Sentences with phrase «white characters living»

Not exact matches

If you're looking for more reading material about the Trump White House and its rotating cast of characters, here's a quick guide to some books already published and yet to come in 2018 — some of which might seem like beach or airport reads until you remember the reports are rooted in real life.

That was a very interesting read many comments caught my attention I've recently been diagnosed with Bipolar I have hallucinations and hear voices in my ear's when I hallucinate it's likes they are trying to get me thousands of them I can only describe them as dark shadows and they are trying to get me just as they are about to get me a brilliant white light surrounds me and there's three entities humanly shaped but like this brilliant white light they are also glowing this brilliant whiteness I can't understand what they are saying the only way I can explain it is emotions comfort joy love is what I feel emanating from these entities the voices I hear aren't evil telling me to do bad things to people when I get put into a mode of fear I live in a rough area of Scotland and everytime I've got into a fight something possesses me I know this for a fact as I can't control myself I'm an observer watching my family / Friends say I change they say my eyes change and I look evil I personally do think possibly through my own personal experience I» am possessed as I act out of character I've lost interest in many things I've recently I decided it's time for change I've lost my faith I've been trying to connect with God and feel his love which I used to feel the presence of the holy spirit everytime I try connect I get a feeling of abandonment I just think if I am possessed could these entities stop me connecting with «God» I can say from my heart of hearts «JESUS CHRIST HAS COME IN THE FLESH» I think it's more to do with the persons own personal fears which I have noticed my fears have changed if I had to be truthfully with myself I fear God which I know I'm not supposed to just I can't explain it I guess if you ever need a test subject I'm up for the challenge like I said I'm on journey to find myself and my travels have brought me hear I'm going to hang around for a wee while there's lots of good information to be plundered loll

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.

From his first great success in «MASH» to the wonderful «Cookie's Fortune» (1999), there are a lot of interlocking characters in his stories, and almost alone among white American directors he never forgets that a lot of black people live and work in town.

Voiced by Chiara Mastroianni in French — Satrapi herself lives in Paris now — she's the most fully drawn female character in movies this year, only black and white and flat all over.

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.

In the scheme of Lehane's pulp narrative he is, in fact, a white savior, and while various critics and a few ordinary citizens are busy throwing that condemnation at the Ryan Gosling character in «La La Land,» a charge that makes little sense in the context of the movie itself (vanilla is one thing; white savior is a different flavor) here in «Live by Night» we have a serious case of the white saviors.

American Dreamz tracks the lives of three characters particularly — the host, a Simon Cowell impersonation done half - heartedly by Hugh Grant; the star, Mandy Moore as a white - trash girl with dreams of fame and fortune; and the laughable, Muslim immigrant Omer, selected only to allow the manufacture of religious tension with a Jewish contestant.

Before she knows it, Lively's character has been attacked by a great white shark and is fighting for her life stranded on a pile of rocks barely jetting above the ocean.

I see the white Windsor - EF Elongated and a warm smile embraces my being, for I know that the next 100 minutes of my life will be enraptured by a dialogue between my two favourite Allen characters: wit and heart.

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.

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.

The Manic Pixie Dream Girl is a term coined by Nathan Rabin to describe the female character whose written to help the usually white, and definitely straight male hero loosen up and enjoy life.

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!

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»

As peculiar and emotive in real life as the many characters that populate her work, Posey welcomed Indiewire for a chat at The New York Palace Hotel in ways both comfortable — she was lounging in a large white bathrobe and leisurely sprawled out on a big couch — and distinctly pensive.

I was reminded more than once of the Black Mirror episode «Fifteen Million Merits,» in which Daniel Kaluuya's character lives in a small white box surrounded on all sides by TV screens and is permanently plugged in to a goofy media network of avatars, pornography, and reality television.

This is not a slavery film told through the eyes of a white audience surrogate, this is Solomon Northup's story through and through, and Ejiofor brings the character to life in devastatingly powerful fashion.

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.

James White (R for sexuality, nudity, profanity and drug use) Christopher Abbott handles the title role in this character study, set in New York City, about a self - destructive slacker, still living at home, forced to mature when his mom (Cynthia Nixon) becomes seriously ill.

Lee Daniels» The Butler is loosely based on the life of Eugene Allen, a man who worked as a butler in the White House for eight different presidents, among them John F. Kennedy (James Marsden, every bit as affable as the likable leader), Lyndon Johnson (Liev Schreiber, who captures the profane and over-the-top character of LBJ), Richard Nixon (John Cusack, the least effective), and Ronald Reagan (Alan Rickman, who surprised me with this excellent performance).

With a compassionate approach to its characters and a critical eye on society, Angels Wear White explores the way certain ideas of sexuality cast shadows on the lives of women and children, and how these ideas can be transcended.

Roger Ross Williams» enlightening documentary Life, Animated shows the role Disney animated characters played in an autistic child's development and Susanna White's cinema adaptation of John le Carre's Our Kind of Traitor is thrilling.

White Reindeer (Unrated) Maudlin character study, set in suburban Virginia, where we find a grieving woman (Anna Margaret Hollyman) grappling to make sense of life in the wake of an unexpected tragedy at Christmastime.

A black - and - white character study from a screenplay by former Almost Live comedian Bob Nelson, Nebraska is arranged around that classic American storytelling form, the car ride.

