Sentences with phrase «central characters from»

Whereas the sculptures are based on central characters from his recent films and include papier - mâché heads and multi-faced masks composed from printed steel, the drawings and dioramas depict these new players standing besides figures from the artist's earlier repertoire, as if posing for a group portrait of his ever - expanding roster of protagonists past and present.

The over a minute long video definitely gives a déjà vu with its familiar central characters from the main group, but we also see more of Yondu, Mantis and Nebula hinting that they are set to add to the high octane adrenaline rushing action.

Not surprisingly, «Bad Moms» is an intermittently funny, occasionally raunchy movie that regards its central characters from an essential remove.

The campaign uses as its mascot «Totoro,» the central character from the popular animated film by Hayao Miyazaki called My Neighbor Totoro.

Not exact matches

Disney Infinity was never presented simply as a game but as a platform, a central interactive playground with connected level packs featuring distinct, iconic characters from major Disney, Marvel and Star Wars films.

This is why one can't help noticing that missing from these two novels is the central character — God.

In Charles Dickens» perennial classic, A Christmas Carol, the central character, Ebenezer Scrooge — «a squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner» — is redeemed only when he is drawn away from his narrow self - interest and obsession with money.

In the movie Memento (released in 2001) the central character, Leonard Shelby, sustains a blow to the head from an intruder who has already raped and killed Shelby's wife.

With her fifth novel, An Unsuitable Job for a Woman (1972), James creates a central character who is quite different from the detached Adam Dalgleish.

On the central cross a character, «holy, guileless, undefiled, separated from sinners,» (Hebrews 7:26) was crucified, and such suffering was obviously not retribution.

As before, the central characters are marginal and rootless, yanked from one risk - filled relationship to another without a firm sense of whom they can trust.

A few critics have ventured dissenting opinions: Some have fretted that anti-Semites and other bigots might take encouragement from the vile rhetoric of the book's central character (presuming that lot would have the intellectual stamina to read the novel at all), and others have raised objections to the shocking incompetence of the writing.

If your kid doesn't get his fill from the visits to Character Central, sign up for a character breakfastCharacter Central, sign up for a character breakfastcharacter breakfast at Zest.

The central premise of EL schools is that character is built not through lectures or direct instruction from teachers but through the experience of persevering through challenging academic work.

Shelly Silver, the powerful Democratic speaker of the state assembly, is the central character in a tale that seems as if it sprung from the imaginations of Kennedy, the great novelist of Albany corruption, and of Jon Stewart.

The character is a central figure from the beginning and holds a level of importance.

«A Good Woman,» a ham - fisted adaptation of Wilde's play «Lady Windermere's Fan,» suffers from a staggeringly bad miscasting of its central role and from a cut - and - paste screenplay that substitutes random insertions of Wilde epigrams for character.

The central character, Ed Pekurny (Matthew McConaughey), is an amiably serene, aw - shucks rube who is plucked from obscurity by a fledgling cable channel called True TV and made the star of his own round - the - clock, this - is - my - private - reality show, a kind of marathon solo version of The Real World or An American Family.

There's little doubt, too, that the film's hands - off vibe is perpetuated by Abdalla's sleepy, far - from - charismatic turn as the one - note central character, and it's clear that The Narrow Frame of Midnight's few moments of electricity are thanks entirely to Choutri's captivating, Vincent Cassel - like performance.

Instead, the intrigue stems mostly from the two central characters, whose distrust of each other deepens as they withhold important aspects of themselves from each other.

It's a low - key premise that's employed to almost prototypically deliberate effect by director Julie Lopes Curval, as the filmmaker, working from a script cowritten with Sophie Hiet, offers up an uneventful narrative revolving around the central character's subdued exploits (eg Alice goes to school, Alice deals with her mother, etc, etc).

Closing a deal to purchase Central Park's Tavern on the Green from Angela Lansbury's character, Mrs. Van Gundy, vies for the attention he gives to the penguins he promises to let Billy keep as a birthday present.

Before it gets to that point, however, Ed tv comes off as a fairly affable comedy that benefits substantially from McConaughey's charismatic turn as the central character - with the actor's strong work heightened by an impressive roster of supporting players (including Woody Harrelson, Martin Landau, and Dennis Hopper).

One of the central characters is introduced from the waist down and to say that the film climaxes in violent, sexual oddity would be like saying «The Avengers» features a few superheroes.

Stylistically, The Invisible War is conventional and plainspoken, from its opening clips of vintage recruitment ads for women to its closing updates on the central characters.

The far - from - engrossing vibe is compounded by a quizzical dearth of action or suspense oriented interludes, and it does, as a result, become more and more difficult to work up any real interest in or sympathy for the central character's exploits (which proves especially problematic by the time the twist - laden finale rolls around).

