Sentences with phrase «becomes less a character»

Katja's decision to not commit suicide is tonally pivotal to the film, as this is the juncture at which she becomes less a character than a symbol of the fury and impotency that white nationalists conjure in their victims.

Not exact matches

As the book's main character, a young Circle employee named Mae, sinks deeper into company life, she becomes less and less attuned to the real people around her.

Nasar's cast of characters is a mix of those who've become brand names, such as Hayek and Friedman; those whose names are found less commonly in economic textbooks (Charles Dickens); and those like Beatrice Webb (née Potter) previously underappreciated by the lay reader.

In fact, that this election became less about conflicting ideas for achieving the same goal (the common good of Americans) and more about making sure everyone knows your opponents» deep character flaws is axiomatic.

Consciously or subconsciously, you decide to either become more or less like some of the characters in the story, based on what they did and how the story turned out.

Here, the advantage of using a fictional approach is that we become quite close to the characters affected by the «Problem of Evil» and so we are less inclined to resort to our theological expertise in explaining it away.

The characters talk like flattened - out versions of their equivalents in the books — Harry, Ron, Hermione, and their compatriots have all supposedly become important figures in their world but sometimes seem less mature then when they were moody adolescents under Rowling's pen.

«I thought we had two good chances and after it was just down to 1 - 1, then we showed resources and character, were leading 3 - 1 and controlled the game quite well, but at 3 - 2 we became quite nervy again and we finished in a bit of a less controlled way, but overall it was a good team performance.»

Here in Britain, however, Tough's central tenet appears less radical; our Public School system is founded on the importance of character, so much so that rounded individuals are fast becoming a key national export, as foreign students flock here and schools open satellite campuses overseas.

People become over-night parenting experts, dishing out «parenting advice» in 140 characters or less.

The Milibands insist they are still close, but relations between their camps have become strained, with David's key allies branding rival Ed «Forrest Gump» after the less - than - bright character played by Tom Hanks in the hit film.

Children who heard stories with animal characters became less giving, sharing an average of 1.7 stickers after having originally donated an average of 2.3 stickers.

You'll become more / less attached to some characters and maybe even meet some new people, or not.

Properly done, the film could be a great moral lesson, but, as written, it is yet another politically correct tale that makes the hero something less than noble, and the villain becomes the sympathetic character.

That reliance is less engaging in the movie's interpersonal relationships, which, despite charming performances from Jackman (who manages to overcome his character's numerous flaws) and Goyo (who avoids the trap of becoming a grating «precocious kid»), are as rote as their development is inevitable.

What's more, the choice to largely wipe from existence characters who are more or less vital to the future of the Marvel Cinematic Universe as a going concern (especially Star - Lord, Spider - Man, and freakin» Black Panther) so dramatically inflates the stakes that it becomes all but certain the next movie will reverse most of these deaths.

And although the pervasive atmosphere of quirkiness often threatens to become overwhelming, it does become increasingly clear that Satrapi intends for the film's style to represent the central character's less - than - sane mindset - with the heightened reality of the movie's environment going a long way towards fleshing out the protagonist and his deranged psyche.

My biggest hope is that Zombie either learns to become a better and less lazy writer (by doing away with all things white trash and fleshing out the story and characters) or that he hires someone else to be the screenwriter for his next project, whatever it happens to be.

The characters, even Ash, became less and less interesting.

As the story builds, these characters become richer and more complicated — and the stakes become more deadly — resulting in a movie with a delayed but no less potent dramatic punch.

Geoffrey Rush reprises his role as Sir Francis Walsingham, though his character becomes less and less relevant as the film goes on.

So unevenly collected, that audiences feel as if they are watching several different sit - coms, mangled together into one episode; it's an amalgamation that becomes more tedious — keeping its storylines and characters straight — and less enjoyable to watch, as the characters are simply not all that interesting.

«Landline» has some of that, too, to be sure: In some scenes, such as the secret - spilling encounter between the sisters in the family country house on Long Island, the glibness becomes less a part of the characters» armor and more a matter of avoiding a scene's deeper possibilities.

Her persona becomes more «thinky» and less «feely» as the film progresses, which does make her increasingly less relatable (which is probably intentional), which does echo somewhat her character in the lower budget sci - fi release Under the Skin earlier in the year, along with the ever - more - knowledgeable Samantha in Her.

The only weak link is Mel Rodriguez's sexually ambiguous Patsy De La Serda, whose character is so annoying (even if that's kind of the point) that the show becomes infinitely less entertaining whenever he appears on screen.

While this quirky mockumentary about the making of a stage musical didn't strike it big at the box office (earning less than $ 3 million worldwide), it soon became a cult classic for its deadpan humor and oddly lovable characters.

