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Successful in sentence

3494 examples of Successful in a sentence

Before moving on to their prolific (and highly successful) POPEYE series (as well as into their unfortunate GABBY series--just imagine Elmer Fudd without his macho sex appeal), Paramount's Fleischer brothers poured their creative genius into BETTY BOOP.
The first thought was: "why would a successful doctor with the French wife decide to return to Stalin's Russia?" Nostalgia?.
He accepted this challenge by co-writing and directing another very successful film 'Two Moon Junction', released two years later.
The ending may be lost to modern audiences but Scaredy Cat is mostly successful in being spooky and highly amusing at the same time.
Nia Vardalos' "My Big Fat Greek Wedding" was a pleasant comedy, nothing special but at least there were some successful puns and originality.
Veteran filmmaker Norman Jewison (whose last successful film was probably 1987's "Moonstruck", his Italian-American valentine to improbable romance) has a proved track record for allowing actors to inhabit characters realistically in difficult situations.
He's not successful and unfortunately CRASH is crap.
In this Chabrolesque psychological thriller, Francois Ozon, poses some difficult questions about the nature of the creative process through the character of successful English crime writer Sarah Morton,played brilliantly by Charlotte Rampling.
If a person is successful, what is the surety that his kid will be the same?
why would you take a successful movie series and make a sequel featuring no one from the cast of the other movies and give it a storyline that completely has nothing to do with the last four movies.
Completely pointless and unnecessary sequel to the moderately successful 1992 horror film "Candyman", which was both co-produced and loosely adapted from a semi-popular short story by Brit Clive Barker.
Thank God Hitchcock made this movie with Tallulah Bankhead, who never was successful in movies but had a great stage career.
But more than Douglas, it's also tremendous, memorable screen time for Lana Turner, perhaps in her most successful performance in just sheer acting terms (not necessarily just in presence or style like in other pictures), and for Dick Powell, who with this and Murder My Sweet has two defining roles outside of his usual niche.
In the second installment to the highly successful "Beverly Hills Cop" trilogy, we find Axel Foley(Eddie Murphy) returning once again to Beverly Hills to solve crime.
This is one of my favourite outings from Bud & Lou, the start of their phenomenally successful career in the service comedies and one of a series of smile-jerkers from them and Universal.
Is a top-five exhibit for the contention that Hollywood's standard for enjoyable and believable scripts is (inexplicably) far lower for sequels to successful movies.
I think it's a wonderful movie and it's been unjustly underestimated:it's oneiric,sentimental,poetic and the dramatic plot is dealt with a sense of humour.There are various issues like male bonding,homosexuality,friendship and I think every role is proper for the actor who plays it:my favourite actor JOHN MALKOVICH(GREAT)is a homosexual with some existential problems and he falls in love with Marty(Michael Zelniker)and they get engaged at the end of the film;Dennis(Kevin Bacon)has in vain tried to get successful in Hollywood as a musician,Al(Joe Mantegna)grows up thanks of Jamie Lee Curtis,Vinny(Tony Spiridakis)dreams to become an actor and Ray(Ken Olin)a painter.Even if the dreams of some of these guys don't come through,their strong and profound tie is the reason to continue to hope in the future.I also think the title is the only very funny thing of the movie(in Italian language it's "Dreaming Manhattan")but the film succeeds to alternate melancholy and thoughtless scenes:Mantegna climbs up the bridge which links Astoria to Manhattan,Ken Olin listens to his message "I love you guys" while he's thinking about his life,Kevin Bacon and Michael Zelniker play "ordinary people song" while Zelniker and Malkovich look at each other,Malkovich jilts Terry Kinney,who had fallen in love with him,because he doesn't like the way he talks about his friends(when Kinney asked him if those guys were his type,he replied "that I don't know but they are the best I could do"),Tony Spiridakis howls with a healer without a reason,Tom Waits reads his odd poem at Jack's,Jamie Lee Curtis takes Mantegna's gun and learns him to throw all away,Chloe Webb tells Madame Rose,a palmist, she's surrounded by idiots,the five boys shout out Arnold's name while they're having a bath under Hellgate during the night because he was the only guy,apart from Mantegna,who climbed up that bridge and they don't see Linda Fiorentino stealing their clothes out of spite,because her husband Mantegna spent all his time with his friends(he also kisses John Malkovich at the disco)...well,these guys are amazing!They are either crazy or gay,either sad or happy,sometimes they make you cry,sometimes they make you amuse.Personally I was a depressed sixteen year old girl when I saw this movie for the first time on a night during last summer and it made me dream:this movie is everything for me,it lets me to take refuge in another world and it makes me isolate from my reality,whom I hate as much as I can, but fortunately I'm not here,I'm under Hellgate Bridge to dream with other Queens.I thank Tony Spiridakis,who wrote the story,and all the actors very much for this wonderful movie!!!
An attempt to make a modern-dress Gothic melodrama that is just not successful.
This Technicolor remake of the famous Kern-Hammerstein musical has been very successful financially over the years due to the fact that its re-releases, frequent TV showings, digital re-mastering,and soundtrack album kept the excellent Universal 1936 film from being seen for a long time.
First this was a successful Broadway play.
Smacking of other successful, but just as stupid, unfunny, uninteresting and ultimately pointless garbage, as "The Osbournes", this show was also set-up as an all-access and occasionally would-be tongue-in-cheek insight into the day-to-day life of one Victoria Gotti, the younger of late notorious Mafia Don John Gotti's two daughters, who is apparently a plastic-surgery obsessed socialite/gossip columnist/author/newly divorced single-mother of three loud, spoiled, lazy, and profane teenage sons.
In London, the successful and weird middle-age writer of police and mystery novels Sarah Morton (Charlotte Rampling) is passing through a phase of lack of inspiration.
I never knew that an office could feel so oppressive, and this film portrays it was successful accuracy.
To say he wasn't successful would be an understatement, as the plot requires a huge stretch of the imagination and the murders that happen early on never get anything in the way of an explanation.
There's some suspense in this crime-noir from uneven director Richard Quine, though actually "Pushover" is more successful as a character study, with Fred MacMurray miscast but not-bad as a conflicted good cop who decides to step into the gutter.
All the players are fine with no real standouts except for Novello, who had a very successful career in silents (16 films) but retired from talking films after only 6 to become one of England's most influential composers until his death in 1951.
An great example of stylistic departure as a supremely successful one shot gesture; Hitchcock achieved something of the same success several times,with "The Wrong Man" and "The Trouble With Harry", although in the latter case Hitch had done comedy before...."The Wrong Man" and "The Fugitive" stand out for me as the greatest stylistic anomalies achieved by major auteurs.
I believe that there is a cult of film making and watching that "like the Emperors new clothes" permeates the industry where begin,middle and end are inconsequential and there more avant Gard they appear the more they are accepted.Techniques are fine but they must be employed within the frame work of a genuine story told in believable format with the enjoyment or compulsion of the watcher paramount.It is fine line between puerile rubbish and this type of film but an attempt to relate to the masters of previous successful productions would lead to far more success than this banal attempt to be modernistic and yet void of real incident.
All three very successful at what they do.
Johnathan, a big time Hollywood producer, ran his career into the ground by pushing away people, who in the end could of prolonged his at one time successful profession.
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