Sentences with phrase «develop feelings for the characters»

Although most of the events surround quick - time style play instead of taking to the field, you really develop feelings for the characters, thanks to top - notch acting that resembles almost a movie - making like quality.

Not exact matches

Mills» well - developed characters and the casts» amazing performance do much more than make us see, but also make us feel in a way that both sympathize for the characters and reflect on ourselves.

Yet these little pit stops feel more like time killers than effective character moments: it's obvious that Dodge and Penny will eventually develop feelings for one another, but our two leads just don't have enough chemistry to pull off the illusion.

Filmmaker Laurent has infused Breathe with a gritty, slice - of - life feel that's heightened by a series of natural performances, with the various actors effectively transforming their characters into believable, three - dimensional figures worth rooting for - with the movie's watchable atmosphere perpetuated by Laurent's admittedly impressive sense of style (eg there's a captivating montage of the aforementioned protagonists» bond developing).

The show was renewed for a second season, but Cannavale felt that Caffey's character was not being developed.

I also feel they focused too much on just Tara and the other characters lacked the developing story they deserved, like Kate for example, I literally do not know what is going on with her.

I finally warmed to Benton with Nobody's Fool three years ago, and now the splendors of Twilight make me wonder if his auteurist pedigree blinded me to the feeling for character he's developed through his emulation of Hawks and company, and his equally pronounced sense of place.

Not only do you have to come up with something unexpected that will surprise fans of the first film, but the sequel also has to further develop the characters and offer obstacles for them to overcome that feel organic to the story.

Her feelings for John may be a specific catalyst for her gradual transformation, but it's the transformation itself — not the possibility or impossibility of something romantic developing between the two characters — with which Showalter, Terruso, and Field are primarily concerned.

I felt really strongly that what we have here is so beautiful and the way that the character develops, the way it's paid off, and not only that, the horror of trying to manufacture something that — I don't even know what it would have been, but something for the end of this movie that leaves it in a place where the transition is easier, the idea of, «Oh God, how would you fake something like that, and how would it not be terrible?»

There's minimal effort to develop these characters; for example, the attempt to delve into Victoria's past (she was institutionalized as a child) feels supremely clumsy.

That it often feels to be moving rather slowly should not dissuade its audience from enjoying the quietly developing drama, and the eventual outcome for the major characters feels authentic and never gaudy.

They want us to feel something for these poorly developed characters and their problems.

For a movie that hinges on a soulless man developing feelings, Criminal is noticeably lacking any of its own, what with its roster of repellent characters and the chilly approach taken by director Ariel Vroman (whose previous feature, The Iceman, was similarly, uh, frosty) and scripters Douglas Cook and David Weisberg — note, as but one example, that the death of a highly sympathetic character (and played by a highly billed performer) is treated as an aside, completely ignored by the person's friends and colleagues and, by extension, the filmmakers themselves.

National Schools of Character exemplify CEP's Eleven Principles, among them defining ««character» comprehensively to include thinking, feeling, and behavior»; implementing «a meaningful and challenging academic curriculum that respects all learners, develops their character, and helps them to succeed»; providing «students with opportunities for moral action»; and using «a comprehensive, intentional, proactive, and effective approach to character developmenCharacter exemplify CEP's Eleven Principles, among them defining ««character» comprehensively to include thinking, feeling, and behavior»; implementing «a meaningful and challenging academic curriculum that respects all learners, develops their character, and helps them to succeed»; providing «students with opportunities for moral action»; and using «a comprehensive, intentional, proactive, and effective approach to character developmencharacter» comprehensively to include thinking, feeling, and behavior»; implementing «a meaningful and challenging academic curriculum that respects all learners, develops their character, and helps them to succeed»; providing «students with opportunities for moral action»; and using «a comprehensive, intentional, proactive, and effective approach to character developmencharacter, and helps them to succeed»; providing «students with opportunities for moral action»; and using «a comprehensive, intentional, proactive, and effective approach to character developmencharacter development.»

Chief among our core elements are: our college - prep curriculum in the liberal arts and sciences that fosters in students the desire and capacity to learn independently, think critically, and communicate proficiently; our supportive school culture in which students are given tools to develop character, gain confidence in their ability to learn, take responsibility for their own learning, and both support and feel supported by the entire community; and a strong co-curricular program in athletics, performing arts, and a host of after - school clubs that pique and develop students» interests.

«For example, in the Manga workshop run by Matthew Lin, the students drew manga characters; Candy Royalle's poetry workshop led to students creating pieces of poetry — some of which were later published online; John Larkin and JC Burke worked with students to develop «show don't tell» writing skills whereby they took a word like «walk» and then all the synonyms associated with that word — for example skip, hop, stumble, sprint, shuffle, stride — and learned how each word has a nuanced meaning and how this can change the feel of a teFor example, in the Manga workshop run by Matthew Lin, the students drew manga characters; Candy Royalle's poetry workshop led to students creating pieces of poetry — some of which were later published online; John Larkin and JC Burke worked with students to develop «show don't tell» writing skills whereby they took a word like «walk» and then all the synonyms associated with that word — for example skip, hop, stumble, sprint, shuffle, stride — and learned how each word has a nuanced meaning and how this can change the feel of a tefor example skip, hop, stumble, sprint, shuffle, stride — and learned how each word has a nuanced meaning and how this can change the feel of a text.

Students: - Visualise a world and respond to text (psycho drama)- Relate parts of the story to personal experiences - Put themselves in someone else's shoes and describe a characters feelings - Respond to directions - Use movement, facial expression and gesture to convey meaning and show emotions - Create soundscapes - Collaborate with peers to create scenes and contribute ideas - Contribute to guided drama experiences - Develop creative ideas - Practice rhymes from the story Check out my store for more drama resources!

Our goals are To create awareness among educators of how and why intentional character education can lead to higher achievement and lower discipline issues among students; To support a school's culture that honors and values positive character traits; To provide assistance in developing and supporting the school's foundation for creating a positive school climate; and To help students know, feel and act upon core ethical values.

«Pieno Fiore» is like no other leather used in the automotive industry for its natural, soft feel and for the unique character it develops throughout the years.

I feel her character needed to be further developed throughout the story, rather than suddenly become the cause of the accident and the need for Annie's actions after the accident.

I also felt some of the town's people, Mal Deacon for example, could have been developed more by «showing» rather than «telling» about his unsavory character.

Throughout the journey strong paternal feelings are developed for the supporting characters who, at times, just steal the show.

The same goes for characters: Balthier, Fran, and Ashe are well developed, albeit a bit on the tropey side, while Vaan, Penelo, and Bash feel more secondary characters, which is baffling, considering that Vaan is the main character.

So you already know what you get once you go looking for a Omega Force developed game, and if you don't allow me to educate you the easiest way I know, they all feel like playing a Dynasty Warriors game with other characters, story and some tweaks to gameplay mechanics.

This feels less like a good anime (pressing plot, well developed character, etc) and more like a long and fancy advertisement for the online game.