Katwe's ending is stagy and artificial, but at least it's creative.
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It's a portal to the crafty, stagy, venal sum of us.
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But the overture is long, and the episode turns stagy and exaggerated.
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And the cast from top to bottom is burdened with stagy dialogue.
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The scrum made conversation stagy, but Simmons gradually eased into answering Warren's questions.
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The acting, in close-ups and medium shots, has a studied, stagy quality.
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It's a stagy domestic drama set in Coney Island, home of the Wonder Wheel.
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There's a pandering, stagy political debate and too many Big Messages wrapped in tearful professions.
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Small and stagy and claustrophobic, "Shining Moon" is visually rough yet oddly enticing in its experimental awkwardness.
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With a flamboyantly flexible voice and a stagy demeanor, Monheit is one of jazz's most popular crooners.
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Here is an example of a painter transcending what often appears ornate and stagy in the Baroque.
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Instead, it's a stilted, stagy, hopelessly corny biopic, the kind of thing Walk Hard was meant to prevent.
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The game was as ineffectual as you'd expect, a montage of semi-scripted big plays and beefy, stagy forced chuckles.
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Mr. Rose and his partner, Stephen Starr, allow themselves a couple of stagy visual references to those old French restaurants.
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Since this is a film by Terrence Malick, the arguments don't take the usual stagy, back-and-forth, expository form.
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Amid delightfully stagy costumes and sets, Mr. Kjartansson himself, in a white dinner jacket, played the Orson Welles-style narrator.
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Social-media posts that are meant to convey accessibility, transparency and unvarnished charm can come across as stagy and needy.
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Especially excellent is "Swinburne's Pasiphae," a video by Mary Reid Kelley replete with her signature hand-drawn style and stagy recitation.
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The upshot is a headlong final act that aims at stark political theater but at times comes off as only stagy.
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She drew inspiration from crooners like Sarah Vaughan and Ella Fitzgerald, but her vocals were a touch less stagy, more direct.
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It's TLC, so the show (which immediately follows "Who Do You Think You Are?" on Sundays) is tricked out with stagy emotional scenes.
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There's a theatricality to the acting here — it's never stagy or hammy, but it has a precise, pointed clarity that grabs our attention.
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As often on Netflix, less story would have been more, and the tone swings from stagy to naturalistic to over-the-top satirical.
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"It's chaos out there," Lewis remarks as they drive through perfectly scattered rubble, yet this stolid, stagy movie transmits no sense of destabilization.
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Onscreen, "On Chesil Beach" loses some intensity at the end, as the supple suggestiveness of Mr. McEwan's prose is replaced by the stagy literalness of film.
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And despite frequent flashbacks and Bobby Bukowski's richly dimensional photography, the movie has a static, stagy look that amplifies the oppressiveness of its increasingly unpleasant exchanges.
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Painted in Day-Glo colors and shot in less than a month in Budapest, the movie has a stagy stiffness that grows more irritating by the minute.
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One result of the coincidence was the emergence of a new kind of actress, emoting vividly in a stagy accent acquired somewhere between Bryn Mawr and Broadway.
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Those scenes are punctuated by explanations of what was actually happening in the conflict and its political context, as well as battlefield sequences that quickly turn stagy.
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But Senator Cory Booker's self-described Spartacus moment during the Brett Kavanaugh hearings didn't quite pan out — his rebellion was more transparently stagy and less audacious than advertised.
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Truong's novel not only tells their story but does so in their voices; "The Sweetest Fruits" takes the somewhat stagy form of three long monologues, delivered to silent interviewers.
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We know that the qualities that distinguish her poetry — the radiant contempt and nightmare imagery — stay leashed in her short fiction, a province of thudding symbolism and stagy morality.
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When my niece talked about it, she rolled her eyes, not because she denies inequities in the world but because the whole setup was so stagy and manipulative and solemn.
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Ventura Pons's stagy drama "Virus of Fear" tries to walk a thin line about its volatile subject — child sexual abuse — as it weighs a man's possible innocence against a mob's rage.
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The team was simply massive: roomy enough to house Rodriguez's redemption and Jeter's stagy grace, a whole faction of mercenaries, reams of pat language about the singular pressure of the Bronx.
