Sentences with phrase «white character who»

One need only turn on the television to watch Machine Gun Preacher for a similar portrayal of a white character who travels to «Africa» to «save the children» against the backdrop of black - on - black slaughter, rape and torture which is never historically contextualised (see The Guardian's Catherine Shoard's critique of the white criminal - turned - saviour character of Sam in Machine Gun Preacher as «half saint, half psychopath»).

This whole idea of the victimisation of Africa by pharmaceutical companies, by terrorist groups, all of whom seem to be run by white characters who are coming in and exploiting people,» he notes, and then later points out, «I think what they're trying to do is say this is a shit scary space that you're in and it's full of anger and furthermore also people hate Americans.

Not exact matches

The «difficult men» are at once the characters who defined this current golden age of television — Tony Soprano, Don Draper, Walter White — and the obsessive, cantankerous men who thought them up, including Chase, but also Matt Weiner (Mad Men), David Milch (NYPD Blue and Deadwood) and others.

On Wednesday's broadcast of CNN's «Wolf,» Representative Steve Cohen (D - TN) reacted to White House lawyer Ty Cobb's departure by stating, «Nobody can stay around Donald Trump long who has a conscience and who has character and who believes in ethics.»

Jackson faces the elephants in the room of whites and blacks having deep, meaningful relationships very quickly, especially in book two when one of the White main character's husband, Denny, is mistaken by, MaDea, an aging African American woman who is suffering from dementia, as one of the men who brutally lynched her brother nearly 70 years ago.

I have to laugh at all the loons who think a Northern European folklore character named Santa was anything but white.

I want someone with the proven strength to persevere, someone who knows this job and takes it seriously, someone who understands that the issues a president faces are not black and white and can not be boiled down to 140 characters.

Then they asked white college students to rate how much the remaining on - screen characters, who were white, liked or were positive toward the cropped - out character.

It was such a cult classic movie that those of us who are old enough to have seen Beetlejuice during the late 80s or 90s tend to associate chunky black and white stripes with the character.

But then, the New York Post comes along and validates and reports a position I have taken from DAY ONE — interracial dating isn't about exclusion, but inclusion; and choose character above color — and now it seems previous outlets who viewed me as hell's handmaiden for white supremacy are beginning to soften their position.

The director, Miguel Arteta, and the screenwriter, Mike White, who previously joined forces on the movies «Chuck & Buck» (2000) and «The Good Girl» (2002) and the short - lived HBO series «Enlightened,» have a proven knack for making their characters and audiences squirm.

And the most compelling character of all, a sci - fi nerd named Lionel (played, wonderfully, by Tyler James Williams), becomes a pawn of three distinct parties: The (white) editor of the student newspaper, the (white) housemates he's been unhappily thrown in with, and the (black) students who don't know what to make of him.

As a result of VanderMeer's deliberately cryptic play with narrative, it isn't revealed until «Authority,» the second book in the trilogy, that the character who inspired Lena is of Asian descent, while the character who inspired Dr. Ventress is half Native American and half white.

The main character is, of course, a white man, Capt. Joseph J. Blocker (Christian Bale), who hates Indians, but who gets the order to escort chief Yellow Hawk (Wes Studi) and his family back to Montana, where the terminally ill old chief can die in peace on his own land; the president himself (a real one) has signed the order for it.

Since the controversy erupted, director Laura Brownson and team exclusively filmed with Rachel, her sons and her adopted sister Esther, capturing the intimate, vérité life story of a damaged character who lands squarely in the cross-hairs of race and identity politics in America — and exploring how that character still provokes negative reactions from millions who see her as the ultimate example of white privilege.

