Sentences with phrase «character much depth»

Not exact matches

I'm very much inspired now to put my matcha through the paces — I often forget it's in the pantry but when I use it it totally transforms my dishes into something with real character and depth.

For as much depth and character as it can provide a couple's story, history also keeps us hanging on to relationships way past their expiration date.

I just finished a similar project with an old mirror and I agree with you - the layered look adds so much depth and character!

I love opening up the door and seeing a different color, I feel like it gives the china cabinet so much more depth and character.

Every character is a plot device and given as much depth and personality as the robots.

His girlfriend was a pretty shallow character though, and the plot had a little bit of depth, but not as much depth as it probably could have.

It's colorful and imaginative, but other than Lu, the characters don't have much depth.

Gamora (Zoe Saldana: I Kill Giants, Live by Night) gets a meaty chunk of story, too, though it might feel that way only because she has not been a character explored in much depth before, so there's lots to learn about her.

The characters don't have much depth, the plots twists are at times laughable (no, I really did laugh out loud on several occasions) and, in season 1, you could see some plot developments coming from a mile away.

Fall of Cybertron promises the most in - depth, advanced customization ever seen in the franchise, allowing fans to choose their head, shoulders, arms, legs, wheels, wings, vehicles, weapons, colors and much more to create the TRANSFORMERS character they've always dreamt of.

Sure, «everyone» said I would miss out on so much depth and I wouldn't be able to understand all the connections to various characters.

The director's verbal digressions (he's as much a motormouth as his characters are) usually serve purely to establish character depth, most notably in the gratuity debate in Reservoir Dogs (in his next life, Mr. Pink was reincarnated as a mediocre waiter) and the foot massage debate in Pulp Fiction which concludes with the meta - aside, «C'm on, let's get into character.»

Beyond three or four principal figures, there's not a lot of room for characters to have their own arcs, achieve much depth, or in some cases even be individually identifiable within a crowded cast.

But I'm glad it did have the drama aspect because it gave the film so much more depth and character.

I found that to be a bad idea on Huston's part because from the beginning you're expecting to follow Ishmael on his journey, but then you're spontaneously introduced to many different characters with much more depth and then thrown into the madness of Captain Ahab.

A noisy and violent thriller, a plot that becomes absurd with too many characters and none of them with much depth.

The characters and plots have much more depth.

At it's worse, none of the stories have much depth, and the characters are cartoonish and two dimensional.

The only problem with this movie is that this main character, with a story with so much potential for depth, was pushed to the background to make room for the annoying comic relief hamster and the funny - talking pigeons, making a movie that could have been absolutely splendid merely a great one.

Utterly preposterous as this premise goes — not to mention how Brian seems hopeless and instantly way out of his depth the second he comes within inches of Arielle — this fanciful movie goes on hoping you'll bury your incredulity for this narrative, much like the main character, who has his head in the obliviously romantic clouds.

These are shabby aims when an in - depth character study of Frida has much more than that to be mined.

But beyond this broad epiphany, neither Jobs nor Gates is really offered much depth of character.

Given the film - maker's background as a purveyor of spiky, larger - than - life character studies, it's hard to believe Anderson won't add some much - needed depth and menace to the tale of the mischievous self - animated puppet.

The gameplay has some much needed sprucing up after the ambitious but poorly executed Sticker Star on the 3DS, but the paper - thin story lacks the depth and resonance of some of Paper Mario's earlier games, causing it to feel as two dimensional as its main character.

This film is pretty much a very pared - down version of the lengthy saga that appeared in the comics, stripping away many characters, side plots, and all sense of depth that were explored on the printed page.

Matthew Goode also manages to give Ozymandias (perhaps the most undeveloped of the characters in the comic) some much needed depth, and Billy Crudup, who has the impossible task of making Dr. Manhattan likeable, does a fine job underneath all the special effects.

All four characters can use spells, though, and the spell system clearly shows that Mystic Heroes has a lot of breadth but not much depth.

Somehow, Machine Games made BJ Blazkowicz a character with so much emotional depth that he puts Charles Foster Kane to shame by comparison.

While some may charge that it is simply a bait - and - switch when it comes the main character's gender, Hilary Swank's, Maggie, is built out in much more depth than other classic boxing characters like Rocky Balboa, James Braddock, or Micky Ward.

Despite fine performances from a well - chosen cast, the characters aren't furnished with much psychological depth, and their motives remain patently simple.

The writing and dialogue goes much further than it has in the past, giving us a more in - depth view of characters and the clans they hail from.

He isn't much for charisma either, but his presence is bolstered by characters and story that are well written and there is a depth to their interactions and the overall tale.

The depth of her research, the layers of her characters and the way she wove the most modern of themes into a deep period setting to produce a page - turner of a thriller made my work an absolute pleasure and meant I was able to follow the contours of her story much more faithfully than is sometimes the case.

I don't know much about his character in the comic, but surely there must have been more depth to him in the original stories?

It retains some genuine heartfelt emotion, giving each character enough depth to sympathize with, but not too much to be either angst - ridden or syrupy.

Much in those films rested on the screen presence of Neeson and his ability to add depth to the two - dimensional characters put before him in script format.

It goes a lot farther than just «missing some character depth, much of the complexities between characters and more than a fair share of shocking moments.»

The only character with any depth at all [and that's not saying much] is Boyle, but I can't even give the actor credit because the screener that was furnished for this review had no opening credits.

While the introduction of Tico and Admiral Amilyn Holdo (Laura Dern) added much welcome character depth and development, the stories themselves failed to spark much interest.

Vikander, who made such an impression as an artificial intelligence robot learning how to be human in Ex Machina (2014), makes for a sympathetic heroine, but there isn't much depth to Lara, and she is denied the fierce mystery and campy appeal that Jolie brought to the character back in the early 2000s.

In his direction, he also follows Mamet, placing his characters close to the camera without much depth of field.

In her past work there have been hints that she could tackle a character as complex and unlikable as Justine, but she shows so much depth here that I was blown away.

Those I know who didn't like it said it was due to it being very thin plot wise, and Hardy's Max not having much depth which made it hard to relate to the character.

I've always admired him in pretty much everything he does, he always does his best to find so much depth to his characters.

But unfortunately, the scripting is much less successful, bouncing from incident to incident without much momentum or purpose, and never really digging into its characters or its setting (it feels like the novel's been faithfully put on screen beat - for - beat, but at the expense of any depth).

There never really seemed to be too much depth in Matt Damon's character and at no point did I find myself empathising with his lonely plight on Mars.

Orlando Bloom is as lifeless as ever as the elf warrior Legolas, although he does appear to possess the jumping skills of a mountain goat, while his fellow elf Tauriel (Evangeline Lilly), a character completely invented by Jackson and his writers, possesses no depth of character at all, which goes for pretty much everyone else here too.

Gallagher Jr. and Winstead, each of whom is more underrated than the last, hold their own against Goodman, offering complex multidimensional characters that find so much more depth than any character ever did in the original Cloverfield.

Pity, then, that outside of Sonny, no one has much in the way of character depth.

Kidman is fine, though her role is only a supporting one, and doesn't contain much character depth, other than being supportive, for her to truly shine.