Sentences with phrase «character than death»

In a lot of ways, the scenery and landscape has more character than Death himself.

The answer is seldom to kill people, but that's only because there are far worse things that can happen to a character than death.

Not exact matches

Face characters, as they were called, like Belle or Prince Charming or anyone who doesn't have to wear a thermal death - suit, get paid $ 3 an hour MORE than the «furries.»

It's difficult to critique this in a spoiler - free way, but to use the example of A New Hope, while the Death Star was a looming, terrifying presence throughout, the big threat to our heroes in this film seems to appear quite late in the day, and seems more important as a plot device to bring key characters together than a genuinely gripping menace.

It is no accident that in Gerbner «s TV - violence profile, lower class and nonwhite characters are especially prone to victimization, are more violent than their middle class counterparts, and pay a high price for engaging in violence (jail, death).12.

The Book and the Brotherhood, for instance runs to more than 600 pages; it has at least eight major characters; and its themes include love and the failures of love, death, belief and disbelief in God, friendship, Marxism, and the social condition of contemporary...

The Book and the Brotherhood, for instance runs to more than 600 pages; it has at least eight major characters; and its themes include love and the failures of love, death, belief and disbelief in God, friendship, Marxism, and the social condition of contemporary Britain.

It is no accident that in the Gerbner TV - violence profile, lower - class and nonwhite characters are depicted as especially prone to victimization, as more violent than their middle - class counterparts, as paying a high price for engaging in violence (jail, death).

Christianity had that radical character in keeping with the Gospel which made its members endure death rather than renounce the One to whom they lifted up their prayers.

There are more than few moments where death comes to Hogwarts and it is shattering to see beloved characters lying on the floor of the ruined school's main hall.

Knaggs» character, a mute seaman, narrates the film's key sections with an internal voice - over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs» seaman ultimately rescues the hero from near - certain death.

We get to see cheesy, poorly produced scenes of lame flirting between Troy and Riker inbetween plays of the Holodeck program, one of the main Enterprise characters dies in a really forced, badly - directed and pointless way (the character deserved a much more meaningful and dramatic death than that at least).

Even though it has great humour and lots of crazy characters, Death Skid Marks is nothing more than a repetitive and uninteresting experience.

Now it seems she's out to prove she's more than a cute - faced belle by portraying the particularly nasty title character of director Miller's final film, completed before his death last year.

Palestinian villager Burnat documented the Israeli invasion of his homeland in the West Bank, filming everything from peaceful protests to escalating violence that led to the deaths of more than one main character.

(It's perhaps worth noting here that the rights to the Deadpool character are owned by 20th Century Fox, so he inhabits the same super-verse as the X-Men, rather than that of the Avengers et al.) What Wade doesn't know is that the procedure in question involves his being tortured to the brink of death for weeks (months?)

The fact that major characters come close to death more than once and you never feel a thing about them possibly dying is also a major problem.

Those later elements are really the only thing that sets this apart from the countless other cop - tracks - down - a-killer movies out there, because for all its clichéd plot points and stock characters, it's obvious screenwriters Robert Fyvolent, Mark R. Brinker, and Allison Burnett are more concerned about coming up with graphic death scenes than anything else.

Though Winona Ryder made a bit of a splash in 1988 in Beetlejuice, in which she's hilariously deadpan (befitting a character who starts out more interested in death than life), she truly became a star when she landed the lead role in one of the most demented high - school comedies ever made.

The ever - reliable Kevin Spacey is on his usual consistent form as the title character, a smugger - than - smug academic and anti-death penalty activist who ends up on death row (wouldn'tcha know it!)

Fresh off making his own directorial feature debut with Love Is Colder Than Death (1969), Fassbinder delivers a revelatory performance, commanding every frame as he channels the character's dark and provocative energies.

As Marvel's first successful comic - book - to - film adaptation, the original «Blade» instantly became an underground hit with the sleek, yet comical Wesley Snipes headlining as the title character, and even «Blade 2» was more than a mere duplicate thanks to its thorough vampire history, but «Blade: Trinity» is nothing more than a blended carbon copy with a bloodthirsty desire to maximize the death count.

