Sentences with phrase «with no other actor giving»

Not exact matches

On the other hand with the housing bubble, the distribution hit unsophisticated actors, who could not tolerate risk, and gave them signals the risk was lower than that, everybody who needs housing.

The actors greeted both women the same way and did the same activities with both (for example, giving each a toy) but the actors» nonverbal signals differed when interacting with one woman versus the other.

Hopper's choice to have the actors singing during filming, rather than lip - synching to a pre-recorded soundtrack, gives such impact to the performances — even with his overuse of certain other filming choices — creates such a complete world that even with its flaws, Les Miz had me in the palm of its metaphoric hand throughout.

Many of the familiar Hogwarts characters get to take a final bow, as it were, with some of the actors relegated to eye - blink cameos (like Emma Thompson) and others given a bit more to do (like Maggie Smith, Robbie Coltrane, Helena Bonham Carter, and Alan Rickman).

Wheatley co-wrote the script with Amy Jump and they've written distinct characters giving their actors plenty to work with despite the other constraints on the story.

It gives the film a level of realism that you simply couldn't achieve with regular actors, and although that means making certain sacrifices in other areas (let's be honest, these guys weren't cast because they're good actors, but because they actually do this stuff for a living), it's an experiment that works pretty well.

The problem is that these normally talented actors are simply given Roland Emmerich dialogue to work with; some are able to handle it and make it somehow watchable while others give eye - rolling deliveries.

While Willis continues to phone in his performance with the same on - screen persona he's been giving us for the last decade or two, the other main actors get their chances to shine, especially an always fun Helen Mirren (Monsters University, Hitchcock) and John Malkovich, who know well enough to play to the audience that they know that the movie they're in is meant to be nothing but a hammy lark.

With a $ 10,000 buy - in, famous actors, athletes, and business men give Molly generous hosting tips, which end up surpassing what she makes at her other jobs.

But there the quartet is, Boyle and the men who respectively played Renton, Sickboy and Spud (Robert Carlyle, the actor who gave life to the psychotic Begbie, is still back in the U.K. working), joking with each other as if the last 20 - plus years had never happened.

All of the other actors do their best with the material they are given (particularly Shaye, who has never been more fun), but they can only do so much with Dekker's script, which unfortunately does them no favors.

The other actors are good here, despite the series not giving them much to work with here.

One can only imagine how much better the film would be by plugging a better actor like Coburn in the lead role and giving someone with much more martial arts skills and screen presence like Bruce Lee in the other roles.

The other voice actors aren't given as much to do, and the film has a habit of oversimplifying its treatment of Riley's emotions (which were clearly inspired by the work of Robert Plutchik), including some manufactured conflict that's a bit flimsy, but it makes up for those minor blemishes with boundless levels of creativity that win out every time.

An especially strong script gives actors plenty to chew on in this comedy - drama, in which writer - directors Faxon and Rash (The Descendants) take an observant look at the awkward connections we make with each other.

The Screen Actors Guild Awards, on the other hand, pretty much followed in lock step with the Golden Globes and the Critics Choice Awards for the acting categories, giving their top prizes to actors who had all previously won a Actors Guild Awards, on the other hand, pretty much followed in lock step with the Golden Globes and the Critics Choice Awards for the acting categories, giving their top prizes to actors who had all previously won a actors who had all previously won a Globe.

The actors give as much as the script allows, with Charlize Theron (Young Adult) as crafty Meredith Vickers, Michael Fassbender (Shame) as sinister David, and Noomi Rapace (The Girl with the Dragon Tattoo) as the daydreaming scientist definitely help flesh out characters at a time when others are left to flap about with little to do.

It's been famously published that the actors did not receive full scripts, whilst others had been even given fake ones, and simply when the film used to be about to completely display screen for the primary time all the way through its Los Angeles premiere, the administrators pleaded with the public not to smash the enjoy for others via spoiling the movie for them.

Among the other fiction films to look for in theaters or on VOD: John Michael McDonagh's Calvary, in which Brendan Gleeson gives a beautifully modulated performance as a dedicated priest who is no match for the disillusionment of his parishioners and the rage of another inhabitant of his Irish seaside village, determined to take revenge against the priesthood for the sexual abuse he suffered as a child; the desultory God Help the Girl, the debut feature by Stuart Murdoch (of Belle and Sebastian), all the more charming for its refusal to sell its musical numbers; Tim Sutton's delicate, impressionistic Memphis, a blues tone poem that trails contemporary recording artist Willis Earl Beal, playing a character close to himself who's looking for inspiration in a legendary city that's as much mirage as actuality; and two horror films, Jennifer Kent's uncanny, driving psychodrama The Babadook, with a remarkable performance by child actor Noah Wiseman, and Ana Lily Amirpour's less sustained A Girl Walks Home Alone at Night, which nonetheless generates some powerful political metaphors.

