Sentences with phrase «about emotional character»

I also promised I'd talk about emotional character deaths that are ignored in favour of the grand sacrifice made by Our Lady of the Brown Army Boots, Aeris Gainsborough

Not exact matches

There are folks who have posted to this wonderful story about a group of youth who are working towards the Aims of Scouting: Growth in moral strength and character, Participating citizenship, and Development in physical, mental, and emotional fitness.

And back then, wasn't it the fans wrapped up in «theories» who were ultimately disappointed when they found out that Lost wasn't really concerned with answering the thousands of questions it had raised — that it was less a heady show about theology and science and more an emotional show about its characters and the human experience?

Their stories often suggest the appalling extent to which the church tends not simply to ignore sexual, physical, emotional and spiritual violence against women and children as a major crisis, but actually to provide theological justification for this violence in its teachings about male headship, women's subordination, and the sinful character of sexuality.

It's a statement about the interplay between our own emotional stability and how social media can set it reeling, and Plaza's performance anchors the whole thing, making Ingrid a sympathetic character without glossing over her very real issues.

I want them to walk away knowing that they know a lot more about the story, that they've gone on an emotional journey with the characters, and at the end of it, they're still left wondering.

It is not possible, in general, to infer anything important about other physical qualities, character, emotional traits, personal habits, knowledge, or skills.

I can't add much to this flood of advice except to submit, with humility, that in my view we don't have much choice about our fundamental emotional attitude; it is a matter of personal character (body chemistry and the close culture of family and schooling), but this need not affect our choice of creed and code if we have independence of mind.

All the information I wanted to impart about sushi was better served through an emotional story about a character.

But for these sorts of big changes to be effective, they have to somehow inform us about the characters» emotional journeys.

Overall, her character is very emotional about it and tries to stay positive.

The film's uncomplicated plotting allows plenty of space for goofy little throwaway gags — like a running joke about the young McGregor's feeble attempts at birdwatching — that other films might have cut to make way for various subplots or emotional character moments.

The film has a revelation about a character's love life that will resonate even stronger today, after gay marriage votes across the country, and I think that revelation is the emotional denouement the movie needed.

The acting, the perfectly - developed characters, and the emotional storm that develops throughout this season which ultimately ends in a gut - wrenching and shocking final two episodes will appeal to just about anyone who has been watching the series from the beginning up until this point.

And what's most striking about Looper is how effectively and clearly each character's emotional struggle is detailed, a feat that seems near - impossible as the various figures are introduced in the film's first half.

Another rotten romance inexplicably released by formerly respectable indie studio Miramax, «Boys and Girls» is a badly miscast and sadly stagnant collegiate rip - off of «When Harry Met Sally,» devoid of a single moment of emotional sincerity or even a single character interesting enough to care about.

Unusually for a drama about suffocating social and emotional repression, Disobedience lavishes attention on religious concerns; it paints Dovid as a largely sympathetic character, a man in a spiritual crisis.

Lady Bird has a quiet and concise outrage about economic inequality, and key to its emotional generosity is that even minor supporting characters seem aware of how unfair it is that their futures can be determined by something so random as when and where they're born.

But the more Molly's Game tries to decide what its story is about rather than just telling it, the more the film feels like it's trying to «solve» Molly rather than portray her, to the point where its two big emotional moments involve Molly being sat down and informed about her own daddy issues by one male character, and getting passionately defended by another, her lawyer (Idris Elba), while she stays silent.

Gudegast, making his feature directing debut after writing «A Man Apart» and «London Has Fallen,» seems to understand just enough about that element of Mann's film to recreate some of its conflicts — both in terms of crime scenarios and the characters» civilian lives — but lacks the discipline, or maybe skill, to lend them real emotional weight, much less originality.

The two actors also find the emotional truths of their characters, compelling us to pay attention and care about them as they work to connect with each other.

The Program (2015): A by - the - book story about Lance Armstrong's doping scandal that suffers from the problem that plagues many biopics: namely, it operates with the understanding that we already know the real story (or most of it), so it doesn't work that hard to make the characters seem real or to make the emotional beats land with any sense.

While the movie does all of its characters the favor of not condescending to them or their perspectives — a Bible Study group that might have been played for snickers is accorded, at the very least, a neutral view — its strategy of withholding both particular characters and information about their actions (the mine supervisor played by Josh Lucas doesn't show up until a half hour or so into the picture), while perhaps looking attractively, insinuatingly oblique on paper, has on the screen the general effect of blunting potential emotional impact.

This was one of the only horror films I genuinely cared about the characters, the more you care the scarier and more emotional it becomes.

Some characters make really dumb decisions (I'm looking at you Star Lord and Scarlet Witch) here, and the ending of the film is more manipulative than trully emotional if you think about it longer than ten seconds, but Avengers: Infinity War is still a thrilling blockbuster.

Similarly, there are subtle framing techniques that reflect ideas about the characters such as Lavelle and his daughter being photographed on opposite sides of the frame to express their emotional distance.

Ronan talks about acting for the camera like she has done it for 50 years, affecting a California accent for Lady Bird, discovering the character as she was doing it, and getting emotional when we talked of the tender immigrant tale Brooklyn which brought her her second Oscar nomination just two years ago.

«Rampage» wisely focuses all its serious attention on the characters, especially the genuinely emotional, interesting relationship between Johnson and George, which makes us care about all this craziness.

