Sentences with phrase «do much dialogue»

«We don't do much dialogue — most of Armando's drama is monologue, directly addressed to the public.»

Not exact matches

Much of the game's dialogue and characters are poorly done caricatures of American stereotypes: the sheriff, the preacher, the conspiracy theorist, etc..

If the Church is cautious in questions of doctrine and discipline, perhaps even more so than in the past, if she waits for more information, carrying on a dialogue, perhaps even leaves much to the conscience of the individual, all this does not mean that the authorities have grown cowardly, they have not, for this reason, given up their responsibility and their power.

Koshi Koshi and I. Eapen who earnestly tried to enter into dialogue with the converts did not meet with much success because the Pulayas» conversational style and skill were different from what they expected.

To treat them as though they were less serious and less interesting than this is to misunderstand and mistreat them, as interreligious dialogue and much of the academic study of religion typically do.

What spoke to me through this story, is how much this pastor knew the people in his church (you and I have the same definition of church, however I'm using the word here as it applies to this group of people I feel the problem in many churches today (and why dialogue during sermons wouldn't go over well) is that the pastors do not take the time to invest in the people they are trying to teach.

As is underscored in the 1994 declaration, «Evangelicals and Catholics Together,» to which McGrath is in part responding in his article, much more needs to be done in specific dialogue with evangelical Protestants.

Lear marvels that so much of what passes for commentary on Socratic irony in Plato's dialogues has to do exclusively with the question of whether Socrates dissembles, whether he wears a mask of unknowing behind which lurks either certainty about important matters or skepticism, perhaps even nihilism.

Reviving the vision of the Greek Fathers it saw Jesus Christ as the recapitulation of the whole of history, but it did not offer much specific development of philosophy or theology to underpin a new apologetic able to inform a fruitful dialogue with modernity and a new call to faith.

He presented to the Church of his day, after much dialogue and discussion, a doctrine of Original Sin which the Church recognised as true in all essentials to what she did in fact believe.

I love being part of ecumenical dialogues because I always learn as much about my own family of churches as I do about the other traditions represented.

But actually requiring a dialogue, question and answer, interactive discussion about a text of Scripture, which then leads to brainstorming about how everybody can go out and put it into practice in tangible ways, and then actually going out and doing it, requires too much for most people.

This is much to be regretted, not for any reasons of personal ambition, which I abjure completely, but because in the cause of postpartisanship (if not postmodernism) I believe a participant from the Culture 11 group (may it rest in peace) would add immeasurably to the depth of the dialogue going on within the administration, mixing it up with the likes of Susan Rice and Samantha Power (reminding them there was a free election in Iraq on Saturday), or with Lawrence Summers (recalling to him, since he failed so conspicuously in stimulating the women at Harvard, how one might do better with the economy).

In this dialogue, Beth tells us about self - care as the foundation for happiness, having a schedule as a way to avoid stress, why she doesn't believe in the idea of work - life balance, and how her routine has changed since becoming a mother, as well as her newfound love for weight training, the adaptogens and herbs she incorporates into her everyday potions, beauty, motivation, sustenance, and much more.

But, as much as I wanted that idea to take off, I thought the dialogue was often stilted or didn't ring true, and the plot felt forced.

I guess now that I think about it, some of the side character dialogue is, but you don't have to talk to them much.

But for me, labor was a solitary thing, something I wanted to do independently without much participation or dialogue from others.

«In that spirit, I am writing to you today to open a dialogue that I hope will help us work together to enact much - needed reforms on which the NFIB and the WFP now stand united: Enactment of a property tax and a spending cap, reducing state spending and our job - killing cost of doing business and fighting efforts to increase taxes even further in New York.»

«Our current political system is based too much on scripted messages and doesn't give many opportunities for this kind of honest dialogue.»

I didn't realize that there was so much dialogue about disliking the 30 for 30.

The film's dialogue is horrendous, so there's not much he could do.

Some of the characters, beginning with Matt and closely followed by Peter, don't register much at all, leading to the thought that DuVall should at least have brought aboard a writing partner to help create more distinctive characters and dialogue.

(I don't know how much dialogue is taken from the novel.

It doesn't try to show some drastic change, but it does attempt to convince others that change can indeed happen, it also never puts blame on one person, because obviously with marriage it is a joint effort, there will be trials and on other occasions it simply won't work, but time and commitment can change that, rarely can a simple film like this address so much in such limited issues, but sharp, often improvisational dialogue and strong performances create a very real and insightful piece that underplays everything for maximum effect, which works.

