Sentences with phrase «emotional character moments»

From jail breaks to fixing cars it uses both players» time beautifully while still fitting in great set pieces, emotional character moments, lighter moments, and a truly memorable ending.

Nevertheless, most people would agree that the rest of the game is actually pretty damn amazing, overflowing with awesome action, rich storylines, and emotional character moments.

The Hunger Games: Mockingjay - Part I has very little about the actual games, but a lot of emotional character moments and a really great cast.

The film's uncomplicated plotting allows plenty of space for goofy little throwaway gags — like a running joke about the young McGregor's feeble attempts at birdwatching — that other films might have cut to make way for various subplots or emotional character moments.

Not exact matches

We needed to trim it all out so we had the moments to have the emotional connection between the characters.

This reception of emotional tone is combined with the vector - character of prehensions or feelings in order more fully to describe the primary phase of a moment of experience:

It is an emotional moment in the movie — evoking empathy for the horse that is unique to our species (I had tears in my eyes)-- but it got me thinking: If animals are truly our equals, the characters had no business sacrificing the horse to save the human.

Studi, Beach, and Kilcher also get their moments to shine in Hostiles, despite their characters» own emotional journeys coming across as a secondary concern to the film.

Yet, what I found instead were a few great moments in an otherwise choppy narrative with a distinct lack of emotional connection (amongst most of the characters, and between the characters and the audience).

It's nothing like a safely commercial film: like Ex Machina, it asks viewers to be patient with its mysteries, and with the relatively subtle emotional responses of a group of characters who are all clearly repressing their fear and frustration, right up until the moments where they explode.

And while the movie's obvious highlight comes with Roma's brutal dressing - down of Kevin Spacey's officious manager, Mamet's screenplay affords virtually all of the actors their moment in the sun - with Lemmon's sad - sack of a character ultimately standing as the film's emotional center (ie despite his exceedingly slimy actions, Levene becomes a figure worthy of the viewer's sympathy).

Another rotten romance inexplicably released by formerly respectable indie studio Miramax, «Boys and Girls» is a badly miscast and sadly stagnant collegiate rip - off of «When Harry Met Sally,» devoid of a single moment of emotional sincerity or even a single character interesting enough to care about.

But where Superbad improves upon the recipe of those relatively - superficial offerings is in the attention it devotes to character development which, in turn, allows for the cultivation of an emotional arc, some warm and fuzzy moments mixed in with the mirth, and ultimately a satisfying denouement.

That said, when a number of major emotional moments in Infinity War are based entirely on character development established in previous movies, it sometimes comes off as cheap and unearned.

But the more Molly's Game tries to decide what its story is about rather than just telling it, the more the film feels like it's trying to «solve» Molly rather than portray her, to the point where its two big emotional moments involve Molly being sat down and informed about her own daddy issues by one male character, and getting passionately defended by another, her lawyer (Idris Elba), while she stays silent.

Sterritt ** Eight characters attend group therapy for 21 weeks, and we watch selected moments from their highly emotional sessions, where they face down a variety of psychological problems.

But that film had moments which were truly shocking and allowed the violence to have an emotional impact on the characters and audience.

And although the CGI clearly was made in a different era, it was still a very entertaining film that not only had moments of tension, but also an emotional charge thanks to Robin Williams and his character.

Your films have always portrayed characters at pivotal emotional moments in their lives — whether that's the postcollegiate existential crisis of My Sex Life or the familial unraveling of A Christmas Tale.

This is a show of modest character beats and human moments sprinkled with plenty of humor and the occasional emotional peak.

The best moments of Drinking Buddies are when emotional tension is displayed without dialog because the characters are so well established that we know exactly what they are thinking.

Filmed in one long take, the acting and the timing of the characters and their actions is perfect, creating one of the most emotional moments in recent movies.

There's plot and there's character, but tone defines Alexander Payne's films — often they have a very particular low - key mood, and «Nebraska» is full of little, quiet moments, both emotional and funny.

Throughout La Vie de bohème, the novel's romanticism is undercut by the ridiculousness of the characters waxing intellectual in their impoverished circumstances, which then makes the few moments of seriousness (such as the final scene, in which Rodolfo's lover dies) refreshing and surprisingly emotional in contrast.

We've got much more piss your pants one liners and forth wall breaking tomfoolery from Wade, it's sweet sensitive and extremely emotional in parts (not since the finale of T2 have I sobbed so much), the OTT action and gore makes a hatchet fight in a Butcher shop look clean in comparison with moments to make hardcore Gore - Geeks give a huge hooray, the cringe worthy «oh no he didn't» moments are rife, there's a touching subplot about what it really means to be Family and also we are treated to an array of colorful supporting characters including an excellent turn from Josh Brolin as futuristic super soldier «Cable», a wonderful performance from upcoming young talented star Julian Dennison (hunt for the wilder people), the obligatory Hugh Jackman cameo and a mega hard Super Villain who makes his previous onscreen incarnation seem like Vinny Jones in a giant penis suit... Oh wait!

