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Identity in sentence

1935 examples of Identity in a sentence

We have seen that he has no problem in killing anyone that comes in his way at the beginning of the film but we don't know his identity.
Naturally, SciFi isn't showing it again anytime soon (why show quality independent cinema when you can run 100 promos promising to show us the identity of the Final Cylon in its place, after all?) Filmmaker Jim Mickle goes back to the traditional cinematographer's bag of tools - ambiance, camera angles, cut-aways... he delivers a remarkably good movie from a low-budget production without the self-indulging self-parody of "Cloverfield" or its predecessor, "Blair Witch Project."
The great thing is the premise: it stars three drag queens whose male identity is never acknowledged, so in effect they are women in the movie.
No one knows what anyone else is doing in this movie, everything is a case of mistaken identity.
He sets up his plan by establishing a false identity for young Sofia (who becomes beautiful Ellen Drew) which makes her essentially the heiress to the whole Arizona Territory.
Low self-esteem kids with terrible identity disorders trying so desperately to find themselves.
It isn't often that you get to see a compelling film that deals with human sacrifices, love and the courage to find a true identity to lead a good moral life. .
Sinbad has some funny moments as Beldar's first boss and Adam Sandler is funny in a brief scene as a guy who provides Beldar with a phony Social Security card and whole new identity.
Thirty minutes into this film, I felt the strongest identity with each of the characters and my heart actually ached for them.
At the center are two men, Angel and Nene, characters sharing an extraordinary bond of love, implicit in two ways: one, in that their sexual identity is repressed, and two, that the viewer never witnesses sex in its explicit form between the two.
Although the taped helmet is tacky is was a simple solution to hide the killers identity without labeling him without a distinct face...like Michael Myers or Jason Voorhees.
The script never once reveals any clues regarding his/her identity, let alone hint at his/her motivations for prowling around town with a machete.
The great thing about this is, briefly, for the course of the film anyway, British cinema has it's own identity.
We all know people who struggle with identity and faith.
Not only does "Somewhere in the Night" have a great supporting cast, but John Hodiak's performance as one suffering from amnesia has you with him every step of the way on his search for his true identity, missing money, and the reason he is being pursued by others.
Later display of Danish flags could not dispel the confusion in the national identity the film was trying to portray.
Although the two identity crises were clearly related.
I think one of the many strengths of this movie is exactly this non judgmental, factual representation of the complexity of sexual identity.
The truly horrible climax at the end punctuates a rather ineptly made film..attempting to leave open the killer's identity, it only has you scratching your head.
Though the end is sad but movie leaves various questions open: 1.When Kiron Kher who was forcibly stripped of her identity once finds that she is once again social pariah due to no fault of hers ,anguish and bewilderment at her face are really powerful.
3.There is marked similarity in the speech of Leader in the conference and interview of Amir on the TV in the end.Same vague things about identity of nation.
The ending has a good twist that will surprise most viewers, but die hard film fans like myself will probably guess the killer's identity 1/4 the way into the movie (once you know it, is becomes rather obvious).
Identity is an above average horror film and I am always rooting for B-movie filmmakers when they break into classier material(the writer of jack frost 1 & 2).
One could argue that TOTAL RECALL owes quite a debt to this movie regarding its twist bad guy identity revelation.
Imagine the perfectionist forms Kurosawa had achieved with samurai epics, Ford and Lean with lyrical, volatile nature, Tarkosvky and Bresson with the spiritual-bound outer space or dinky office desks of priests and cops, then add a too-generous wallop of Clouzot's suffocating suspense flooding from the dark recess of human nature - and King Hu's universe of the Wuxia STILL has plenty of its own identity left!
it starting off okay, but it seemed like the film had an identity crisis for the most part.
Time makes some fairly obvious statements about identity, jealousy and attachment (as opposed to real, true love.)
At the surface level a narrative of lost love, mistaken identity, family tragedy, life/death and tulips.
Dig deeper and there is a complex reflexive subtext about language and subject identity that encompasses philosophy, psychoanalysis and the role of the media itself.
Unfortunately, only twelve people show up for dinner and the host dies before he can reveal the heir's identity.
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