Sentences with phrase «character than his actions»

It wasn't a hit when it came out — director John Flynn was better with character than action and never really gets the blood pumping through it — but it is still a smart, lean thriller and a minor gem of the modern crime genre.

This early scene actually does more to define his character than his actions throughout the rest of the film.

Like Batman Begins and several other films that seek to re-envision the origins of their heroes, Star Trek focusses more on character than action, with conflict at a personal and inter-personal level favoured before the inter-planetary.

Not exact matches

Jennifer Aaker, the General Atlantic Professor of Marketing at Stanford GSB, says that people embrace and remember narratives, which can be rich with characters, emotions, or actions, far more than they recall facts and data.

Equality of opportunity was passé; racial quotas masqueraded under the euphemism of «affirmative action»; King's righteous demand that his children be judged by the content of their character rather than the color of their skin was inverted by race - hustlers and shakedown artists» an inversion subsequently validated by activist judges.

He went on to say: «The other arts — architecture, painting, vestments, and the arts of movement — each contribute to and support the beauty of the liturgy, but still the art of music is greater even than that of any other art, because it forms a necessary or integral part of the solemn liturgy, because it is so intimately bound to the sacred action, defining and differentiating the various parts in character, motion and importance.»

What is deeply troubling about tragedy is that it involves more than our individual will to action, or our intellects; it involves character flaws so grave that they permeate the actions of complete families and whole communities.

International law is a collection of justifications for military and diplomatic action or inaction, rather than something with a true «legal» character in the conventional sense.

Senior party sources said it was Cameron's «Flashman» approach and his «character» failings, rather than Labour's actions, that explained his Commons humiliation.

Specifically, participants were less likely to make negative character inferences from their own unethical behavior than from others» unethical behavior, believed they would feel worse after an unethical action than others would, and believed they were less capable of extreme unethical behavior compared to others.

Emily Blunt is, thank god, given a bit more to do than the standard «Please explain the plot to me and protect me» action girl character, and, as ever — really, is there a more appealing young actress working today?

Good for action fans, bad for those wanting more from the characters than their ability to blow things up.

What's the Deal: More character study than action movie, this adaptation of Martin Booth's 1990 novel «A Very Private Gentleman» is instead concerned with the inner workings of its amoral antihero, whom we witness do very bad things at film's start that haunt him until the very end.

If its characters, music, and action seem to an adult less than inspired, that's the price one pays for watching a straight - to - video sequel.

Rather than coming off as an empty paean to the fans, though, the filmmakers» desire to focus on the characters as real people even in the midst of pitched battle keeps even the shallowest viewer of the series engaged in what could have easily been just mindless action set pieces and explosions.

While it would have been more varied if they had included more than just a handful of characters from older entries, it still creates an enjoyable action packed spin - off for new and old Fire Emblem fans alike.

Director Ron Howard brings his usual light touch to the proceedings and manages to hold the viewer's interest even through the narrative's oddly action - packed final third (ie once the truth about Hannah's character is revealed, the film becomes more of a thriller than a cute little romantic comedy and there's even a chase sequence as the army attempts to capture the mermaid / woman).

The art of visual story - telling — where images and action indicate the emotional state of characters, rather than have the actor tell you how angry or sad or excited they are — has almost been lost.

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.

In between beautifully designed and executed action set pieces, we get some extremely good character bits and, in a first for the franchise, a female character who is more than Hunt's match in every regard.

Wheatley and Amy Jump, his frequent screenwriting partner, can't afford to let the action flag for long, so the characters never amount to much more than their immediate tactical advantage or disadvantage.

Beauvois is less interested in the moment - to - moment thrills of the story than in the rippling effects that the characters» actions have in the long run.

Ash's vivacious vocabulary is largely intact, but this series needs more creativity in its stories, side characters (who've more than earned their own plots) and action scenes — not just in dumping blood everywhere.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world's cutest cat (other than yours if you have one) combine to create a gut - busting, endearing, salty - sweet, and highly re-watchable comedy.

To get a really good and entertaining film, you need: 1) characters you care about 2) a plot that is more than twenty words when boiled down 3) stunning action (on which Transformers delivers 4) believability and credibility And all Transformers has is eye candy.

