Sentences with phrase «character feel human»

Not exact matches

But the beauty of the book is precisely how human the characters are, how sincerely the love is felt — regardless of familial flaws.

These films celebrate the human spirit and explore themes like God's character amidst the holiday season, what it means to be human or how it feels to fall in love.

In the simplest terms then, human social experience is a form of togetherness in which there is a sharing of feeling, a concordance of emotion, between two or more individuals who become immanently related one to another by the very character of their mutual experience.

Humboldt felt that the study of human character types had been neglected: neither the deductive reasoning of the philosophers nor practical moral treatises had done them justice.

There is a rather profound section in the «Hitchhiker's Guide to the Galaxy» set of books, where the main character Arthur, upon an awakening because of a human love, feels like he has been a trapped animal, that finds its cage open, with the fields stretching out, beautiful, before him.

The lead character in Santa Clarita Diet feels the urge to constantly eat human flesh and, impulsively, she does so, while her husband tries to help her adjust to the changes by helping her out with whatever she needs.

Miyazaki feels no need to explain his characters or the process by which Fujimoto creates life, or even what kind of creature his daughter Ponyo is supposed to be (she starts life as a weird human / fish hybrid).

This is obviously a given but Tiny and Amy's chemistry together was so believable and real that you don't feel like you are watching characters interact and humans instead.

It's also nice to see Kidman's character carefully adjusting to her new decision - making role and feeling a bit overwhelmed when one of those decisions is responsible for the loss of human life.

[Director] Lee evokes the character of his varied Los Angeles environments, even if the human element feels as if it's been done — and undone — before.

Not one character feels like an actual human being in this screenplay by Allan Loeb (Collateral Beauty).

Yet by highlighting the relationships and humanity of even the characters that are not human, and placing real peril in fierce and unrestrained action the audience can feel, the movie is redeemed and utterly necessary viewing.

The plotting just ends up feeling like a lot of business, ideas meant to keep the characters busy and in motion rather than actually reflecting anything like human behavior.

The human characters were hard to take seriously so it never felt like anything truly intense was going on even though there were lots of loud explosions and frenetic action.

I did also get the feeling that Riddick was suppose to be a mere human in the first film, but the character has been massively over expanded in this sequel.

The Wachowskis have little feeling for character or human interaction, but their passion for movies — for making them, watching them, inhabiting their world — is pure and deep.

Far from the «poverty porn» glorification of which it's been accused, this is a film whose characters all feel painfully real and human, in their capacity for nastiness and violence as much as for joy and love.

Richard Jenkins and Jennifer Jason Leigh might be great actors, but ultimately they are playing «Gentle Southern Racist» and «Loving Wife» here, not actual characters and they struggle to make the roles feel human.

Drama, tension, unexpected humor... Characters who you feel empathy for, but who can frustrate you at the same time... It's messy, harsh, all too human stuff, and this is what makes «Rabbit Hole» such a compelling watch.

Another issue is that the characters on board the Essex are bereft of anything that would allow us to feel for them beyond simple human survival.

The character feels bland next to the other Marvel superheroes brought to the screen in recent years, including Evans» own Johnny «Human Torch» Storm in the lighter, underrated Fantastic Four movies.

It's an odd choice to be frank, since the human characters have always had a Japanese anime style, either when rendered in 3D or shown in sprites, while Detective Pikachu has a distinctly more Western feel.

It's tough to say, but it feels like their C - character status in the film is informed by the public's perception of the group rather than their value as human beings in the five - way friendship.

Perhaps the hyper - stylized and conceptual Hooper is just a poor fit for a story as nuanced as this — for a movie about such a charged human issue and where characters spend the majority in some tearful state, shouldn't the audience actually feel something?

The patience the film shows in exploring the dynamic of the Granite Mountain Hotshots as an ever - shifting but carefully balanced ecosystem allows for even the most archetypal characters here to feel fleshed out and genuinely human.

There is a cartoonish feel to the other movies, but he brings a depth and emotional connection to Caesar like he would for any other human character he would play.

Despite its ostensible curiosity about the vagaries of human psychology, The Female Brain is never able to make these two characters or their relationship feel particularly believable.

