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George Harry Sear (born 14 November 1997) is an English actor, presenter, and filmmaker. He began his career as a child actor on the West End and presented Friday Download (2013–2014) for CBBC . On television, he is known for his roles in the Disney Channel series The Evermoor Chronicles (2014–2016) and the Hulu series Love, Victor (2020 ...
George Segal Jr. (February 13, 1934 – March 23, 2021) was an American actor. He became popular in the 1960s and 1970s for playing both dramatic and comedic roles. [1] After first rising to prominence with roles in acclaimed films such as Ship of Fools (1965) and King Rat (1965), he co-starred in the classic drama Who's Afraid of Virginia Woolf?
Some cast members from the films have also reprised their roles in certain video games. The original novel introduces several characters who would appear throughout the film series, including Dr. Alan Grant, Dr. Ellie Sattler, Dr. Ian Malcolm, John Hammond, and Dr. Henry Wu.
Christopher Gill is a serial killer fixated on his late mother, a noted stage actress. Gill preys on lonely middle-aged women. A Broadway theatre owner and director, he adopts various disguises in order to put his victims at ease and avoid identification, impersonating characters such as an Irish priest, a German plumber, a flamboyant gay hairdresser, a policeman, and a transvestite.
With the recommendation of Mrs. Saladino, a woman who looks after Meg's grandmother, Meg takes work at an Italian restaurant, run by Gio Esposito (Joseph Siravo). At first, Meg makes mistakes and fails to live up to Esposito's expectations. However, she soon proves her worth by saving the life of a restaurant patron from a gunshot wound.
Where's Poppa? is a 1970 American black comedy film based on the 1970 novel by Robert Klane and starring George Segal, Ruth Gordon, Ron Leibman, and Trish Van Devere. [2] The plot revolves around the troubled relationship between a lawyer (Segal) and his senile mother (Gordon), who keeps interfering with his love life.
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Born to Kill is a rare film noir in that it is shown through a woman's eyes. This female subjectivity enables a more nuanced view of the femme fatale, a central motif in film noir, rather than that which is typical of the genre. Although the archetypical film noir femme fatale's sexuality is often merely a tool to manipulate men for material ...