Sentences with phrase «with character death»

Deadpool 2 is in theaters now, with character deaths and resurrections in spades.

Not exact matches

We can't even with this J.K. Rowling apology about a beloved character's death, mostly because we still will never look at socks the same.

and apologies to all the pagans that had their spring fertility festival stolen by the christians with the blatantly copied story from other previous cultures of the death and 3 days later resurrection of their god character.

That is how Mark ponders and wrestles with and finally solves the problem: Christ had to die — it was the divine decree — but Christ voluntarily accepted his death, as «for many»; and the characters in the tragedy all express, the events in the story all serve, this one overmastering purpose.

Thomas's answer to this question (in ST1.75.6) sounds occasionally like the position Plato sets out in the Phaedo, where the character Socrates argues that the concept of the soul — and, presumably, also its being — is so tied up with life as not to admit of its opposite, death [105C8 - E10].

For those who take shelter in Christ, who stand with the One who was bullied to the point of death on a cross, should display his kindness and character.

The question under debate is whether the character of Job is here intentionally represented as affirming faith that he will achieve his justification with God in life beyond death; or whether the redeemer is in the original sense of the word (in Hebrew, go'el), the kinsman who, in this case, succeeds in ultimately exonerating Job.

It is the way life makes way for more life.9 Death establishes a common fate for every living thing, and thus gives a decisive character to our dependence upon God and our unity with all His creatures.

I am avoiding naming that event «resurrection» because this was simply the only category at hand among Jesus» followers for dealing with the radically new character of this singular overcoming of death's finality.

When one character, Xander, thinks he is near death and tries to muster a final prayer, he utters: «Now I'm not sure what I am, so bear with me here.

Especially the theme of God's word and promise, but also those of exodus, redemption, covenant, justice, wisdom, of the Logos made flesh, of the Spirit poured out on the face of creation, of the compassion, paternity and maternity of God, and especially the Trinitarian character of God — all of the indispensable elements in a Christian theology — communicate their depth only when they are united with the theme of divine self - abnegation which, at least to Christian faith, comes to its most explicit expression in the life, death, and resurrection of Jesus?

The reality of death as a fact: the inescapable element of decision and the consequences in searching appraisal: the social or communal nature of human existence, coupled with the honest recognition that no man is in and of himself a perfect agent of the purpose of God and the love of God: the joy of fulfillment with one's brethren in the imperishable reality of God: and the terrible character of evil — these were values which the older scheme somehow affirmed and expressed.

It's a dysfunctional love story that does not end well — with self - interested characters who slowly make their descent into a finale filled with shattered dreams, broken promises, abandonment, wasted sacrifice and death.

Ahimaaz and the Cushite (probably Egyptian) and the bearing of the report of Absaloin's death to David (18:19 - 32) Here again is the vivid, intimate character portrayal, the subtle inferences, the effective dialogue which the narrator draws with such skill.

(Professor Gilkey has listed five marks of the death of God tradition, and they should perhaps be set down: (1) the problematic character of God and of man's relation to him today, (2) the acceptance of the secular world as normative intellectually and ethically good, (3) the restriction of theological statements to what one can actually affirm oneself, and with this the rejection of certain traditional ideas of tradition and authority, (4) the centrality of Jesus as one who calls us into the world to serve him there, (5) uneasiness with mythological, super-historical, eschatological, supernatural entities or categories.

Through his treatment of his characters» deaths, he makes known the nature of that great gap he finds between the actuality of life in the world, with its disappointments and limitations, and the possibility of infinite life.

But the character is never taken all the way to the end, as Katherine Anne Porter did with the death of Granny Weatherall.

Christianity had that radical character in keeping with the Gospel which made its members endure death rather than renounce the One to whom they lifted up their prayers.

But actually if you go back and think about the play, what you find is that there are several different deaths in the play, and each one poses to some character, and to the audience, a question about how these different deaths should be dealt with.

The study found that two thirds of the cartoons depicted the death of an important character compared with half of the adult films.

im Matt im 30 years old and i make death the kid let's play videos on youtube i do alot of anime character voices and alot of voice acting work from home along with a normal job, i love to play video games and stream with friends, i am a fun loving person who likes to make people smile...

Fiennes had a splashy introduction to the screen: He was Heathcliff to Juliette Binoche's Cathy in a TV version of Wuthering Heights; he was the German officer in Schindler's List, fully committed to the pathology and vanity of the man; he was a bright young hope with a serious deficiency of character in Robert Redford's Quiz Show; and he was Almasy, a desert poet, a reckless lover, and on his death - bed much of the time in The English Patient.

The characters are incredibly archetypal; a madman megalomaniacal baddie and a downtrodden cop who deals with the death of his son by investing himself completely in his work (at the expense of tending to his family).

With Harvey's New Eyes Daedalic proves that they can increase the quality of their even very good games before due to the funny conversations, the bizarre characters and even their deaths.

The character has no franchise potential, as the film opens with an epilogue - as - prologue about Poe's death, but maybe Cusack and his director, V for Vendetta's James McTeigue, were still hoping for that same kind of pithy, indelible hero.

This is not to insinuate that Haneke betrays any insincerity towards his characters, but one wonders how he might have conceived and shot a film about a lowly working - class couple dealing with encroaching death in a tiny one - room apartment.

Knaggs» character, a mute seaman, narrates the film's key sections with an internal voice - over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs» seaman ultimately rescues the hero from near - certain death.

