Even the best of us make mistakes, but the way we deal with them reveals more about
our character than the mistakes themselves.
Not exact matches
A real girl has more infinitely more perfections and imperfections
than the dream image of a real girl, and great architects sometimes make the
mistake (like the Ellen Page
character) of thinking that natural constraints artificially limit them.
The
characters in them seem to make
mistakes just like I did so perhaps that helped me identify more with them
than in some other books.
If you are interested in being more
than just a friend, it is best that your partner understand who you are and not make
mistaken assumptions about your
character that will need to be corrected later.
Made the huge
mistake of making the supporting, even marginal,
characters a heck of a lot more interesting
than the leads.
By focusing so strongly on Cruise's «Nick Morton»
character, The Mummy makes its monster little more
than a background prop, a
mistake future movies probably won't make (bigger stars, like Javier Bardem and Johnny Depp, are confirmed to be playing Frankenstein's monster and the Invisible Man respectively).
It goes without saying that Judy is a strong female
character (and probably better written
than most live - action female heroines), but her journey isn't without faults and
mistakes.
Eszterhas's campy screenwriting is gone, and in its place is an equally explicit, but very dry pulp erotic mystery by Leora Barish (Desperately Seeking Susan, Venus Rising) and Henry Bean (Deep Cover, Internal Affairs) that seems to make the fatal
mistake of taking its
characters and plot a little more seriously
than it should.
But sadly whoever made those final decisions were
mistaken to think investing in
characters that had no following whatsoever, and half the time were from movies that flopped, would sell more
than those who have proven to still be successful for generations.
And make no
mistake: The Exorcist is most definitely a horror film: though it may be filled with rigorously examined ideas and wonderfully observed
character moments, its primary concern is with shocking, scaring and, yes, horrifying its audience out of their wits — does mainstream cinema contain a more upsetting image
than the crucifix scene?
It's a darker, less chick - flick vision of relationships and New York life
than many of the family sitcoms we're used to and the
characters are not so much likeable as relatable for the
mistakes they make and the opposites - attract nature of their crumbling partnership.
It's a
mistake as far as I'm concerned but at least it works better in this film
than it did in the first chapter, ironically enough in part because of a new
character who is nowhere to be found in any of Tolkein's fictions: elf warrior Tauriel (Evangeline Lilly), who brings some much - needed passion to a film filled with
characters reduced to stock types.
No matter which system you play on, Mario Kart is serious business, and if you make the
mistake of choosing someone else's
character, things get ugly faster
than it takes to launch a blue shell.
But sadly whoever made those final decisions were
mistaken to think investing in
characters that had no following whatsoever, and half the time were from movies that flopped, would sell more
than those who have proven to still be successful for generations.