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It sparked one of those stagy Twitter skirmishes between the Phillies' and Mets' team accounts earlier this week; it is not really the sort of thing that anyone cares about very much.
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Into this rather longwinded and stagy mix, Boyd throws a variety of devices: a tyrannical father, an allegation of musical plagiarism, a false accusation of fraud and a simmering case of tuberculosis.
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Interpolations of new music (Annelies Van Parys, politely unobtrusive) and spoken passages have added 20 minutes or so to the running time, turning Janacek's jewel-box melancholy into a sluggish, stagy hour.
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Timothy Egan The Man Who Would Be King signs his executive orders with a stagy flourish, waving thick leather binders "that look like the menu at Beefsteak Charlie's," as Bill Maher said.
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There was a funny "12 months of Communism" calendar hanging in our hotel room — pictures of people in full uniform engaging in seasonal activities, done in that florid Soviet style, with stagy smiles.
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Everything here, though, is upstaged by Jeremy Herbert's stagy wind effects; the most memorable image is of Letty's 12-foot wedding veil sustained at a 45-degree upward diagonal from Ms. Osipova's head.
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Over time, the lens widened, but the results could be stagy, sometimes literally so, as in a sequence in which a crude, trash-talking black bodybuilder turns out to be a British Method actor.
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Even then, at this time of profound national fear and disorientation, Mr. Johnson could not speak with gravitas, only with the odd, stagy emphasis of a man pretending while half his mind is elsewhere.
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This political back-and-forth is, however, cheapened by the broad, near-hagiographic strokes with which Rosen paints his leading characters, who spend most of the run-time speechifying between stagy puffs of cigars.
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Mr. Ruehm's stagy visual choices give the movie a vague theatricality, as do the bare-bones production design and the exaggerated performances, most of which tend to be pitched toward the last row in the house.
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Images and scenes, too, can feel stagy: Sadie and a friend sometimes wander through a junkyard, seemingly for the sake of a gritty shot than for any real reason; Cyrus is often popping up at very convenient moments.
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His loose-jointed, naked heroes and giants stride freely across boxes' edges, even from page to page in polyptychs, while the colors of his stagy green hills and star-dappled indigo skies often stop just shy of their outlines.
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" When she discovered that Karadzic's father, long before Karadzic was born, had killed a cousin for spurning his marriage proposal, she writes (doubling down on the staccato prose with stagy italics): "I let it wash over me like a story.
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Everything in the movie—from the stagy view of the Madrid skyline to the gazpacho, which puts one person after another to sleep, as if they were characters in an operetta—seemed to belong more to the world of cromos than to reality.
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While the band juxtaposes shiny, plastic, tangible jazz horns onto a solid, if somewhat stagy, hard rock base for the sake of cognitive dissonance, such music is then deployed to serve a style of affected, art-damaged torchsong that splits the difference between tough and teary.
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What might have seemed contrived and stagy — the hippie ballads; the vintage sound system; the harmonious, though drafty, old structure — was instead organic to Mr. Nakamura's way of seeing, and consistent with the concept of wabi-sabi, the Zen-based aesthetic philosophy that finds beauty in imperfection.
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But it was "Do the Right Thing," made when Lee was just 32, that showcased his confidence, from the deliberately striking color scheme (bright reds and oranges that make a hot day seem even hotter) to its heightened -- sometimes stagy -- atmosphere, to its grim, documentary-style riot climax.
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Arnold is played by the winning Michael Urie, and the role combines the kind of comic physicality that he excels at—widened eyes, head tosses, the dramatic extending of a leg ending in a bunny slipper—with sometimes stagy monologues and dialogues that even Fierstein had to work to pull off.
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His charisma and stagy inventiveness fit perfectly with the era's ascendant mass media, the subversive symbolism embedded in his protests permitting him, as he sees it, to have "won by losing," goading the powerful into overreach and leveraging the ironic latitudes of poverty to point up the hypocrisies of convention.
