Sentences with phrase «by type of character»

For example, when readers are browsing mystery novels on Amazon, they can browse by type of character (amateur sleuth, British detective, female protagonist) and by moods and themes (action - packed, horror, humorous, noir).

Not exact matches

By adding handwriting recognition to its touch screen, users can draw letters, or a variety of Asian characters, instead of typing on the keyboard to find their destination.

As a fascinating and in - depth recent profile of several ultramarathoners by Katherine Ellen Foley on Quartz reveals, success over these extreme distances takes a particular type of character.

That the manager has become characteristic of liberal politics should not be surprising, but I continue to be taken aback by the preponderance of such character types in the ministry.

If this maturing does not occur, four types of nonproductive life - orientations (and character structures) develop in the attempt by persons to defend themselves from feelings of existential insignificance and aloneness.

Nowadays, I listen to a couple of pastors online once in awhile, and many of the books I read are by former «church pastors,» who had the same type of revelation about the character of God that I had.

It's the same difference between two types of trial testimony: The character reference given by the accused mother being akin to religious persuasion and CSI type hard evidence that places him at the scene, with the victim's blood on his hands and a video of him doing it.

The beauty the world has to offer is what is lost by the «Rationalist,» the type of modern man whose character Oakeshott sketched in his most famous essay, «Rationalism in Politics,» first published in 1947 and republished fifty years ago in his essay collection of the same name.

There are, accordingly, three principal ways of classifying processes: (1) by the character of the sequential structure at issue, (2) by the type of subject - matter concerned in the way in which this character is realized, and (3) by the nature of the end - result to which the process tends.

In this process, masterminded at least partly by Gutenberg, printers placed reusable, individual letters or characters of type in a form to create a printable page.

Our question, you will remember, is as to whether religion stands approved by its fruits, as these are exhibited in the saintly type of character.

It has often been supposed, and even now, I think, it is supposed by most persons, that there can be one intrinsically ideal type of human character.

A magician may get rabbits out of a hat, but no magician can ever get a character like Christ from the mere fortuitous play of atoms, any more than he can toss type into the air and have it fall by physical gravitation into the score of Handel's Messiah.

What you may learn is that your spending habits encompass one of the seven biblical money types I've identified, each represented by an individual character in the Bible:

While some consider the particular sleep habits of a baby to simply be a natural part of their character, more and more people are having success with improving the quality of a baby's sleep by taking into consideration factors like the type of pillow they're using.

It carries such a strong invocation of the «liberal metropolitan elite» character - type that the phrase was deliberately employed during the last election by none other than David Cameron with his jibe about «the same old condescending, bossy, interfering, we - know - best attitude of the Hampstead socialist down the ages».

Looking at the bigger picture and by that I mean placing the politics, the rancor, and partisan discord aside, I feel that Grace has the type of character, intelligence, and temperament to solve local, national and international issues as demonstrated in her work ethic and on the campaign trail.

MUMBRELLA - Feb 10 - Match.com has undergone a rebrand led by an animated TV ad featuring characters designed to appeal to different types of consumers.

Dating is a stage of romantic relationships in humans whereby two people meet socially with the aim of each assessing the other's suitability as a Mel B seemingly has a type since it has been claimed by TMZ that she is dating a real life Beverly Hills cop - much like the character her ex Eddie

The central conceit of the project, which gives it some intellectual heft and occasionally also makes it very funny, is the apparent dissonance between the characters and their worlds on the one hand and the extracts about art either voiced as dialogue or heard in voiceover, also by Blanchett (about five sources are used per school or type of art).

The standout is the oh - so - close capture of Thanos by the Guardians, Iron Man, Strange, and Spidey, that is ruined when one character has an ill - timed hissy fit of a type that we've all seen too many times before.

By now it's pretty apparent that Johnson has the ability to transform into almost any type of character, as long it's a large and muscular one.

Players assume the roles of two very different characters: Azriel Odin, an ex-assassin searching for a defector from the Gemini system, and «Delta - Six,» a hospital inmate whose memory has been wiped by mysterious, Big Brother types.

How do the type of male characters they are surrounded by in this movie confirm those feelings?

The purpose of Kristen Wiig as the publicity manager for NASA is never evident, besides some clunky asides of humor with a pompous Jeff Daniels and Danny Glover as one of those zany genius types defined by weird character tics between jumbles of scientific jargon.

Fame's structure is a sequence of vignettes and its characters a collection of types, so that the demand to sustain itself over the course of two hours is ameliorated by the fact that it's basically an anthology piece.

A character - focused melodrama fueled by a collection of outstanding performances by all three leads and beyond, Trust is a type of film we see all too rarely in this day and age.

Though the incoming freshman can expect some abuse — sometimes accompanied by genuine hostility, courtesy of Parker Posey as a queen - bee type and a hilariously belligerent Ben Affleck as a two - year senior — the only troubled characters in Dazed And Confused are the heads of each class: Randall «Pink» Floyd (Jason London), the good - natured quarterback who doesn't want to be pigeonholed as a jock and told not to run with the wrong crowd, and Mitch Kramer (Wiley Wiggins), in many ways his heir apparent, an 8th - grade star pitcher whose awkward transition comes with extra pressure (and extra beatings).

Motivated by a desire to take action against a terrorist - type villain, Lisa's reactions might be considered reasonable for her abilities, but they still result in bodily injury and eventually the death of a character in a pool of blood.

