Sentences with phrase «girl archetype»

Far from the bubbly girl archetype, Keogh spruces up this speed demon with unflinching dexterity and ardent playfulness.

Subverting the Manic Pixie Dream Girl archetype as she did in Seeking a Friend for the End of the World, Knightley's Greta is also coming up out of a tough split with her well - meaning but douchey ex boyfriend (Maroon 5's Adam Levine in an understated acting début) and she has an arc outside of merely being discovered by Dan.

The protagonist is such a profoundly boring and uncharismatic character, as played by Jack Lowden, that it falls to these successive manic pixie dream girl archetypes to push him into doing really anything at all, and when his efforts fail - which they almost always do - they are cast aside.

Cooper and Turshen don't play it broadly like the Horny Teen Boy and Pretty Popular Girl archetypes we so often see, finding subtlety in the stereotypes.

Not exact matches

And with the promotion of the Victoria's Secret Fashion Show, the hollow archetype of the «cool girl» they've crafted captivates the imaginations of millions of viewers tuning in.

Persephone, name - checked in The Final Girls, is a great archetype for horror.

Sex deal girl nowhere 2014 a mans beard and the archetype.

From Maury Chaykin's (It's a Boy Girl Thing) blind accountant to Alice Braga's (I Am Legend) dark sunglasses - wearing prostitute to Danny Glover's (Be Kind Rewind) eye - patch sporting old guy, there are archetypes and stereotypes that abound.

The manic pixie dream girl trope has been annoying for years but at least that archetype gave (young) actresses something «fun» to do.

Elizabeth Olsen makes the most of her artistic - minded, self - centered character, but seems a bit too much like an archetype: girls who can attract men, but not obtain them.

This quintessential noir hero walks into a story his archetype is all too familiar with: a pretty girl in trouble and a gangster looking to get paid.

True Detective may not be enough to finally shed her from her more iconic performances, particularly the one - two - three archetypes set in Mean Girls, The Notebook and Wedding Crashers — but it's a bold - faced reminder of her ambition.

Lively as Farahani's performance is, Laura doesn't really add up to much more than a very strong visual style — or a monochrome - themed variant on that irksome archetype (since the term seems these days to be in semi-retirement, I promise this is the last time I'll ever use it) the Manic Pixie Dream Girl.

Blair in particular, seems to be an attempt to turn the «pixie dream girl» archetype on its head (right down to a dog named «Dog»), but she isn't any better drawn than the equivalent part in, say, «(500) Days Of Summer.»

Belle, a wistful bookworm, is the odd girl out in her village, and she has already brushed off several encounters with Gaston (Luke Evans), the duplicitous hunk who became a new Disney archetype (in «Frozen,» etc.): the handsome, big - chinned, icky monomaniacal two - faced suitor.

Every - girl teen archetype Ashley (Olivia DeJonge), texting while driving through the crowded residential avenues on her way to a babysitting gig, barely brakes in time to avoid a black cat that runs across her path.

It is this relationship that can be mapped out against the usual «girl meets boy», «girl might lose boy», «girl regains boy», «everyone lives happily ever after» structural archetype, and this is the other reason that Morning Glory doesn't quite work.

Part of the fun of a James Bond movie are throwaway archetype characters (yes, I know it makes me sound misogynistic, but I'm talking about the Bond girls) as well as the goofy villains and henchmen.

Norbit loathes fat people, Asians, women (note the two girls who really, really want to get turned out by Eddie Griffin's pimp archetype), and black people most of all.

Deep Red sinks its fishhooks in from the start, baiting us with archetype in a Christmas tableau that's invaded by shadows in conflict, a stabbing motion, a knife dropped into extreme foreground, and a child's stockinged legs entering from right, suggesting that the perp is a little girl.

So people like The Pretty Ugly Girl, The Popular Jock, The Token Black Guy, The Stupid Fat Guy, and every other familiar teen archetype abounds.

In addition to the character designs being bland, little effort has gone into actually characterizing anyone other than the two main girls (and even then, their personalities are very much outright - stated archetypes of «quiet and caring» and «eccentric and energetic»).

Fans play as one of four «80s archetypes: the jock, the nerd, the valley girl and the rapper.

The main characters adhere to classic Japanese archetypes upon first blush: the childhood friend, the contrarian («tsundere»), the class president (a straight - laced leader), the athletic tomboy, the buxom ditz, and the mysterious delusional girl («chuunibyou»).

Where Chronicles X drops the ball a little is in its character archetypes, falling a little too easily in the cliches seen in so many JRPGs — from the chisel - jawed hero to the anime - eyed, over-sexualized pre-pubescent girls, to the outfits that suggest an upcoming date with Christian Grey — the plants, animals and environments show no lapses of imagination.

I had wanted to be a ghost, a versatile stealth class, but I've never been a fan of the archetype of «tiny girl whose status in regards to puberty is at best unclear,» so that left warrior and esper as my remaining choices.

Sara Source is the archetype that all the other girls emulate, she is the proto Valley Girl, she is, as Trecartin's in house writer Kevin McGarry clarifies, «a direct descendent of the humanity all the other vessels idolize.»

«A Portfolio of Models» (1974) explores social categories through six feminine archetypes of Goddess, Housewife, Working Girl, Professional, Earth Mother, and Lesbian in both image and text corresponding to the given roles while concluding that the exhaustiveness and limitations of the artificial nuances leaves her to «be an artist and point the finger at her own predicament» and operating as artist «when all other values are rejected.»

For her first solo exhibition in the UK, she creates sculptures and drawings on mylar alluding to female archetypes, with names like The Nun and Knife Girl.

At Ms. Bourgeois's Brooklyn studio, the filmmakers Marion Cajori and Amei Wallach attend to her rambling, entrancing ruminations on the archetype of «the runaway girl»; the necessity of silence; and the power of fear and the primacy of memory in her work — of the mangled bodies of World War I veterans, of her mother twisting fabrics in a stream, of abandonment, of dreams.