There's little doubt such attributes, coupled with Will Smith's typically engrossing work, goes a long way towards compensating for the ineffectiveness of the younger Smith's performance, as the fledgling actor's less - than - competent turn ensures that Kitai simply never becomes the dynamic, charismatic lead character that one might've expected (and hoped for).

But, halfway through the movie, the Jesse character becomes less of the protagonist and more of «the enigmatic.»

What could have been hard sells with the likes of Ant - Man and Doctor Strange - lesser known heroes with mildly confusing powers - became more surefire installments in an ever - growing empire, attached with the knowledge these characters would soon integrate themselves within our beloved Avengers.

Wes Anderson has resorted to using a very calculated character arc for this fascinating creation so that he inevitably becomes a much less selfish person and more caring for his young assistant too.

You know, in Hot Fuzz Danny Butterman especially, Nicholas Angel becomes less of an automaton and becomes more human and Nick Frost's character becomes less of a simpleton and more of a badass.

It doesn't help that, in these movies, when adults lose their temper they immediately become 12 - year - old boys with anger - management issues; even Carter's Cogsman character curses and has snits, and he becomes far less interesting.

Rather than allow doubt that the father / son relationship will heal, he believes that his characters are destined to heal; with Signs, he's shed all pretence at being interested in his narratives and become tedious, plodding, and proselytizing, less a storyteller than a messiah.

As the movie continues, and certain events that came to define America and its character — particularly the Civil War — touch the lives of the Dickinsons, and we hear more of Emily's work in voiceover, the movie's style becomes less constricted, more fluid, but still retains an unearthly quality.

The only real additions to the mix are some new characters, including Shia LaBoeuf as Indy's younger sidekick and Ray Winstone as a companion closer to his own age, and a recourse to computer imagery that becomes less and less hidden as the film unfolds.

Taking over for no less than Stanley Kubrick, Brando retains Kubrick's penchant for wide, low angles in telling an epic revenge story that predicts the grand visions of Sergio Leone, filling it with a mix of veteran character actors and Hispanic talent that would become the hallmark of uncredited screenwriter Sam Peckinpah.

When the first images of Jack and Jill began to hit the Internet, and its premise / concept became public knowledge (Adam Sandler plays two characters: one more or less based on himself, the other his twin sister), many commented that Sandler was making exactly the same movie for which he'd supposedly made fun of himself in Judd Apatow's Funny People, i.e. the fictional Merman or Re-Do.

As indicated by the tearful remonstrance of the ex-wife character represented by Cate Blanchett, emotional attachments are doomed to become less concrete or clearly defined, the highs fewer and far between (take the screen time give to Poots vs. the late appearance of Lucas), calling for more extreme measures (Natalie Portman's adulterous character), but always prone to fail since the pursuit of happiness is merely a debauched, self - serving fantasy.

Alas, the tonally awkward ending of the film puts a lesser supporting cast on the screen too much, introducing subplots involving unrest among refugees that don't shake out well with the rest of it, causing the storytelling to become less than satisfying for these characters given the steady simmer of the dramatic build - up without these elements.

This feeling of lifelessness is also reflected in Del Toro's lamentably less - than - enthralling work as the central character, as the star offers up a surprisingly flat performance that's sorely lacking in the off - kilter quirks with which he's become associated (ie he's just dull here).

Filmmaker Ned Benson's decision to employ as deliberate a pace as one could possibly envision proves an effective match for his introspective screenplay, with the laser - like focus on the characters ensuring that Eleanor (and, to a lesser degree, Conor) becomes an intensely sympathetic figure over the course of the movie's 190 minutes.

The pacing of the majority of the film is relaxed, allowing the characters room to breathe (This is, unfortunately, a detriment when it comes to Daniel, who becomes less endearing the more we see of him).

Cruz's character is an offscreen personality from almost the beginning of the film, so her actual presence is going to have to change things, but somehow — even as events become more sensational — they become less interesting.

But as the film progresses, Vigalondo reveals the wild card up his sleeve: this is less a monster movie and more a character study about the so - called «nice guy» in town (Jason Sudeikis) becoming unable and confronting the failure of his hapless dreams and choosing to wreak havoc instead.

Outsmarting hi - tech security systems becomes the goal in these movies too (although the character's motives are perhaps less honorable): Entrapment, The Italian Job, and Ocean's Eleven.

Chekov and Sulu are given less to do, although both become stronger characters in the latter stages.

One character comments that some things become less important as he grows older.

It becomes less about what your directives are and more about putting your loot to work unlocking unorthodox weapon types or vanity items for your character and home base, but the uneven and repetitive gameplay don't quite serve that loop and keep things interesting.

The more you manipulate characters and situations, the less believable they become, and the less interested we are in their plight as major events begin to occur.

However, for those who liked the cameo appearances and detective storyline from the first film, there's less to identity with in this sequel save for the personality of the main character, whose famous catchphrases and one - dimensional delivery become redundant very quickly.