Sentences with phrase «character feels off»

It can be off - putting at times where a good sounding character feels off.

Not exact matches

The emotions and feelings of each character jumps right off the page!

James Comey's searing, tell - all book touched off a forceful attack on the former F.B.I. director's character by Trump and his allies, even as many Democrats struggled with conflicted feelings about the man they blame for Hillary Clinton's loss in the 2016 election.

We immediately felt landlocked, like the characters in our film's walled off «Homeland».

But the novelty of this has certainly worn off a bit and in the interests of both retaining fan favorites and introducing new personalities, this third film feels a little crammed with characters all vying for the same kind of calculated jokes.

Characters die left and right, and though a lot of the death and destruction primarily takes place off - camera, there's still an undeniable feeling that, for maybe the first time ever, the stakes are real.

Yet these little pit stops feel more like time killers than effective character moments: it's obvious that Dodge and Penny will eventually develop feelings for one another, but our two leads just don't have enough chemistry to pull off the illusion.

Johansson, so astounding in Match Point and Girl with a Pearl Earring, is better off than Hunt, but she also has a few moments where it feels like she's acting instead of letting her character's emotions come naturally.

Hannah was given too little to do in the first film, and she does her very best to make Tarantino's samey, show - off, adolescent dialogue feel as though it could have come from her character's mouth.

Whatever you thought of «Rogue One» as entertainment (I loved it), it managed to concoct a story with its own internal philosophy, style and feeling, and when you compare it with «Solo,» you realize that a big part of what made it work was its lack of connection to famous characters who couldn't be killed off.

The lack of chemistry between Donat and Carroll's respective characters only compounds the hands - off feel...

This is a story in which almost every character feels as though they continue to exist off - screen.

Best game ever, you start with only one character and I love microtransactions, gets me off, makes me feel all hot and gooey... Nowadays its rare that rarely puts out good games anymore, but this game is great at manipulating people into microtransation... MMM my favorite with a side of bacon... I wan na put killer instinct as the hall of fame game

Best game ever, you start with only one character and I love microtransactions, gets me off, makes me feel all hot and gooey... Nowadays its

The movie is not really jump - off - your - seat scary, but it does make you feel uneasy and worried about the characters» fate.

With its calculated script and clunky direction by Robert Schwentke (replacing Neil Burger), «Insurgent» feels like a prime - time soap, full of big reveals, character kill - offs and some unzippered bodily contact between Tris and Four.

Even in a man - versus - machine story that can come off a little silly or overwrought at times, just hearing the soothing voices of characters like «It's Reyn time» Reyn or the medic - who - heals - you - by - shooting - you Sharla makes everything feel so gosh - darned poignant and profound and posh.

With one road side explosion kicking off the over running of a city to finally being saved from a rooftop I really felt like the lead up lacked depth and did not enjoy how the characters seemed to know more then I did but failed to share it.

Stillman does however feel an affinity with Wes Anderson, director of The Royal Tenenbaums and The Life Aquatic With Steve Zissou, who is similarly drawn to well - off, eccentric, articulate characters and deadpan wit.

Although, coming off the heels of the most lauded and talked about series of 2013, along with the immense popularity of his character, this role feels like a downgrade.

On one hand, the speech tests the audience's patience for legalese; on the other, it is a tour - de-force, a brilliant meditation on the fundamental tension between moral right and democratic law, delivered by an actor so thoroughly in command of the character that it feels almost effortlessly tossed off — one can only imagine that Lincoln, the lawyer and the president, spent many sleepless nights playing this debate out in his mind.

L3 felt like the biggest character misstep as she came off more like a personality that tested well than a worthwhile addition to the series.

The easy plot builds up many characters so we get to know them plus links to other folk so when it all kicks off we feel the emotion run deep.

Because the character has depth, the big fight at the end — as Wakandans face off against one another — never feels senseless or trivial.

In a game full of huge, flashy attacks and tons of characters, it's the little details that really give it the top - tier fighting game feeling that Capcom consistently pulls off.

No one feels like a throwaway character, though many are killed off with excessive amounts of blood.

The gamble pays off in spades, as we see sides to the Batman saga that feel fresh and inventive, even if the conflict between Batman and Joker has been the oft - told story in the character's history.