But at least scripters Tony Gilroy and William Blake Heron give her a character to work with, which is more than be said for other talented actors filling out the ensemble, such as Julia Stiles (merely marking time as the baddies» resident computer expert) and especially Clive Owen, who is completely wasted as a barely - seen and - heard evil operative.

A partnership between New York Stage and Film and Vassar College in Poughkeepsie, N.Y., the eight - day residency gives participants one - on - one sessions with a list of professional mentors that includes writer - actor Jennifer Westfeldt, actor - director Ken Olin, director Michael Hoffman, and award - winning writer John Patrick Shanley, among others.

At the film's recent press day, Shyamalan and Blum discussed their creative partnership and the most surprising aspect of working with each other, why the scares in this film are deceptively simple yet terrifying and original, how the mock documentary style format gave Shyamalan new cinematic tools for keeping the audience guessing, his directing style, what he was looking for in his young actors, why he cast experienced stage actors for the grandparents» roles, his collaboration with award - winning DP Maryse Alberti, how he recruited Oxenbould to shoot the chase sequence underneath the house, why he likes treating B genre movies like they're A dramas, and more.

Many of the familiar characters get to take a final bow, with some of the actors reduced to eye - blink cameos (like the great Christopher Lee) and others given a bit more to do (like Evangeline Lilly as Tauriel).

By «ensemble» is meant that each actor is given sufficient time to strut his or her stuff, and Holly Hunter as Beth, with at least two other films to her credit this year, displays her charming, Georgia - born southern accent, often driving her husband crazy.

Okay, snark aside, the director of Tower Heist (and a bunch of other movies that were never meant to be smart) gave up his plum gig after using a homophobic slur to describe something as silly and unnecessary as rehearsing scenes with actors.

The other three groups have gone with Barry Jenkins» strangely over-hyped drama «Moonlight,» giving the film other awards in the process that include Best Director, Best Supporting Actor, and Best Screenplay.

Blu - ray exclusives will be familiar to loyal Universal customers, beginning with three core U-Control features: a Picture in Picture option that includes cast and crew interviews, set footage, and pre-production art (like storyboards); the Bourne Dossier, which give access to high - tech superspy information technology (like pop - up Agent Status, Character Dossiers, Field Reports with «GPS - enhanced satellite views of the locations,» and other «top secret training material»); and Bourne Orientation, which jumps out of the film to provide literal orientation (globally speaking) and figurative orientation: information about what's driving Bourne at key junctures in the story (answering that eternal actor's question: «What's my motivation?»).

But The Death Cure actor who is done the biggest disservice by sharing the screen with so many others is Goggins, who gives a brief but truly memorable performance as Lawrence.

Other actors manage better with the words they're given to say, and Russell Crowe delivers another accomplished performance.

Of course Keaton never hit rock bottom like his character did, but the movie gives you a glimpse what hardships that actors like Adam West, Clayton Moore, and other typecast actors and actresses struggled with when their star stopped burning bright.

The screenplay is excellent, and I also think all the other supporting actors do wonders with what they're given, most of all Barbara Hershey.

It might seem a hollow, too - clever trick, but the necessity to cram the frame — comparatively speaking, of course — gives the proceedings a lot of comic tension, as the actors are rarely more than a foot away from each other, and complements Anderson's tableau form of narrative shorthand — such as the proper introduction to one villain with a shot looking down at the weapons arranged on his desk — incredibly well.

It's the sort of performance movies exist to present, a career - defining turn at 21 for an actor with a white hot future (his other major role of 2017 is in Lady Bird, giving him the distinction of starring in quite possibly the two most celebrated films of the year).

In the portfolio, the actors assembled on the cover are set free to pose as themselves: screwball triple threat Emma Stone gave what Diehl terms «Annie Hall realness»; Elle Fanning in Valentino was at her Boticelli best; this year's breakout red carpet oracle Ruth Negga wears a dress by zany - brainy Celine; Greta Gerwig like a windswept Truffaut ingénue in «that fabulous The Row coat with some brogues on,» Diehl said; and actor's actor Amy Adams in a marabou - trimmed Prada, like a rosier Sunset Boulevard, among others.

Unlike other films on this list, Soul Surfer is given the full Hollywood treatment with well - known actors playing the lead roles and surfers doing the «stunt work» in the ocean.

That's impressive because The Last Day of June doesn't contain any form of dialogue, rather its small cast of strangely eyeless characters communicate solely through sighs, moans, giggles and other little sounds that work with the wonderful animations to give them more personality than most games with massive runtimes, budgets and voice actors ever manage.

I'm catching up with the «Nature is Speaking» education push by Conservation International, featuring a set of videos in which actors give voice to the oceans, rain forests and other beautiful and bounteous facets of the planet's sheath of life.