With solid actors, good writing, vibrant costume work, a terrific score from Coogler - regular Ludwig Goransson (Central Intelligence, Stretch), humor that's delivered with refreshing subtlety, and Coogler's taut pacing that also takes the time to build up its scenarios, Black Panther succeeds at delivering an unlikely solo effort in the superhero genre, and leaves skeptics and those completely unaware of the characters within the comic books hungry for more.

Critics Consensus: I Feel Pretty has a charming star and the outline of a worthwhile comedy — but unlike its suddenly confident central character, it suffers from a fundamental lack of conviction.

What I like most is that the audience possess the exact same amount of information as the central character does from beginning to end, which gives the film an uneasy spontaneous energy that keeps you transfixed on the action.

Filmmaker Craig Gillespie has infused the early part of I, Tonya with a blisteringly - paced sensibility that's admittedly quite difficult to resist, and it's clear, too, that the movie benefits substantially from Robbie's immersive turn as the far - from - likeable central character.

It's ultimately clear that The Finest Hours is at its best in its relatively propulsive first half, as director Craig Gillespie, working from a script by Scott Silver, Paul Tamasy, and Eric Johnson, does a nice job of establishing the the central characters and the dangerous circumstances in which they find themselves - with the screenplay, which also emphasizes the ongoing exploits of Bernie's girlfriend (Holliday Grainger's Miriam), generally juggling the various narrative threads to seamless effect.

Critic Consensus: I Feel Pretty has a charming star and the outline of a worthwhile comedy — but unlike its suddenly confident central character, it suffers from a fundamental lack of conviction.

The central question for these characters is how they face that inevitability — to fight it, to flee from it, to attempt to comprehend it, or to accept it.

Surely, then, there must be a reason that the story veers away from that subject on a seeming whim and mostly ignores the characters who turn out to be central to the movie's final lesson.

The central gimmick allows the film's modern - day stars to, through clever editing, interact with scenes and characters from actual period thrillers.

There's little doubt that Stone does an impressive job of authentically establishing the movie's cut - throat world of high finance right from the outset, as the filmmaker, along with coscreenwriter Stanley Weiser, offers up a blisteringly - paced narrative that rarely pauses to explain exactly what the central character does or how all of this works.

This is admittedly one of the more compelling aspects of Krakauer's book, and it's something that disables Sean Penn's film from fully articulating the dynamic of its central character.

To dull the pain of their rudderless existence, he and his friends drive around, smoke pot, burn down abandoned buildings, and generally behave like multicultural, Midwestern versions of the kids from Saturday Night Fever, another bleak working - class character study driven by a mesmerizing central star turn.

Because of this fact, these stories are often told from a cis perspective, despite having a trans character as their central figure.

The movie departs from the book by omitting a central character and not showing Maisie grow significantly older, but it still revolves around lack of choice — at least until an ending that

Like Veronica Roth's overlong novel, Divergent boasts (or suffers from) a heavy emphasis on the central character's ongoing efforts at blending into her new faction - with the movie's entire midsection devoted to the various exercises and games that Tris and other newcomers are forced to undergo.

The main location was an actual house from the 1890s that had been built into the side of a hill, providing the perfect setting for a story in which the hard - scrabble pioneer lifestyle is central to character motivations.

Our central characters move through several emotional thresholds, passing from room to room of their lives before our eyes.

It's nevertheless impossible to deny that Split, though rarely engrossing, remains quite watchable throughout, with the movie kicking off with an absolutely enthralling opening sequence and benefiting substantially from McAvoy's frequently showstopping performance as the deranged central character (ie the actor does a superb job of creating a series of impressively distinct personalities, including a nine - year - old boy).

Not only does Jolie (and her skilled team of designers) create all of these worlds convincingly, she also manages to make good - to - great «mini-movies» out of each piece of Zamperini's story, keeping them distinct from one another, while also blending them perfectly into one another via the central character story.

The almost excessively subdued atmosphere prevents Nebraska from becoming anything more than a passable endeavor, and yet it's just as clear that the movie benefits substantially from its pervasively easy - going atmosphere and smattering of Oscar - worthy performances - with, of course, Dern's masterful turn as the central character remaining a consistent highlight.

Namely its central performance from Mary Elizabeth Winstead, who carries this understated character study that rather uneventfully charts a workaholic woman's mildly difficult navigation through the denial that her marriage is over.

The central character is Ann, played by the astonishing Margot Robbie (from The Wolf of Wall Street), who ends up in a bit of a love triangle after two different men show up.

Payne's film, written by fellow Nebraskan Bob Nelson, also offers a biography of its central character delivered by unusual means, in this case a mosaic compiled one piece at a time from former friends, enemies, and lovers of Woody (Best Actor winner Bruce Dern), on the road from Billings, Montana to Lincoln, Nebraska with his son David (SNL alum Will Forte).

In Moonlight, adapted from an unpublished playscript by Tarell Alvin McCraney, Ali plays a drug dealer called Juan who acts as a father figure to the central character Chiron.