The script, cowritten by Simon Beaufoy (Salmon Fishing in the Yemen) and Michael deBruyn (Oblivion), is an able adaptation of complex source material, hitting all of the right story points and effectively sketching in the larger cast of characters, brought to life by the likes of Jeffrey Wright (Broken City), Jena Malone (Sucker Punch) and Sam Claflin (Snow White & The Huntsman).

Drinking white wine and arranging (but never actually consuming) bespoke appetizers against the backdrops of their immaculate Los Angeles kitchens, these characters» lives might differ in the details, but not their prosperous, physically fit, almost freakishly well - preserved gestalt.

At times, Cartel Land feels like Breaking Bad in real life, with characters even more complicated and controversial than Walter White.

Before his life becomes a monomaniac quest for vengeance, a sleepwalking, barely awake Willis embodies wealthy whiteness at its most expensive and plain as the husband of a beautiful, white, boring Elisabeth Shue and the father of a college - age daughter who is very model - beautiful, white and boring to the point where her brutal assault is the catalyst for the action and her father's descent / ascent into vigilante - hood and I forgot that her character existed and was still alive but in a perilous state for most of the movie.

A man searching for his kidnapped wife, a couple of white - supremacist meth heads, and a sad - sack Elvis impersonator, plus more desperate characters come to life in the action - packed and hilarious story written by Adam Minarovich and from the director of «The Cooler» and «Running Scared», Wayne Kramer.

Shot in lurid black and white, the film feels Lynchian in spirit focusing on the low life characters that populate Mexico's capital.

Cinema buffs will recall the movie «Safe,» in which Julianne Moore's character, Carol White, develops a chemical sensitivity that forces her to life in a virtual box, a bubble that will allow her live a restricted life.

There are some funny moments, mostly from Ron White's over-the-top Phil, who is jettisoned from the series pretty early (though his spirit lives on), but the show doesn't seem confident enough in its core characters to let us get to know them better.

He has fun with this movie's color scheme and inserts black & white photo collages to accompany the first - person narration that appears from time to time, giving his characters the odd ability to tell us how their lives will unfold in the future.

For the first time since Zohan, which rooted its silliness in a real understanding of New York life, a Happy Madison production has moments that might be called sharply observed, especially in dealing with its marginal characters: the childhood best friend who can't stop mentioning that she's already seen the bride in her dress; the old biddy who takes time to steal centerpieces during an evacuation; the skeptical grandmother who can be lured back into the fold with a threat of having to eat «white - people potato salad» if she doesn't attend Kirby's planned rehearsal dinner.

Haneke, whose eclectic output includes Funny Games (both the original Austrian version and the 2007 American remake), Code Unknown, Caché and The White Ribbon, has proven time and again that he loves using the tools of cinema to implicate the audience — as participatory voyeurs — in the turbulent lives of his characters.

Many scenes are surrounded by an endless white void, as if the universe is so intensely focused on the character's life that nothing else matters; this is her story, but it often feels told from a parents» - eye view.

However, it quickly becomes clear that White wants to distance his movie from any such accusation, with one of the film's younger, more idealistic characters eventually chiding Brad for whining about his rather generous lot in life.

Filled with the beautiful black - and - white photographs that Paul loved to take when he was not battling bureaucrats, as well as family snapshots, this memoir is laced with wonderful stories about the French character, particularly in the world of food, and the way of life that Julia embraced so wholeheartedly.

That two - part question asked at every family reunion and inside every white - walled church fellowship hall is: Do I write about myself, and do I get my characters from those who fill real - life roles in the crazy one - woman show that is my life?

There's a big cast of characters, white and black, master and slave, good and bad, honorable and despicable, their lives intertwined.

From what I understand, the characters were remodeled to look more like their real - life counterparts, but Ellen Anders is completely unrecognizable, having transitioned from a dark - haired, diverse look to a much more stock, white appearance.

Make sure to keep your eyes open for the character models in Pride; against the stark white backdrop, these guys look so vividly real in HD you could swear they are about to hop off the screen into your living room.

The character design is excellent as it brings a vast array of fairytale characters to life such as the Big Bad Wolf, Snow White, the Woodsman, Beauty and the Beast, Mr. Toad, Colin from the Three Little Pigs, Ichabod Crane, Bufkin, Tweedle Dee and Tweedle Dum, the Magic Mirror, the Little Mermaid and many more besides as well as non-Fables referred to in short as mundies for mundane as they go about their own business, but if suspicion were to be raised for a large group of mundies, then the glamours would fail which is why the Fabletown community need to maintain a low profile, while every character has their own status from Fabletown Sheriff to Fallen Hero and even Slum Lord, amongst just a few of the titles given.

The core premise of the fictional universe is that the characters from our most beloved childhood fables, like Snow White, Pinocchio, and the Big Bad Wolf, are real and living among us, with all of their fairytale powers intact.

Martin is known for her larger - than - life wall pieces, canvas work, and installations, consisting mostly of playful black - and - white illustrations filled with whimsical characters and messages.

Virtuoso editing, including a dizzying effect whereby Giorno repeatedly transitions from white tux to black and back again, enhance the propulsive character of the poet's meditation on life and death.

His beautiful black and white photography of the Big Apple shows the metropolis in a very unexpected light, sharing the everyday and sometimes bizarre lives of the characters who reside there.

Girl, the central character, is depicted in her daily life, and as she interacts with WB (White Boy) in person and over text message.