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Saturday's show had four sets of encores, and after the first three, Mr. Smith put his hand up on his clavicle, seemingly not so much as a stagy gesture of being overwhelmed, but as you might do reflexively to collect your thoughts when you've got a lot on your plate; he looked away from the audience and briskly walked off.
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From the couple's second-floor windows, Mr. Incontri has a broad view overlooking the park's ancient pines, its gravel running tracks and fountains and also the stagy grottos you might imagine had been installed by the park's original 18th-century creator, Giuseppe Piermarini, the architect of La Scala, but that were actually added almost a century later, as Mr. Incontri noted.
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"Adams, Sam . Philadelphia City Paper, August 18–24, 2005. Last accessed: February 22, 2008. Critic Dennis Schwartz wrote, "The performances are stagy but filled with fiery emotion.
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"Slow, stagy cheapie" – Leonard Maltin.Leonard Maltin's 2008 Movie Guide, Signet/New American Library, New York, 2007. "This interesting film...is badly let down by Simms' over-talkative script." – The Aurum Film Encyclopedia – Science Fiction.
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Bilhanan was released on 23 April 1948. According to film historian Randor Guy, the film was an average success because audiences "felt it was stagy in presentation". He did, however, note that the film would be "Remembered for the interesting storyline, impressive performances by Shanmugam, Bhagavathi and Draupathi".
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Troy Howarth commented on Boris Karloff in the role of Abdul, the Hindu lawyer, who "takes advantage of his naturally dark complexion but... struggles terribly with the thick Indian accent." Leonard Maltin gave the film two stars, calling it a "stagy Ben Hecht melodrama with much hamming, especially by unbilled Karloff".
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184 Baldwin, McEntire and Mitchell, 2005 concert DVD cover The movie and Close were praised by The New York Times: "Ms. Close, lean and more mature, hints that a touch of desperation lies in Nellie's cockeyed optimism." The review also commented that the movie "is beautifully produced, better than the stagy 1958 film" and praised the singing.Salamon, Julie.
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Writing for The Globe and Mail, Salem Alaton opined that "you can only wonder what Laurie Anderson's static, stagy Home of the Brave might have looked like had Jeremy Podeswa been hired to direct it." The film was a shortlisted Genie Award finalist for Best Live Action Short Drama at the 8th Genie Awards."Genie promises skits both dramatic, comic". The Globe and Mail, March 13, 1987.
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" The British television network Channel 4 called it the "least satisfying screen adaptation of Hecht and MacArthur's play," saying it "adds little to the mix other than a bit of choice language. The direction is depressingly flat and stagy, Wilder running on empty. While it is easy to see why he was attracted to this material . . . he just does not seem to have the energy here to do it justice.
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Leonard Maltin gives the film two out of four stars, commenting, “ Plush production can't save this stagy soap opera.” Although Billie Dove was supposed to be the star, The New York Times reported that in spite of “lending a decorative presence, her speeches pale beside a performance of one so expert as Mr. Rathbone. Kay Francis, too, as the scheming countess, puts Miss Dove somewhat in the shade” .
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Thus, make your own decisions about sharing the book with younger children." The Catholic Information Center calls Saint George and the Dragon "truly marvelous and appropriate for girls and boys of all ages." "The Illustrations are worth the admission alone." This adaptation of The Faerie Queen features illustrations that "glitter with color and mesmerizing details," said PW. Kirkus Reviews calls Saint George and the Dragon "a strong narrative, with stagy decor and pictures.
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Jagirdar came in for praise for his acting and holding the film aloft. Modi was considered "stagy" while Naseem Banu came in for the harshest criticism for her acting "Naseem is a rank failure as a screen artiste." Overall box-office value was cited as "good". The harsh treatment meted out to Modi by Patel was referred to by Gangar as due to "old rivalry" between the two, concerning advertising in the magazine.
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Jang Jin (born February 24, 1971) is a South Korean film director, theatre director, playwright, screenwriter, film producer, actor and TV personality. Considered one of the most distinctive voices to emerge from the 1990s Korean cinema renaissance, Jang's unique filmmaking style mixes unconventional storylines, quirky characters, dry and subversive humor, comic twists, sharp puns, stagy presentation, a keen observation of society, and humanism. Jang’s films do not sell millions of tickets but he has nurtured a faithful fan base that appreciates his "Jang Jin-ish" style.