With dogged determination, the producers continued onward with Star Trek II: The Wrath of Khan (1982), at which point fans finally flocked to the series, rallying behind the film's crisp space battles and the melodramatic tête - à - tête between Shatner and Ricardo Montalban.Shatner had to wrestle with his advancing age and the deaths of several characters in Star Trek II and Star Trek III: The Search for Spock (1984), but by Star Trek IV: The Voyage Home (1986), the actor got to indulge in his more whimsical side, which has since characterized his carWith dogged determination, the producers continued onward with Star Trek II: The Wrath of Khan (1982), at which point fans finally flocked to the series, rallying behind the film's crisp space battles and the melodramatic tête - à - tête between Shatner and Ricardo Montalban.Shatner had to wrestle with his advancing age and the deaths of several characters in Star Trek II and Star Trek III: The Search for Spock (1984), but by Star Trek IV: The Voyage Home (1986), the actor got to indulge in his more whimsical side, which has since characterized his carwith Star Trek II: The Wrath of Khan (1982), at which point fans finally flocked to the series, rallying behind the film's crisp space battles and the melodramatic tête - à - tête between Shatner and Ricardo Montalban.Shatner had to wrestle with his advancing age and the deaths of several characters in Star Trek II and Star Trek III: The Search for Spock (1984), but by Star Trek IV: The Voyage Home (1986), the actor got to indulge in his more whimsical side, which has since characterized his carwith his advancing age and the deaths of several characters in Star Trek II and Star Trek III: The Search for Spock (1984), but by Star Trek IV: The Voyage Home (1986), the actor got to indulge in his more whimsical side, which has since characterized his career.

Building up a character with abilities, items, and weapons is engaging as you find new ways to deal with what's put in front of you, but to have that all ripped away upon death is truly heart - breaking.

Wes Studi isn't given much to do - after all, his character is on death's door - but he makes the most of his screen time even if it is largely filled with platitudes and metaphors.

The first episode is titled «Season Of Death» to signify that this season IS the Season of Death, with a large number of characters dying this season, with only a few of them being permanently killed off.

The ensemble drama is told through a series of vignettes that begins with the first New York Times report on the mysterious «cancer» that had resulted in the deaths of a growing number of homosexual men and ends eight years later, after the disease has thoroughly and devastatingly affected the movie's close - knit core group of characters.

Martin stars as the title character, an illustrator struggling with the death of his mother, so he takes off to Los Angeles where he meets Gillian Jacobs «Nicky.

Death Road to Canada attempts to offset the normally dark themes of the zombie genre with zany characters, a charming pixel art style, and poppy music, but the lack of depth to its combat and randomly generated content will quickly leave you feeling frustrated and unsatisfied.

Drugs are not a problem so much as a way of life; the central black characters in the movie never use drugs themselves, but trade in them, with death as a cost of doing business.

The male characters in particular are have - a-go heroes who dice with death on a daily basis, gallivanting all over the sea to fight with pirates and be back in time for tea and medals.

His love interest, Violante Placido is stunning (and she gets a few luscious nude scenes), but the character is still the old clichéd hooker with a heart of gold that's been done to death.

These films tend to be long and boring, but this latest installment beefs up the action and takes up the bulk of the film with it, which is great when your characters are trying to be funny but coming off as idiots that you'd rather watch burn to death via the Decepticons.

From every country of the world we follow characters and events that evolve throughout the day, interspersed with expansive topical global montages that explore the progression of life from birth, to death, to birth again.

With the sad news of Tom Clancy's death this week comes the comfort of the prolific writer's novels and characters.

It doesn't do anything terrible per say (except bore me to death with it's writing and characters) but there was not a single moment playing through where i felt blown away by any one feature.

Here, it's his father whose death haunts him, although as played by Patinkin, the character isn't already dead, with the drama here coming from the prospect of losing him.

On the most obvious level, these scenes express the character's extreme isolation; he has thrown away his livelihood and lost his marriage, has been bombarded with legal gag orders and anonymous death threats and may be abandoned by the network that coaxed him to talk in the first place.

Kelly eventually leads these characters toward the inevitable, and the frankness with which he handles scenes involving end - of - life decisions, fear in the face of death, and the desire to find meaning in any of this mess is admirable.

While revenge narratives are often highly problematic in the way they represent certain aspects of society as deserving a violent death, Tarantino creates revenge narratives against characters that nobody in their right mind would sympathise with — Nazis in Inglourious Basterds and now sadistic slave owners in Django Unchained.

It's an ensemble drama — more precisely, a series of linked monologues with point of view passed from character to character on a journey that begins with an allusion to a coming birth and ends under the pall of a tragic death.

Historically, American film has accompanied depictions of death with some kind of mark of registration, either from characters, machines, or stylistic cues, because, unlike photography's stillness, cinema gives us a moving image.

Infinity War seems primed to torture us with the sacrifice and death of characters we've cared about for a decade.

Featuring characters from across the libraries of Bandai Namco, Capcom and Sega, players could make huge stars like Street Fighter's Ryu call in support from Space Channel 5's Ulala and rain death upon enemies with the help of Opa - Opa from Fantasy Zone.

Of course, this is the type of fact - based film that probably would have benefited from taking more dramatic license with the material, because some of the sensational events that occur (including one character's supposed death) are presented so matter - of - factly that it sucks the fun out of the movie.