The most prominent characters include Haven Hamilton (Henry Gibson), a socially conservative, arrogant country music star; Linnea Reese (Lily Tomlin), a gospel singer and mother of two deaf children; Del Reese (Ned Beatty), her lawyer husband and Hamilton's legal representative, who works as the local political organizer for the Tea Party - like Hal Philip Walker Presidential campaign; Opal (Geraldine Chaplin), an insufferably garrulous and pretentious BBC Radio reporter on assignment in Nashville, or so she claims; talented but self - involved sex - addict Tom Frank (Keith Carradine), one - third of a moderately successful folk trio who's anxious to launch a solo career; John Triplette (Michael Murphy), the duplicitous campaign consultant who condescendingly tries to secure top Nashville stars to perform at a nationally - syndicated campaign rally; Barbara Jean (Ronee Blakley), the emotionally - fragile, beloved Loretta Lynn - like country star recovering from a burn accident; Barnett (Allen Garfield), Barbara Jean's overwhelmed manager - husband; Mr. Green (Keenan Wynn), whose never - seen ailing wife is on the same hospital ward as Barbara Jean; groupie Martha (Shelley Duvall), Green's niece, ostensibly there to visit her ailing aunt but so personally irresponsible that she instead spends all her time picking up men; Pfc. Glenn Kelly (Scott Glenn), who claims his mother saved Barbara Jean's life but who mostly seems obsessed with the country music star; Sueleen Gay (Gwen Welles), a waitress longing for country music fame, despite her vacuous talent; Bill and Mary (Allan F. Nicholls and Cristina Raines), the other two - thirds of Tom's folk act, whose ambition overrides constant personal rancor; Winifred (Barbara Harris), another would - be singer - songwriter, fleeing to Nashville from her working - class husband, Star (Bert Remsen); Kenny Frasier (David Hayward), a loner who rents a room from Mr. Green and carries around a violin case; Bud Hamilton (Dave Peel), the gentle, loyal son of the abrasive Hamilton; Connie White (Karen Black), a glamorous country star who is a last - minute substitute for Barbara Jean at the Grand Old Opry; Wade Cooley (Robert DoQui), a cook at the airport restaurant where Sueleen works as a waitress and who tries unsuccessfully to convince her that she has no talent; and the eccentric Tricycle Man (Jeff Goldblum), who rides around in a three - wheel motorcycle, occasionally interacting with the other characters, showing off his amateur magic tricks, but who has no dialogue.

As always, the studios and distributors seem to take as truth the notion that stories of characters who aren't white dudes are too niche to connect with audiences.

The film is so slick, in fact, that Mostow (who also penned the white - knuckle script) seems to have abandoned any notion of character development along the way, substituing instead thrill upon submariner thrill.

She also lends her talent to Columbia's upcoming Stuart Little, a family comedy based on the book by E.B. White, where Tilly gives voice to the character of Stuart's biological mother (who just happens to be a mouse).

It's only upon reflection that viewers may realize that, despite its nominal title character, the movie never delves that deeply into who Gloria Grahame was, aside from a femme fatale slinking across a black - and - white screen.

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.

The most interesting character by far is the white whale, who is apparently omniscient, and he doesn't get nearly enough screen time.

As the wife of a white man, thrown in jail while pregnant, a mother of small children, who becomes the driving force behind changing archaic laws that forbid a white man bedding down with a black woman, Negga virtually disappears into the character.

Can «woke» white men writing characters who say the N word as a way to prove they are edgy be over, it is 20 god damn 18 already

We'll also meet a number of new characters: New series regulars for Season 2 include Vikings» star Gustaf Skarsgard as the white - collared Karl Strand; Katja Herbers (Manhattan, The Leftovers) as seasoned park guest Grace, who visits during the park's darkest hour; and Tyrant star Fares Fares as tech expert Antoine Costa.

Brad's Status is an honest film that captures White's incisive deadpan humor and his ability to create characters who talk and act like real human beings, not cardboard caricatures.

Films that might have fit this putative strand included the charming but overlong Timeless Stories, co-written and directed by Vasilis Raisis (and winner of the Michael Cacoyannis Award for Best Greek Film), a story that follows a couple (played by different actors at different stages of the characters» lives) across the temporal loop of their will - they, won't - they relationship from childhood to middle age and back again — essentially Julio Medem - lite, or Looper rewritten by Richard Curtis; Michalis Giagkounidis's 4 Days, where the young antiheroine watches reruns of Friends, works in an underpatronized café, freaks out her hairy stalker by coming on to him, takes photographs and molests invalids as a means of staving off millennial ennui, and causes ripples in the temporal fold, but the film is as dead as she is, so you hardly notice; Bob Byington's Infinity Baby, which may be a «science - fiction comedy» about a company providing foster parents with infants who never grow up, but is essentially the same kind of lame, unambitious, conformist indie comedy that has characterized U.S. independent cinema for way too long — static, meticulously framed shots in pretentious black and white, amoral yet supposedly lovable characters played deadpan by the usual suspects (Kieran Culkin, Nick Offerman, Megan Mullally, Kevin Corrigan), reciting apparently nihilistic but essentially soft - center dialogue, jangly indie music at the end, and a pretty good, if belated, Dick Cheney joke; and Petter Lennstrand's loveably lo - fi Up in the Sky, shown in the Youth Screen section, about a young girl abandoned by overworked parents at a sinister recycling plant, who is reluctantly adopted by a reconstituted family of misfits and marginalized (mostly puppets) who are secretly building a rocket — it's for anyone who has ever loved the Tintin moon adventures, books with resourceful heroines, narratives with oddball gangs, and the legendary episode of Angel where David Boreanaz turned into a Muppet.