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In October 2013, the film had a 75% rating on Rotten Tomatoes from 24 reviews. The New York Times found it "earnest" and "wooden", like a one-act play "in which any visceral tension is secondary to topical debates by a captor and his prisoner". The Los Angeles Times found it "disappointing" and "somber", failing to generate any tension from its thriller elements. The Globe and Mail awarded it 2.5/5 and Adam Litovitz criticised some stagy elements but praised the film as a study of character.
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On Rotten Tomatoes the film holds an approval rating of 50% based on 153 reviews, with an average rating of 5.4/10. The site's critical consensus reads, "Despite the rich source material, The Producers has a stale, stagy feel more suited to the theater than the big screen." On Metacritic, the film has a weighted average score of 52 out of 100, based on 36 critics, indicating "mixed or average reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.
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After being screened at the 12th Berlin International Film Festival in June 1962, where Rita Gam and Viveca Lindfors shared the Silver Bear for Best Actress award, No Exit received its American release on December 5. Bosley Crowther, writing for The New York Times, found the film "antiseptic", with emotionless acting and stagy directing; he summarized that the film "prove[d] that "No Exit" is inappropriate material for a full-length [film]". Allison Darren calls the film an "excellent psychological drama" with a "surprisingly overt" depiction of lesbianism.
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Newsweek magazine's David Ansen wrote, "While one can respect its lofty intentions, the movie doesn't seem to have any better sense than its high-school heroine of just what it's looking for. At once underdramatized and faintly stagy, it keeps promising revelations that never quite materialize". In her review for the Washington Post, Rita Kempley wrote, "What's meant to be a cohesive family portrait, a suffering American microcosm, is a shambles of threads dangling and characters adrift. Jewison leaves it to stymied viewers to figure out the gist of it".
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Dessau, too, commented on the lack of humour, while Chris Bennion, writing for the Saturday Review (of The Times) described it as "laugh-out-loud hilarious", while nonetheless "the stuff of nightmares". For White, much of the episode's strongest humour came from Dennis Fulcher's voice-over; Jackson called this a "pitch-perfect parody of a DVD commentary". Critics praised the cast for their hamming and effective delivery of what Bennion called the "stilted, stagy dialogue"; Toby Dantzic, writing for The Telegraph Saturday Review, called the acting "stellar". The attention to detail by the cast and crew was widely praised; the "dated styling" was, for Jackson, "spot on".
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Most stage-to-film adaptations must confront the charge of being "stagy". Many successful attempts have been made to "open up" stage plays to show things that could not possibly be done in the theatre (notably in The Sound of Music, in which the Alps and the city of Salzburg were displayed, in Frost/Nixon, and in Franco Zeffirelli's and Kenneth Branagh's respective films of Shakespeare plays). Many critics claim to notice the origins of stage-to- film adaptations when the characters speak. A play depends mostly on dialogue, so there is supposedly more of it in a play than in a film, and more of a tendency for the characters to make long speeches and/or soliloquies.
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On Rotten Tomatoes, the film has an approval rating of 57% based on 14 reviews, with an average rating of 5.6/10. On Metacritic the film has a score of 52% based on reviews from 9 critics, indicating "mixed or average reviews". Roger Ebert of the Chicago Sun-Times did not like the title and did not think the film was very promising at first, "The plot drifts dangerously toward a series of stagy confrontations, but avoids the obvious: This movie has been written with so much wit and imagination that even obligatory scenes have a certain freshness and style." Ebert calls it "one of the funnier and more intelligent movies of 1984" and gives it 3 and a half stars out of 4.
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Poirot is summoned by letter to the home of reclusive and eccentric millionaire Benedict Farley. He is shown into the office of Farley's personal secretary, Hugo Cornworthy, but finds the millionaire himself alone in the darkened room. Poirot is made to sit in the light of a bright desk lamp and he is not impressed with the man, dressed in an old patchwork dressing gown and wearing thick glasses, feeling that he is stagy and a mountebank and doesn’t possess the charisma he would expect from such a rich and powerful person. Farley tells him that he is troubled by a nightly dream in which he is seated at his desk in the next room and at exactly 3.28 p.m.
