Sentences with phrase «character lines over»

Other sporty design cues include a kick - up beltline and deep character lines over the bonnet, which are placed slightly inward to make room for muscular front fenders.

The bonnet looks decent with a few visible character lines over it.

Not exact matches

Without the majesty of the character from the comics, many of Storm's more powerful lines of dialogue just appeared ridiculous and over the top on screen.

I could go on and on here: The adjectives used to describe women in leadership roles versus the ones used to describe men in similar jobs, the previous arrest record of black people involved in a law enforcement shooting and yet never the officer's misconduct record, the average amount of lines given to male characters over female.

With standard message sizes of between 10 and 26 characters in length, the line speed can increase to over 90,000 cans an hour.

He said: «In a way we have had a major sea - change in the last three months because we wanted to draw a line under what had gone on last season and almost reboot it, start all over again and we have tried to get the right type of player in terms of not only the way they play but also the type of characters involved to take us forward.»

That's just what we need - a group of fictional characters debating over district lines.

If the zip code doesn't measure up, HUD then prescribes corrective measures, which essentially come down to running roughshod over local zoning so HUD can socially engineer the character of your community to bring it in line with its quotas.»

Different as they appear at first glance, they share basic structural features, according to a new study: characters with vertical symmetry (like the Roman letters A and T) and a preference for vertical and horizontal lines over oblique lines (like those in the letters X and W).

The chic print fabric hugs over the body and reveals the charming curve of the bust line distinctly and explains the character of a female.

But the quibbles over the technical aspects of the film rightfully take a backseat to the real reason why people will stand in line, in the heat and the rain, to be one of the first to see this end — Harry Potter is a great movie character.

The film assembled one of the studio's finest voice casts, led by Albert Brooks and Ellen DeGeneres, gave them a ton of great gags and memorable characters (the surfer dude turtle and the «One Flew Over The Cuckoo's Nest» homage in the dentist's office first among them), and then grounded it in with a deep bass line of thoroughly relatable pathos.

The story line is too slight, opting for depth of event coverage over depth of character, but thanks to a, um, showstopping performance by Chadwick Boseman, «Get on Up» is quite entertaining despite its flaws.

The dialogue is clichéd, as are the characters (sometimes in a racial or ethnic fashion, which is over the line to the offensive side of hammy).

Perhaps too loyal to the original 1888 Swedish stage tragedy, Ullmann's version confines the three - character drama to a secluded estate over the course of one Midsummer's Eve, a dusk - til - dawn period of Dionysian decadence and blurred class lines.

The character of Kelly can repeat over and over again that Line was «sent from above» and that the team is in emotional distress, but if we never see and process it, the operatic displays of emotion aren't grounded in any reality.

Credited as a co-writer this time, Reynolds blurs the line even further between himself and the character over whom he clearly feels a special ownership.

The lead in Roland Emmerich disaster pic «The Day After Tomorrow» gave him an early taste of bland, big - budget (smash hit) spectacle, though he also auditioned to play the title character in «Batman Begins,» and was briefly lined up to take over the role of Peter Parker in «Spider - Man 2» when health issues / contract negotiations looked to rule out Tobey Maguire — now there's an interesting what - if scenario.

The spaces Frank and Margaret live in are established with sight lines across cuts, each shot a discrete unit, separately lighted.8 When they go out, they stand in (or against) the landscape like Antonioni characters rather than, like Richardson and Reisz's characters, emerging from and heading back into streets, alleys, over bridges, under tunnels.

This premise allows for some clever touches, like the boxes listing each character's strengths and weaknesses that pop up when they put their hands over their hearts and auxiliary characters like Rhys Darby's Nigel, who delivers the same rote series of lines on a loop.

This time, Nicholas Stoller's directing and Jason Segel wrote and stars in what I think is supposed to be a comedy along the same lines — you know, clever banter, «normal guy» characters who we can relate to, and some very R - rated humor that goes over just fine despite its raunchiness because, somehow, they make it work.

Where other superhero movies pore over their characters» origin stories, in Suicide Squad only Margot Robbie's Harley Quinn — who gets all of the best lines — and Will Smith's Deadshot, an assassin with heart — are fleshed out in 3D.

At the film's Los Angeles press day, Woodley talked about how Jennifer Lawrence encouraged her to take the role, what she shares in common with her character and how they differ, what inspired her to take a course in urban survival skills, what the experience was like doing many of her own stunts, her most memorable sweaty palm moments, zip - lining over the streets of Chicago and climbing the Navy Pier Ferris Wheel, her challenging fight sequence finale with Theo James, working again with Miles Teller, and what she learned about herself in the process of making her first large scale studio movie.