He has suddenly gone missing and it's up to Katrielle to figure out the mystery of what happened to him by way of traveling around famous London landmarks, interacting with colorful characters, solving puzzles, and generally doing Layton - y type things. . .

Inside he meets all manner of unusual character brought to life by an impressive cast list you're better off finding on IMDb than me typing out here.

Much of the plot is spoiled by the casting of Hudson («Deepwater Horizon»), who only ever plays one type of character, and the script even breadcrumbs the audience so we already know everything she says is a lie.

The combat is based on a Dragon Quest style turn - based system, although the very different class types and unlockable skills of your characters is mirrored by the wide range of different creatures opposing you and their own unique skills and vulnerabilities.

Fighting is accomplished by means of a fairly standard turn - based battle system which is heavily biased towards getting the elements of your attacks (& defence) correct, as characters and monsters in the game will often be able to deflect or even absorb some types of damage.

Although rendered with predictable polish by the digital artists at Lucasfilm Animation Singapore and Industrial Light & Magic, the picture seems to unfold not in a coherently realized fantasy world, but rather at some sort of grotesque interspecies convention where Lucas and his collaborators have taken every conceivable character type that came to mind — goblins, imps, talking mushrooms, etc. — and plopped them down in front of the same meticulously detailed forest backdrop.

The joy of seeing such the rare complicated and successful female character is only deliciously complicated by Sloane not being what we would expect from this type of film.

Scavenging for supplies so you can craft the type of arrows you need to weaken a particularly difficult enemy, surveying a bandit settlement or pasture of machines and engaging with a diverse cast of characters that mostly have stellar personalities is an addictive gameplay loop that will make your 30 + hours with the game fly by.

But don't be mistaken — the film very much has Ford's steely and militant glamour, especially as it relates to Adams» character Susan, a gallerist and Los Angeles society type whose marriage is on the brink of collapse, and who interprets the manuscript of a violent novel by her first husband, Edward (Jake Gyllenhaal), as a metaphor for their own failed relationship.

Sometimes the two types of performances exist side by side: It's easy to sneer at Sandler getting in drag to play the braying, Bronx - born Jill in Jack And Jill, but there's visible effort (and sometimes startling, sweaty detail) in that character, as opposed to the surly, condescending version of a straight man that the Jack character lazily embodies.

For example, Hero's Duty character Sergeant Tamora Jean Calhoun (voiced wonderfully by Jane Lynch) is revealed to be as aggressive as she is because of the backstory she was programmed with, acknowledging the simplicity and often shallowness in which character motivations, across many different types of media, are often explained and justified.

These scenes are not voyeuristic exercises in cruelty as they function instead as confronting representations of the true impact of violence, especially when fuelled by the type of extreme paranoid misogyny that possesses Affleck's character.

The Zero Effect came out in 1998 and embodies a particular type of film beholden to that era, as indicated by a tonal asynchrony between its comedic elements and the abrasive relationships of its characters.

It's a type she played most memorably in Kiss, Kiss Bang, Bang, a movie whose post-modern, meta - textual smartassery so resembles what Playing It Cool is trying to do, and feeling miserably at, that I just found myself wishing I was watching a Shane Black movie instead of a movie full of characters that, like, Shane Black, are movie - and - self - obsessed writers deeply in love with the sound of their (and by extension the screenwriters») voices.

An intriguing and persuasive article by Flickfilosopher's MaryAnn Johanson posits that the title character of Inside Llewyn Davis (2013) is actually dead, and that the film takes place in a type of purgatory.

Those are hardly the type of picks made by people who disliked the film due to its black characters.

For what it's worth, James Spader does nice work playing against type as an intellectual nebbish, and Russell incorporates what could've been an albatross — the death of his character's young son — into his every delayed gesture without seeming merely thrown by the film's premise, whose machinations are so befuddling as to deter one from inspecting Stargate for political and allegorical angles.

With characters played by Bill Murray and Scarlett Johansson (who hasn't shown this type of acting power since, although she is great in the otherwise mixed - to - mediocre Don Jon) in their new home of Tokyo alone (or in Johansson's case, with a husband who has no interest in spending time with her), the film puts its focus on solitude front and center.

None of characters here are based on any specific real - life figures, and as such they fall for the most part into conventional character types; that said, they are all lent human dimension by the actors.

The most interesting character, one of the type you probably did not know existed among the far - right, white supremacy organizations, is Gerry Conway (Sam Trammell), who reads a lot, listens to Brahms and Tchaikowsky while seated with Nate Foster, and is not against hearing the music conducted by Leonard Bernstein (though he should have known that the late great conductor's name is pronounced «Burn Stine,» and not «Burn Steen»).

What it gets right on paper is immediately apparent: Casting hot - ticket stars against type as crestfallen romantics struggling to cope with mental illness provides two attractive but ostensibly vacuous mainstream celebrities (Bradley Cooper and Jennifer Lawrence) the enviable opportunity to prove their worth with conspicuously «revelatory» performances; meanwhile, the fundamental seriousness of their characters» respective arcs, with Cooper hoping to control the outbursts caused by his bipolar disorder and Lawrence attempting to overcome her grief over her husband's recent death, raise the emotional stakes considerably, elevating largely light material from rote comedy to overtly «adult» drama.