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On Rotten Tomatoes, the film holds an approval rating of 67% based on , with a weighted average rating of 5/10. Budd Wilkins from Slant Magazine awarded the film 3.5 out of 5 stars, writing, "Not quite a genre classic, The Asphyx is a mostly intriguing mashup of Victorian ghost story and steampunk revisionism that occasionally threatens to degenerate into inanity with its strident morality-play storyline and escalating improbability factor." Brett Gallman from Oh the Horror gave the film a positive review, calling it "an old fashioned, cathartic tragedy with familial bloodshed, played in garish fashion and with the moralizing pathos of medieval drama." Stuart Galbraith IV from DVD Talk awarded the film 3.5 out of 5 stars, praising the film's cinematography, lighting, while criticizing the film's "clunky" dialogue, stagy blocking, and low budget.
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Reviewers generally agree that despite an impressive cast, the film is awful. David Nusair of Reel Films Reviews states that Nick Stahl, the lead actor, already proved his abilities in the film In the Bedroom and Bully; he suggests that Stahl probably owed the director a favor and was forced to take a starring role. Also, Chris Fisher's screenwriting is singled out for criticism; Nusair describes the dialogue as forced and stagy, the plot as sloppy and rushed, and the dizzying variety of elements, from murder mystery to trashy soap opera, as pointless and bad. Reviewer Eric Snider also criticizes the screenwriting, singling out the dialogue for special criticism as awkward and unbelievable, and suggests that Taboo it intended to be a bad movie, it would be a success.
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It had its official premiere in Los Angeles on 15 June 1960. The pairing of The Brides of Dracula and The Leech Woman was one of several examples of Universal-International releasing UK horror films with inexpensive, quickly-produced second films to fill double bills in the US. However, as science fiction film historian Bill Warren points out, The Brides of Dracula was a "lively, colorful Hammer film, one of their best", which made the black-and-white The Leech Woman "look drab and old-fashioned". The film has the "heavy, 'indoorsy' atmosphere of an early '60s TV show" and its "extended takes create the stagy feeling associated with live TV". In the UK, The Leech Woman was given an X-certificate by the British Board of Film Censors, following their viewing of the film on 14 March 1960.
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It was screened and won several prizes at the 1988 Toronto International Film Festival, San Francisco International Film Festival, Haifa International Film Festival, and 1988 Chicago International Film Festival, despite being a commercial flop with only 21,000 tickets sold.. Israeli Cinema. In: Journalist Meir Schnitzer dismissed the film for its “lack of plot” and “visual ugliness,” and similar pontifications were voiced by other journalists such as , who dismissed its “pretentiousness” and called it a stain on the Israeli film “industry,” and , who called it “miserable, tiring, heavy, a boring and slow film in which nothing happens” and complained that it utilized “too much dialogue and too little action.” Outside Israel, where the film was distributed by the National Center for Jewish Film, TV Guide also dismissed the “stagy, with a fair amount of speechmaking” approach. The film was released on DVD in Israel by as part of a boxset containing the complete filmography of Guttman Reported in: . . .
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Benoît Poelvoorde, a Belgian actor and the star of Man Bites Dog The 1980s however saw a break with the tradition of the 60s and 70s, which was increasingly perceived as too stagy or otherwise preoccupied with rural dramas, giving rise to more personal and gritty filmmaking, led by people such as Marc Didden (Brussels by Night) and Robbe De Hert (Blueberry Hill, Brylcream Boulevard). 1985 however saw the release of the ambitious but spectacular failure De Leeuw van Vlaanderen, written and directed by Hugo Claus, after Hendrik Conscience's novel. Belgian acclaim in animation continued with an Academy Award for best animated short in 1987 with A Greek Tragedy, by Nicole van Goethem. Belgian cinema finally took flight during the 1990s, gaining international prominence with such films as Man Bites Dog (with Benoît Poelvoorde), Daens (directed by Stijn Coninx), Rosetta (directed by the Dardenne brothers) and Toto le Héros (Toto the hero) by Jaco Van Dormael.
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