Princess Cyd is his most accomplished film yet, about a young woman named Cyd (Jessie Pinnick) who finds herself attracted to Katie (Malic White), a barista, while visiting her Aunt Miranda (Rebecca Spence, playing a character modeled on the author Marilynne Robinson) in Chicago.

Native characters are aggressive, imperious, evil, savage, and the diametric opposite of the «civilized» white man who blames the Native for being on white land before the whites arrived.

«Dark Stranger» doesn't feature a consistent story, instead it's a series of vignettes, all tied to themes of attraction, trust, and commitment, hoisted up high by self - centered characters who spend much of the movie arguing into white noise.

Every blowsy harridan who ever beset W.C. Fields; character actresses like Gale Sondergaard or Minna Gombell, who could always be counted on to make big trouble in»30s films; even Lucile LaVerne, the moustached hag who made the Gish sisters» lives hell in Orphans of the Storm and served as the model for the witch in Disney's Snow White - none of these is an evil patch on Midler here.

There are a few scenes in which other characters criticize Ethan's extreme views of Natives, fearing that he will mercilessly shoot a captive white woman who has «gone Native.»

So low that the sole white leading character in the movie, the CIA operative Everett Ross (Martin Freeman), gets to be a hero who helps save Wakanda.

Once they get out of the maze, thanks to the leadership of Thomas (Dylan O'Brien), then there's just a «Hunger Games» /» Divergent» - style race to the center of operations for the evil and corrupt regime (sometimes involving a lab with white - coated scientists torturing people) to rescue characters we know, some who make it and some who don't, and also rescue the whole world.

The film is written by the same creative quartet that work on Jamie's television show, so they know the character inside and out, and how much you find funny will also greatly depend on whether or not you know white kids like Brad Gluckman yourself, the well - off white kid who wants so desperately to be down with the hip hop lifestyle.

As we watch young African - American characters — and a few young white women, too — mistreated and / or killed in scenes that go on and on and on, it's hard not to wonder whether Bigelow (and the material) would have been better served by not teaming up with her usual (white) screenwriter, Mark Boal (who also wrote The Hurt Locker and Zero Dark Thirty), just to bring in the perspective of actual people of color, rather than that of white liberal guilt.

(One is also reminded of the character in J.M. Coetzee's Disgrace who uncomplainingly accepts her rape by three black men out of white liberal guilt.)

Older viewers who grew up with the Disney style of fluid animation, as seen in Snow White, Bambi and Pinocchio, might have to get used to the style, but the humor and the exploits of the diverse set of characters should more than make up for the less - costly animation technique.

The sense of period is very convincing exceptâ $» perverselyâ $» in its resurrection of two stock characters of the distant past: the mystically avuncular old Negro (Clarence Muse) with his pipe and fringe of white hair, and the relentlessly villainous Arab (Dogmi Larbi, The Man Who Would Be Kingâ $ ™ s blowhard chieftain Ootah) â $» this one actually steals the kidâ $ ™ s life preserver when the ship is sinking; he also steals sugar from the horse!

Director Alex Garland's Annihilation recently came under fire for being the latest example of a movie casting white actors as characters who were people of color in the source material.

Roberts Blossom, a veteran character actor who played the old, white - bearded next - door neighbor who befriends young Macaulay Culkin in the hit movie «Home Alone,» has died.

McDonagh does not present characters who are black or white; all of these people have deep shades of gray.