He is a master conductor who plays scenes like symphonies of feelings, continuing long past the narrative point has been established to express the emotional intensity of the characters and situations, and to add moments of pure grace to the mighty drama.

In more intense or emotional moments, the voice acting and sync with characters broke me out of the experience and dulled the impact of some scenes.

It's an indie movie, so of course the character of Miss Stevens is something of an emotional mess prone to poor choices, and there's a cute, boundary - pushing high - school boy so you're kind of constantly waiting for the other shoe to drop, but Miss Stevens is smart enough to navigate some of that by - the - numbers terrain to end up in some unexpected (and rewarding) emotional moments.

Captain America #CivilWar featured fantastic character driven writing & smart directing with both intense action & emotional moments as well

Playing a rougher, more emotional variant of his character from Drive, Gosling is perfectly cast and commands one's attention every moment he's on screen.

As a depression - prone war photographer whose death has sent her husband and two sons into decidedly separate states of emotional denial, she's a dangerous open wound of a character even from the confines of flashback; at one point Trier closes in on her silent, trembling, feeling - flushed face for what feels like a full exquisite minute, and it's the most riveting moment in the entire film.

I Don't Feel at Home in This World Anymore is the movie of the moment, and if you get emotional over it, know that you have company in its main character.

Not fearless enough to nose the camera in the dramatic mire, like a soldier to the cause in a personal guerrilla war, Diego Luna «s film beckons a paint - by - numbers summary of the man's greatest achievements, the spark notes of a six - plus year period that glosses all with thin coats, rarely taking the opportunity to remain in the moment and settle in with the hard - won emotional beats of the characters.

It would be easy for a viewer to not be able to see the forest through the trees, but Carnahan is remarkably adept at letting each character have a moment to make a lasting impression and to establish a genuine emotional connection with the audience.

There are some beautiful, heartfelt moments that transpire during this portion of the story, the emotional components always working on multiple character - driven levels throughout the story.

It takes the humor and character moments up a few notches, resulting in a surprisingly hilarious and emotional sequel.

Most of the story surrounding the true antagonist doesn't even make much sense, but it's easy to roll along with because the actor and character work from Will Smith, Margot Robbie, Jared Leto, Jay Hernandez, and Viola Davis (she plays the ruthless straight - faced top secret agent putting the band together) is very strong allowing a number of emotional moments to resonate.

Prickly, acerbic, and not without its rough edges, it's an enjoyably dark humored film wisely settling for small moments of emotional realism rather than exaggerated dramatic flair or tragicomic satire of its flawed characters.

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.

This «in case you missed our movie» moment caps the movie's strained but hollow attempts to earn emotional resonance, and the mishmash finale, featuring a coda of characters we know nothing about followed by an epilogue followed by yet another coda, frustrates as a further reminder of how little we care about what has happened.

Though the film experiences a few turbulent moments as it goes though its final third, we're so invested in the characters and their situations by this point, that there is substantial emotional potency to keep the tone elevated enough to maintain a strong vested interest in what develops.

While chords are certainly struck regarding the difficulties of the black debate team in finding acceptance, or at the very least, tolerance from the white campuses and communities they must traverse through, too many liberties are taken with the original story in order to ultimately give us that feeling of emotional connection to these characters that would have tears welling up in our eyes for their final moment of triumph.

The performances from Benedict Cumberbatch and Martin Freeman evolve as every episode grows, the actors getting some more emotional and character driven moments to work with.

At the same time, the silence is alienating, heightening the emotional moments when characters can steal moments of spoken word (as when he does with his son, or with his wife).

In «A Company of Werewolves» (16:09), the interviews cover main casting choices, and Dee Wallace Stone explains her rather emotionally draining approach to portraying her repressed character — «living in the moment» — which sometimes posed challenges for the director when the next scene was an emotional antithesis.

She simply asks that we pay attention and observe the details of her characters» worlds with as much care as she takes to portray them, trusting her to reveal their significance at the right emotional moment.

These scenes feel special because it's in these moments that we get to see the emotional side of the characters.

Again, this is a series where the characters and emotional moments keep things grounded, and I always enjoyed the fact that I learned something new with every volume.

From the childhood struggles of Nate and Sam as orphans, from emotional highs and stresses on relationships with the people closest to Nate, from moments of pure happiness and camaraderie, to moments of utter loneliness and hardship that stresses every ounce of your character to the brink of what he can handle emotionally and physically.

They shove in some stupid supposedly emotional moment in the end with characters I could barely remember the names of (really what's so significant about Alistar that made him worthy of copying The Boss's death?).