Though he does a better job for longer than you'd expect, director Alan Taylor (who transitioned from respected cable dramas to film on 2013's pretty good Thor: The Dark World) can not overcome the fact that there's only so much a person needs to see of one indestructible character fighting another, each bouncing back from seemingly certain death on multiple occasions.

Admittedly, it is a scary experience but more often than not, it ends up being an unsatisfying journey in the dust cloud that finishes with the death of your character after failing to find the objective.

In that sense, his death could feel more like Adam Warlock's in the comics, and a removal of the Infinity Stone could mean a lot worse than just the absence of a beloved character.

During a recent appearance at Walker Stalker Con, Chandler Riggs — the actor who played Carl for more than seven seasons before his death at the start of 2018 — talked about the relationship between his character and the monstrous murderer played by Watchmen and Supernatural actor Jeffrey Dean Morgan.

Now, these characters are nothing more than moral avatars, wrestling with questions of disease and death.

Executive producer Steven Spielberg worked tirelessly to negotiate the use of more than 140 beloved cartoon characters in the film, making this the first time that Warner Bros. and Disney characters shared the screen and the last time Mel Blanc voiced Bugs Bunny and Daffy Duck before his death in 1989.

Our pivotal teenager characters, the sensitive Bottoms, best friend Bridges, and rich - bitch Shepherd, who comes between the boys for a time, may each lose their virginity, but they are so unfulfilled and confused that their rites of passage signal more the death of youth and innocence than a new - born maturity.

Deaths happen, often demanding relevance or some sort of emotional catharsis despite the deceased being little more than recently introduced underdeveloped fodder, and when the characters that do matter die, the film rushes on without giving the moment a chance to breathe.

And speaking of carnage, there's no shortage of it here — in true slasher fashion, not a single character is safe, with each and every death being more absurd than the next.

Even Woody Harrelson's boozy sage, one of the few characters not weighed down by imminent death, is more of a depressing drunk than an entertaining one.

As easy as it may be to analyze a thriller like Panic Room to death, the film offers more than enough insight into its characters and situation to keep whatever flaws may exist as afterthoughts, and ones that are easily dismissed when placed within the context of other details.

Smaug is more than just a source of fiery death; it's a vain, taunting character with feline movements and an attitude of amusement toward the tiny thing that has stupidly dared into its lair.

But at a longish 2 hours and 14 minutes, the movie never gets to addressing what happened to Owens after the 1936 Olympics, other than a quick rundown of the fate of the main characters (Owens remained with girlfriend, then wife Ruth Solomon until his death in 1980, the movie tells us, and the couple had two more children).

Fate plays a particularly rough game of cat and mouse with David, whose mouse's tale is notable for electric prose, ruminations about life, death and fate, and characters who are larger than life, larger than fate.

While Ursula is every bit a mortal human being, with every death — and there seem to be more opportunities for death for this character than one would expect in a normal person's lifetime — she is reborn in the current time period.

Focusing on the relationship between life and death, Final Fantasy features some interesting themes and actually aspires to be something more than just a mindless string of action sequences featuring some barely recognizable characters.

Here, the main characters have a better time than the previous team, which is odd considering the amount of deaths they have experienced in a couple of days.

Admittedly, it is a scary experience but more often than not, it ends up being an unsatisfying journey in the dust cloud that finishes with the death of your character after failing to find the objective.

However, death is perhaps too swift and because the monsters move significantly faster than the player character, it can get very hard to glean the best opportunities to fire off a shot.

A much bloodier and occult version of Zelda, this open - world action game is supposed to be as challenging as it is entertaining as Fury is a much more magic - based character than its predecessors: War and Death.

Being a simple high school student means that Younho can't withstand many attacks and his hearts will drop down fairly quickly, reminiscent in style of the earlier Resident Evil games where player characters were ostensibly normal, squishy human beings rather than the invincible death machines of more recent titles.

More often than not, players will solve the puzzle long before they are able to complete the stage simply because the characters are so unresponsive, leading to unnecessary death and a level restart.

More than 25 years after his death, it is clear that Stamm's persona and character, his optimism about painting's enduring possibilities and future advancement, and his expanded practice both in and out of the studio were of great significance to his artist contemporaries.