Worst - case scenario: That affection and respect spills over to the people behind the camera, and the movie traffics in the same toxic self - regard as other Meyers movies (including at least one scene where characters compliment each other on the witty lines provided for them by the filmmaker).

However, the fighting game does have more content down the line worth speculating over, including the recently confirmed roster of DLC characters.

Whether she is defined for audiences by Rita Hayworth as the hair - flipping title character in the 1946 noir Gilda or by Scarlett Johansson as an irresistible, ethereal being in the 2013 sci - fi drama Under the Skin, male film characters have had plenty to concern themselves over when a potential love interest starts batting her eyelashes or — as Oscar - winning actress Jennifer Lawrence (Silver Linings Playbook) does in her new spy thriller — bares all for the uncomfortable assignment at hand.

Kathy Bates has justly won praise for her funny, ballsy performance as Mulroney's uninhibited mother, but her character is more in line with the more obvious humor that rules over this section of the film.

But somehow, some way, the strange twists and ideas take over, and the film becomes fable - like, examining a different line of story elements that switch from one character to another.

Focusing on a hundred characters, and several main ones, the whole story is carried out over two time - lines: from the 1960s to the mid-1970s, the end of the Cultural Revolution; and from the 1980s to the start of the 21st century.

Sometimes the voice - over is dreamy (Sissy Spacek's in Badlands), sometimes it's disarmingly concrete (Linda Manz's in Days of Heaven), sometimes it comprises audacious, poetic philosophical musings (that of all the soldiers in The Thin Red Line)-- but it's always there, a character in its own right.

The events become nearly too mean spirited, and the underlying pitch black humor pulls the film back from crossing over the line with how far it pushes its characters.

Over the course of the show's six seasons, Greenfield's excellent line delivery helped elevate Schmidt and all his neuroses beyond what could have been a fairly annoying one - note character.

Its hand - drawn aesthetic and jerky, varied lines evoke an old school bootstraps mentality that values character over uniformity.

Over the rear wheels (21 - inch forged aluminum compared to 20 - inchers up front), a large, muscled character line runs toward the rear end, helping frame the fastback - style rear window.

Sleek profile looks come courtesy of a nicely - sloped roofline and stand - out character lines below the door handles and over the rear wheels.

A pronounced character line started at the front and extended at a slight upward angle under the «floating» roof and over the 20 - inch wheels and into the wraparound casings for the LED taillights.

Crisp character lines define the flowing sheetmetal that form muscular haunches over the rear wheels, giving the car an athletic stance.

Other changes include subtle character lines and new 19 - inch alloys over the 18 - inch units on the outgoing model.

«Through the profile of the new generation i30, a strong character line runs over the front and rear wheelarches all the way to the tail lamps.

From there, the rear fender's character line takes over.

This is aided by large side intakes incorporating DRL's, with outer character lines sweeping over the front wheel arches.

This is out of character for Nissan, especially since the company was taken over by Renault and its bottom line - centric chairman and CEO Carlos Ghosn, who assumed the same title at Nissan and did so well he was featured as a superhero in a series of Japanese comic books.

The main «master» character line starts above the side air vent, rising over the rear wheels and fender, wrapping around to the rear, and ends forming the 3D tail lamp.

On the outside, it has some visible character lines all over that add to its style.

The vents below the sharply sculpted taillights carry over the theme well, and lend balance to the appearance of the rear fascia, while the character lines on the sill and the shoulderline are nicely integrated into the rear fascia and serve to create a muscular appearance.

Conception: Most of the character lines were carried over, with a sloping roofline, base 15 - inch wheels, and plenty of bulges in the sheetmetal.

The 2012 Hyundai Genesis Coupe's raked hood, short rear deck and available split - spoke 19 - inch alloy wheels all scream «performance coupe,» although some of the Genesis Coupe's character lines, like the disjointed drop at the base of the rear side window, seem a bit over stylized.

The character line accenting its high - waisted flanks, gracefully flowing over both wheel wells, imparts an elegance and a muscularity to the car that no other Audi can claim.

The way the side character line extends to the front fenders and appears to be folded over the fender panel; the laser - like headlamps; re-imagined double - arch grille; Forged Bronze paint with three times the amount of metal flake as most paints seen on cars — it all combines to create a purposeful yet elegant shape the likes of which isn't really seen elsewhere in the compact luxury crossover segment.

The Q30 is described as a mix between a coupe, a hatch and a crossover, with sensually sculpted character lines crossing over the fenders and doors.