A fiendishly effective holiday - gone - wrong thriller that's better at cranking up the agoraphobic action than fleshing out its characters.

Rather than a cohesive narrative, Avengers: Infinity War resembles the penultimate sequence of every Marvel Studios production that has come before, an exhausting series of ultimately futile action scenes that endlessly proclaim the goodness and importance of the supposedly heroic characters as they engage in battle against an all - powerful foe.

That said, it's largely action and character driven, though with so many characters in play there's no way to avoid the necessity of some getting far more attention than others.

Roaring through 160 minutes of action, humor, character development, epic evil and moving nobility, it is darker and edgier, yet lighter and more stirring than anything offered in another superhero franchise.

He has no better idea of how to stage action than anyone else in the Marvel cinematic universe, but he excels at capturing believable interactions between characters, mixing believable dramatics with comic exchanges that are consistently amusing.

Even in the movie's most conventional stretches, Blomkamp puts things across with terrific verve, using action and computer effects to enhance rather than trump story and character.

Written and directed by Karen Leigh Hopkins, the film's tone looks to be all over the place, but it's good to see James Badge Dale as something other than a supporting character in an action blockbuster.

Willis O'Brien did the stop - action animation for this 1933 feature, which is richer in character than most of the human cast.

Other than a token fealty to the variable degrees by which characters» actions are governed by some sense of human connection instead of purely self - interest, Predators doesn't offer up much in the way of subtext or nuance.

Both Thor and Thor: The Dark World presented us with something drastically different than what was before it, including expanding beyond the cosmos and accepting the God - like characters as normal, which really pushed the medium of comic book films, while also blending humor and action in a way that made the character both interesting and viable.

But where Infernal Affairs is less interested in psychological nuance than in Eastern - style elegance of action, Scorsese and Monahan showcase Western - style, actorly character building at its most enjoyable.

It's still a show defined more by emotion than plot, but structuring it this way — and moving most of the action to Jarden, which has many mysteries of its own — creates a sense of more momentum, rather than a bunch of characters wandering around in a daze.

Unfortunately, when those same character actors aren't given roles with any depth, their skills are practically useless, and what could have been a film as exciting as Jones» previous similar effort, THE FUGITIVE, becomes little more than another RAMBO style action vehicle, with about the depth to match.

Rather than with a hail of bullets or whiz - bang haphazardly edited action sequences, the lead character of Sarah defeats the villain with smarts and intelligence.

Affleck's first time at bat as a filmmaker is more than promising, it's strikingly assured, showing a keen eye for the exact moment when action defines character.

All the characters, in fact, have more fullness and surprises than the action - movie norm.

Olympus Has Fallen comes from a long line of dumb action flicks that are more concerned about high body counts and how many rounds of ammunition can be pumped into nameless causalities at high speeds than little things like plot, logic, and character.

While many action films rely more heavily on their stunts than on their characters, «Faster» had the potential to offer a balanced mix of both.

His masterful composition of muted colors and tense but understated score, his visual focus on the characters rather than their actions, and his subtle but powerful use of camera elevate this story above its exploitative trappings.

We know nothing about these characters, even their names are replaced by colors, most of the action takes place in an isolated warehouse, and the amount of gore and profanity can surely upset more than a few people; however, even with all these limitations, the story is entertaining, and brutally powerful.

No longer limited to terse radio transmissions, Metal Gear 2's plot played a much larger role in shaping the flow of the action, and turned Solid Snake and his peers into legitimate characters rather than mere pixel avatars.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

10:00 PM — 11:00 PM» focused a lot on the characters and story rather than pulse - pounding action, though the final few minutes -LSB-...]

A foul - mouthed send - up of testosterone - infused, small - budgeted»80s action flicks, MacGruber is more of a functional than revelatory success — its script doesn't really substantially or satisfyingly delve into a number of amusing character defects it sets up for its self - involved hero.

Stone's subsequent effort, the erotic thriller Sliver (1993), was an example of this: the actress attracted notice less for her acting than for her willingness to simulate masturbation Her role in the following year's The Specialist was also fairly limiting; an action flick co-starring Sylvester Stallone, it called for Stone to run around in a tight dress in heels when she wasn't seducing various characters.