It hews to the most obvious tropes of case - of - the - week shows about oddball visionaries partnered with law - and - order sharpshooters, and in the first hour at least, doesn't pay its audience much respect when it comes to the plausibility of dialogue, character motivations, or the security procedures at a mental institution for former future - convicts.

The dialogue doesn't crackle as much as it should, the imagery is typical money - money - shiny - shiny music video fare, and the humor is uniformly shallow and unclever.

The Dolby Digital Plus 5.1 mix is dialogue - based and not bad, but don't expect much in the way of sonics despite the surrounds.

A psychological thriller that doesn't thrill much and whose ending we can guess halfway through; but if you're a lover of smart dialogue and intelligent characters, you won't be disappointed.

Otherwise, Rampage doesn't have much to offer: The plot is cursory, the dialogue is repetitive and the psychology is cheap.

I don't know who was responsible, but much of the dialogue here has an awfulness I thought impossible with a movie of this pedigree: it's a testament to Jolie's direction and O'Connell's acting chops that Louie's mantra, «If you can take it, you can make it,» is merely cringeworthy.

Though «Highball» doesn't hold much of a candle to Baumbach's later successes, it's still a must for Baumbach diehards, as it contains the director's penchant for quick - witted dialogue and his laid back style, even if it's a decidedly lesser effort.

He'd been working on the script for eight years and had been inspired to move into directing by his desire to make sure it was done right («I suddenly realized that I'd written a bunch of descriptions without much dialogue to go along with it.

This is perfectly in keeping with the style of the Broadway production, which features much more of this style than the film does, with Condon beefing up the dramatic dialogue for purposes of an easier narrative and deeper characterizations.

While I love the way Gerwig and Baumbach's rapid - fire dialogue moves and breathes, it's difficult to not notice characters don't really talk to each other as much as they talk at each other, divulging random personal facts with little to no follow up.

Thornton, whose character in The Man Who Wasn't There was borderline mute, returns as a chatterbox this time around, spouting nearly as much dialogue in his first onscreen minute as he did in the entire previous film.

Fredrik Edfeldt's feature debut is the type of film I long for and rarely get: a beautifully shot film which captures as much emotion and story from silence as it does from any dialogue.

Sherlock, much like Doctor Who, has a heavy amount of technical or fast - paced dialogue for the leads to deliver, and at 90 minutes, stars Benedict Cumberbatch and Martin Freeman would definitely have a lot of work to do.

But this is Rampling's film, thanks to a beautifully restrained performance that is one of the best of her career and conveys as much with a single glance as does a whole page of dialogue.

It doesn't offer much in the way of immersive surround sound, but the music, effects, and dialogue come through clearly and consistently.

They can depend on score too much to dictate our emotions, instead of letting the dialogue do the work.

Having actors the caliber of Mirren, Clarke and Snook (appearing in her second Spierig production) also doesn't hurt, mostly so much of the film involves slower dialogue - heavy moments.

As far as a plot goes, To the Wonder does not tell a story as much as present a cast, place them in a situation with minimal dialogue, and allow the audience to fill in the vast spaces that stretch out beyond.

For as much as fans of Tarantino love his scene - chewing dialogue (even if people don't really talk like that in real life), there's almost too much in «Death Proof.»

He even manages most of the material better than Michael Clarke Duncan («The Green Mile,» «The Whole Nine Yards») who is just too much of an actor to deliver the cheesy dialogue with the right mix of sincerity and irony, and Peter Facinelli («Can't Hardly Wait,» «The Big Kahuna»), whose thin - voiced delivery doesn't convey the necessary petulant malevolence.

But, as this is primarily a dialogue - driven drama, the track doesn't provide much in the way of surround sound effects or subwoofer action.

What a tedious film.Over acting, wobbly plot, dialogue at times pure drivel and a laughable ending.It really was poor.The film goes straight into a Cul de Sac and can not get out.Way too much nudity from the metro sexual looking Tilda Swinton.Her androgynous body quite turned my stomach.A redeeming feature was the glorious sunshine and powerful light of Italy.The film meanders, wobbles and finally falls down.Older people like Swinton and Fiennes should really keep their pants on at all times.It is acutely embarrassing when the oldies need to do so much nudity (l suspect it is to appease their insecurity that they might not be physically desirable anymore) Horrible attempt at film making

Hopefully she doesn't have much dialogue.

I won't spoil it, but the dialogue that Edgar does have in the film becomes so much more effective because there's so little of it.

Only nearer the end does she really come across as the ultimate female action hero and by that point, the transformation feels a little forced, the dialogue not really hitting home as much as it should have.

Also pleasurable is Terence Stamp, who doesn't need much in the way of dialogue to slip into his commanding role as the Bureau's hitman, a ruthless agent sent to hurt David where it counts the most.