We wanted to know just enough about the character that audiences coudld invest their own emotional experiences into the journey.

Tim is Patrick, Elijah Wood's character from Eternal Sunshine of the Spotless Mind, who stole information about Clementine in order to manufacture an emotional connection which may or may not be there.

For all of his obvious skills and uncommon talent as a visual storyteller, Kosinski's first two films were short on character depth and emotional engagement, but whether a function of Kosinski's innate preferences for spectacle over substance or simply script - related issues, Kosinski's feature - film output made him an odd, left - of - field choice to direct a film about American firefighters and the Yarnell Hill Fire of 2013 that resulted in the greatest loss of firefighters since 9 - 11 more than a decade earlier.

We've got much more piss your pants one liners and forth wall breaking tomfoolery from Wade, it's sweet sensitive and extremely emotional in parts (not since the finale of T2 have I sobbed so much), the OTT action and gore makes a hatchet fight in a Butcher shop look clean in comparison with moments to make hardcore Gore - Geeks give a huge hooray, the cringe worthy «oh no he didn't» moments are rife, there's a touching subplot about what it really means to be Family and also we are treated to an array of colorful supporting characters including an excellent turn from Josh Brolin as futuristic super soldier «Cable», a wonderful performance from upcoming young talented star Julian Dennison (hunt for the wilder people), the obligatory Hugh Jackman cameo and a mega hard Super Villain who makes his previous onscreen incarnation seem like Vinny Jones in a giant penis suit... Oh wait!

And while it initially seems like John Debney's generic musical score is going to be the only source of mood establishment, something funny happens: setup established, the characters begin to move about like butterflies emerging from cocoons, displaying tenfold more emotional nuance than one might rightfully, albeit cynically, expect from such a film.

In Misery, James Caan plays Paul Sheldon, a novelist who — like King — has made a career of writing about obsessive and emotional characters, but here within cheap romance novels.

A film about parents grieving with the loss of their son isn't easy to convey in poster form, but this poster does a great job of showing the emotional complexity of the characters over the course of the film.

Built around the notion that anything outrageous is funny, the makers of «American Wedding» bank on the idea that easy teen - and college - age audiences won't care about tediously underwritten characters, a general lameness of humor and flaccid attempts at emotional investment (Jim takes Michelle on a romantic walk on the beach) as long as those audiences leave the theater with one or two over-the-top howlers to talk about.

In About Schmidt (02) and Sideways (04) Payne and Taylor tried admirably to deepen the emotional palette of their work, expand the realistic detail, and make the characters less comedically invulnerable.

That moral defect is the main subject of interest for the film, and Cory Finley has plenty to say about the ways in which his characters didn't develop necessary emotional connection.

He managed the star persona of George Clooney effortlessly (which he did not do with Nicholson in About Schmidt), and in his rendering of parent - child dynamics, there was the grace of the fully mature artist and an emotional generosity that did not in any way preclude Payne's sharp eye for the pettiness or ridiculousness of his characters.

It's in this hand - off from one tone to another where Macdonald fumbles the ball, as he hasn't given us enough of an emotional connection between the characters in order to feel for their plight, or even care about Daisy's newfound romance, before they're all thrust into danger and having to propel themselves forward out of a sense of love that we feel is shallow and, in a real world sense, would likely have been forgotten in the face of the death and destruction that surrounds them.

, wherein Dindal makes statements about the film's place in the Disney canon (apparently it's in the tradition of «memorable characters, great storytelling, eye - popping visuals, and emotional music») that would be arrogant if they weren't merely delusional and the Barenaked Ladies jam out an impromptu rap - ballad that's superior to the song they recorded for the soundtrack.

The Hunger Games: Mockingjay - Part I has very little about the actual games, but a lot of emotional character moments and a really great cast.

Their film features perhaps the first action scene we've ever seen where we cared more about what was happening in a character's relationship than how many kills he was about to rack up — and then, once it was done, felt simultaneously exhilarated by the visceral power of what was happening immediately, and the emotional stakes of what that set piece took him (and us) away from.

A sort of spiritual sequel to the touchstone adolescent cinema of the 1980s, The Lather Effect is a wistfully engaging ensemble flick about the emotional grappling of the generation that grew up on MTV and the Rubik's Cube — like the characters of a John Hughes comedy getting back together for one last meeting of the breakfast club and finding out things aren't what they use to be.

One could be forgiven for assuming Dinklage's presence is more about easy laughs, when in fact it is his character Charlie that provides much of the emotional heart of the film.

After a certain point, though — I'd rather not say exactly how — «Table 19» extricates its characters from their prison, and from there, the film becomes something I did not expect: a movie about characters who've been thrown together in an unfamiliar context, and find that the new experience encourages them to deal with emotional issues they've been refusing to address for a long time.

«Godzilla» asks you care about its characters, achieves that aspiration, earns your trust, and then not only pivots towards a far less interesting character, but abandons most of its absorbing emotional legwork for a fairly rote and straightforward rock «em, sock «em monster movie.

Josh Brolin talks about the kind of power Thanos wields in the upcoming Avengers: Infinity War and the character's emotional complexity.

As a piece of Christian propaganda it fails on the level of emotional manipulation because you couldn't care less about the characters.

There's no emotional depth, and by the end, the stakes aren't high enough to care about are two title characters.