Really, though, the character, played with his usual fearsome wit by Samuel L. Jackson, is a tried - and - true Hollywood stock figure: the selfless, spiritually minded African - American who seems to have been put on the earth to help white people work out their self - esteem issues.

As a longtime character actor who has shined among ensemble casts (think: Juno's deadpan dad or Bob, a laid off white collar worker, in two of director Jason Reitman's Oscar - bait films), Whiplash co-star J.K. Simmons appreciated receiving the Spotlight Award at the Palm Springs International Film Festival.

The African American actor who played Dr. Kananga / Mr Big in «Live and Let Die,» believes «James Bond was established by Ian Fleming as a white character,» and should be «played by white actors»

It's incidental to all of the above that the characters in Hav Plenty are black; if memory serves, the first white person to appear in the film is the young man who introduces Plenty to the racially mixed audience after the screening in the final sequence.

Beyond Lawrence, who played Julianne Moore's character Maude, and Fassbender, who played the Dude, complete with robe and white Russian, we got to see Patton Oswalt channel John Goodman as Walter and Mae Whitman voice Steve Buscemi's naive Donny like a cartoon animal.

While I came into this movie excited about every inch of it, M'Baku a.k.a Man - Ape in the comics has had a very messy and problematic history being written as the scary, angry, dark - skinned black man who wants Wakanda to be a primitive society that includes human sacrifice, because... this character was created by white authors in the late 1960s, and this was their idea of nuance.

Mr. Downey's Iron Man / Tony Stark character has ingrained in movie goers his motor - mouthed smart - aleck persona that fits very well with the lacking - a-conscience cocky defense attorney who only defends the type of white collar criminals who can afford his unmatched courtroom savvy.

Simien's film takes place at Winchester University, a predominantly white, prestigious university where we're introduced to six significant characters: Sam White (Tessa Thompson), the biracial activist who overcompensates her blackness; Lionel Higgins (Tyler James Williams), the black homosexual who lives in an all - white residence building, and feels little sense of belonging; Colandrea «CoCo» Conners (Teyonah Parris), the white - washed blogger who acknowledges racism yet chooses to ignore it in fear of non-acceptance from the white majority; The Dean (Dennis Haysbert), who has worked hard his whole life solely to over-emphasize his superiority and intelligence towards white corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchewhite, prestigious university where we're introduced to six significant characters: Sam White (Tessa Thompson), the biracial activist who overcompensates her blackness; Lionel Higgins (Tyler James Williams), the black homosexual who lives in an all - white residence building, and feels little sense of belonging; Colandrea «CoCo» Conners (Teyonah Parris), the white - washed blogger who acknowledges racism yet chooses to ignore it in fear of non-acceptance from the white majority; The Dean (Dennis Haysbert), who has worked hard his whole life solely to over-emphasize his superiority and intelligence towards white corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of WincheWhite (Tessa Thompson), the biracial activist who overcompensates her blackness; Lionel Higgins (Tyler James Williams), the black homosexual who lives in an all - white residence building, and feels little sense of belonging; Colandrea «CoCo» Conners (Teyonah Parris), the white - washed blogger who acknowledges racism yet chooses to ignore it in fear of non-acceptance from the white majority; The Dean (Dennis Haysbert), who has worked hard his whole life solely to over-emphasize his superiority and intelligence towards white corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchewhite residence building, and feels little sense of belonging; Colandrea «CoCo» Conners (Teyonah Parris), the white - washed blogger who acknowledges racism yet chooses to ignore it in fear of non-acceptance from the white majority; The Dean (Dennis Haysbert), who has worked hard his whole life solely to over-emphasize his superiority and intelligence towards white corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchewhite - washed blogger who acknowledges racism yet chooses to ignore it in fear of non-acceptance from the white majority; The Dean (Dennis Haysbert), who has worked hard his whole life solely to over-emphasize his superiority and intelligence towards white corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchewhite majority; The Dean (Dennis Haysbert), who has worked hard his whole life solely to over-emphasize his superiority and intelligence towards white corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchewhite corporate men, specifically the president of Winchester; The Dean's son Troy (Brandon Bell), who spends his college career doing things to make his father happy and impress the white majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchewhite majority; and Kurt Fletcher (Kyle Gallner), the privileged, ignorant son of the President of Winchester.