain; David Gordon Green's latest indie drama «Manglehorn,» featuring Al Pacino; the musical «The Last 5 Years,» starring Anna Kendrick; Noah Baumbach's latest «While We're Young,» starring Ben Stiller, Naomi Watts and Amanda Seyfried; and Jason Reitman's «Men, Women & Children,» starring Adam Sandler.

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 heroism.

Lancaster and Scofield both give respectful performances which become the fulcrum of the film's emotional center.

None of the performances are especially good in the film, which is disappointing considering Ryan Reynolds, Anna Kendrick, and Jacki Weaver were involved.