For me, it's more impressive to see an actor working like this when they don't have any actors to play off of, no set to help them get into the right mood, and no wardrobe to help them feel in character.

There's nothing quite like the feeling of exhilaration you experience facing off against a screeching behemoth boss character while the crashing and flashing of an electrical storm explode all around you.

Nothing quite lines up: the playfulness of Whedon's words get lost in overly - dark tonal shifts, each of the characters rarely play off of anything more than a single quirk, and Weaver's Ripley trades badass heroine for super-touchy, wide - eyed clone, obsessed with feeling up absolutely everything in sight.

Women have always been a key part of Star Wars» mythos, but to hear the way some people reacted to The Last Jedi, you'd think that they feel Star Wars would be better off without any female characters at all.

The few moments where characters aren't being zany but serious are well done, expertly pulling off shifts in tone that don't feel out of place.

The single player mode has three playable characters — a street racer, an off - road racer, and a bruiser type good at smashing other cars, and none of them feel particularly good.

Devotees of the series will note that there's less myth - making here in a plot that feels hermetically - sealed (and possible to pull off with any cast of characters), but they should also bemoan the attempt to make solipsistic Jack actually in love with poultry-esque Angelica.

But in its later stages, as WWI darkens Chris's horizon, the film begins to slip into cliché: one character's emotional transformation is so clumsily handled as to be almost laughable, while an unnecessary hop over the English Channel and into the trenches feels manipulative and off - message.

Both About Time and Ruby Sparks are about manipulation, but where Kazan makes sure to consider the dark side of it all, Curtis revels in About Time's Britishness and charm, confronting these themes through a completely different lens that further marginalizes McAdams» character and then skips off into the sunset with the sort of weepy feel good climax you expect from a film with Richard Curtis» name on it.

It's refreshing that its main characters don't really feel inspired to do more than goof off with their mysterious powers; it's a quietly brilliant touch that one of them is a social outcast with a dying mother and an abusive father.

It almost feels like he's channeling his character from Face / Off — Travolta playing Nic Cage — but backing down from the cliff's edge just before he topples over it.

Even if the level of other characters» own development decreases as they move down the food chain of plot importance (Some speak of their lack of feelings of worth and act upon them, others give themselves neat nicknames and show off their abilities, and one seemingly appears only as fodder for the villain (After the pronouncement that said character is dead, we half expect the follow - up to be «And we have killed him»)-RRB-, there is at least this conflict of ideas between its central characters playing out as though it, instead of nifty superhuman talents, is what matters the most.

I felt really strongly that what we have here is so beautiful and the way that the character develops, the way it's paid off, and not only that, the horror of trying to manufacture something that — I don't even know what it would have been, but something for the end of this movie that leaves it in a place where the transition is easier, the idea of, «Oh God, how would you fake something like that, and how would it not be terrible?»

Chadwick Boseman, the actor who played the titular character in Black Panther, said while speaking to actor Jamie Foxx on his new show Off Script that he feels a sense of fulfillment after Black Panther's success.

Both characters do a great job playing off each other and both truly feel like they would be real brothers.

It's the second film by independent filmmaker Jon Sherman (Breathing Room), working with first - time screenwriter Eric Pomerance's script, but it feels like the work of more seasoned veterans, with a good balance of storytelling and character development that pays off quite well during the film's more romantic moments.

The theme that revenge only leads to misery feels like familiar territory, and one wonders if the film would have been better off simply implying the violence of its characters through its indelible images.

While it can't be denied that some of the character models are terrible and feel like a downgrade coming off from Ultimate Marvel vs. Capcom 3, this also undermines the vastly superior gameplay that is featured in Marvel vs. Capcom Infinite.

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.

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.

The film itself does not rank as one of the studio's greatest, but the female character - driven story gives off a fresh feeling and provides more to look forward to from Pixar (hopefully it won't take them multiple films before getting to another female lead).

That might even be why the latter half of the movie feels so disjointed, because Matthew Modine and Arliss Howard's characters just aren't as interesting without those other guys to play off.

When they're vanity projects built on such hoary devices as talking to off - stage characters or writing letters and reading them aloud, they can make theater feel like a dried - up old fossil.