There's no interest in shielding the viewer from the many indignities and outrages of America's greatest disgrace, from the monstrous — that unforgettable flogging sequence, which made me feel physically sick, something that I'm probably not alone in — to the, well, more quietly monstrous — Benedict Cumberbatch «s character, who's as kind to Solomon as he could be, given that he doesn't consider him to be a human being.

Jackie Earle Haley's directorial debut feels right at home in the mlieu of Quentin Tarantino or Joe Carnahan, a fun — if derivative — crime romp that acknowledges its absurdity without losing track of its human characters.

Sure, he's a space alien, but a space alien with enough shades of meaning to feel like a space alien that's more of a character than a simple misguided impression of human speech.

The characters in Man Of The West never feel real and organically human, but instead as echoes of Mann films past.

But that's less of a problem when we come to realize this isn't a character - driven piece, that Lockhart is really just a plot device rather than an actual human being for whom we're supposed to feel something — perhaps pity.

Clocking in at just a smidgeon over two hours, it doesn't feel long at all, with good use of character development, not only for the human characters, but also for the dogs, who all have varying personalities that make them easy to distinguish once you get to know them.

Norrell — who is by turns achingly overwhelmed, marvelously tried, or fallibly villainous — feels like a character Marsan has been waiting for; he answers the challenge marvelously, creating a complex and deeply human scholar whose relationship with celebrity is as thorny as his relationship with magic.

But in Hughes, the absurd and the human intermingle gracefully, partly due to the auteur's feel for character and his rhythm in the editing suite.

Nothing goes as planned and even greater human - fueled disaster strikes the apes, but the plot, as fine and as gripping as it is, feels secondary in consequence to how simply engrossing all those nonhuman primate characters are.

The film is inhabited by a handful of characters with enough dimension to feel fully human — unlike the stick figures that fi... more

So my new year's wish is that for X, actors substitute Greta Gerwig, who made sure, in Lady Bird, that even characters as peripheral to the action as Stephen McKinley Henderson's mournful high school drama teacher felt like full human beings who could have wandered in from, or off to, their own movies.

Not that I have anything against DDL or Charlize's magnificent performances... I just have a soft - spot for human drama that doesn't feel this need to go all out on the «transforming into the character» stuff... but maybe that's more a flaw with me (it's certainly not a flaw with those performances!).

No - one here feels like an actual human being anymore; replaced by bullet points masquerading as character traits, broad racial stereotypes and re-treads of jokes that worked better the first time.

The Cloverfield Paradox is an unholy mess... The characters here never feel like they could exist in a world outside of this space station, all of them barking in tech - speak at each other, rarely acting in what could be classified as recognizably human behavior... As the film bumbles from one confusingly mounted scene to the next, disappointment turns to boredom... The Cloverfield franchise is rumored to grow even more later this year with a second world war - set thriller potentially unspooling in October.

I'll admit that the latter makes the characters a lot more human and relatable, but none of it feels natural.

Each character has their flaws and they feel more human because of this.

But Anderson's choice to have the dogs, played by American actors, speaking English while the Japanese - speaking human characters are frequently untranslated feels awkward and isolating.

I really liked the character, because it felt like a more human response to being a veteran than the character of «Chris Kyle» was in American Sniper.

It's not until late in the film's third act that a different feeling emerges, a looser hand that provides room for characters to be more warm and human than pieces in a constricted design.

You will be able to play as him in Capcom Heroes as well, but his gameplay in the DLC, even if unique, feels rather lackluster next to his human character.

As Trent, he plays the character as much as an unlikable, unsympathetic jerk without feeling like any less of a human being.

But perhaps more than a story, 20th Century Women is simply a milieu inhabited by a handful of characters with enough dimension to feel fully human, unlike the stick figures that fill most Hollywood productions.

Finally, ScreenDaily's Tim Grierson was much less positive, claiming that it feels like «a soulless, mechanical exercise in pure kinetic showmanship» and that Berg «too easily undercuts the human element of his story,» preferring to render most of the characters in the film «ciphers representing bland notions of good or evil.»