Sentences with phrase «emotional character stories»

This was a shame because Nier has a fantastically dark tale, with multiple endings that tell cryptic and very emotional character stories.

Not exact matches

Neuroeconomics professor Paul Zak explains: «Character - driven stories with emotional content result in a better understanding of the key points a speaker wishes to make and enable better recall of these points weeks later.»

For example, my experiments show that character - driven stories with emotional content result in a better understanding of the key points a speaker wishes to make and enable better recall of these points weeks later.

There are folks who have posted to this wonderful story about a group of youth who are working towards the Aims of Scouting: Growth in moral strength and character, Participating citizenship, and Development in physical, mental, and emotional fitness.

Their stories often suggest the appalling extent to which the church tends not simply to ignore sexual, physical, emotional and spiritual violence against women and children as a major crisis, but actually to provide theological justification for this violence in its teachings about male headship, women's subordination, and the sinful character of sexuality.

I want them to walk away knowing that they know a lot more about the story, that they've gone on an emotional journey with the characters, and at the end of it, they're still left wondering.

This is the opening of The Lunch Line Fight: Looking at Different Perspectives, by Tosca Killoran and Jeff Hoffart, part of a series of 10 paperback books with a focus on citizenship, mindfulness, empathy, character and social - emotional skills, presented in story book format.

All the information I wanted to impart about sushi was better served through an emotional story about a character.

When you put yourself in these stories, you empathize with the characters, which not only improves linguistic intelligence, but also helps us with emotional intelligence.

We can fall deep into their stories and characters to the point of where we can have emotional connections to them to the point of excitement, joy, and even sadness.

The Music Of Silence lacks emotional weight, developed characters, a coherent linear story, and sufficient enough acting to make a passable biopic of a living legend.

Without divulging too many details, Carrey has a sudden, unexplained change of character at a crucial point in the story that undermines the rest of the picture and evaporates its emotional hold on the audience.

Their fabricated stories occasionally dissolve into something much more honest; Jack, perhaps the most emotional of the brothers, is a short story writer, with suspiciously familiar plot points and characters he insists are fictitious (from the short, Hotel Chevalier, which accompanies the film at the festival, we know this is not true).

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.

The movie's tendency was seeming to want to tell the story of this almost «forgotton» work camp in WWII as well as the emotional struggles each character took with them, they do a great job at following the emotional struggles, but not so much what actually happend or why they have them.

Engaging, emotional story, gamely tuned to perfection, diverse maps, lovable and relatable characters, interesting new mechanics like Dragons's Vein and the new weapon triangle... And some of THE best art and music your senses have

There's still a lot of good found in Berseria, specifically with the emotional story and unique cast of characters.

He said, «I definitely want there to be an emotional arc to these characters and this story, and I need you to inject more musicality and orchestral elements into the score to support that.»

Of course, the nature of the game means that you will be losing these key characters as you progress through the story and it is easy to get attached to them making you feel the emotional weight when one of them is found to be guilty during the class trials.

With a story bristling with an emotional frailty that is both overstated and jarring, Manglehorn is often just as awkward as the lead character's name.

The allegorical stories that comprise the movie's fantasy world are also laid on a bit thick, and it doesn't do enough with its characters to maximize the emotional payoff.

Lean, action - packed (without falling subject to CGI fatigue) and soulful, it works in a way that say, the final «Hobbit,» doesn't because J.K. Rowling made the end of her story so eventful, and the emotional impact of beloved character deaths and heroic reversals work like gangbusters.

If viewers don't feel connected to a character because of a lack of development, it's difficult to have a response to emotional beats in their story arc.

It's hard to make an emotional connection with characters we've already seen and even harder to engage in a story that seems predictably plotted out.

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.

Treasuring the story's emotional grasp, I just sit there and hold it for a minute, enthralled, sensing the character's lives are continuing even as I put the book away... more

The Program (2015): A by - the - book story about Lance Armstrong's doping scandal that suffers from the problem that plagues many biopics: namely, it operates with the understanding that we already know the real story (or most of it), so it doesn't work that hard to make the characters seem real or to make the emotional beats land with any sense.

Nichols» script draws inspiration from Nancy Buirski's celebrated 2011 documentary the Loving Story and invents some peripheral characters for the sake of dramatic expediency, without weakening the emotional wallop of the film's understated final act.

It's amazing to see just how far Pixar have come as a studio when you look back a the lifeless eyes and odd - looking faces of Toy Story to the «you - won't - believe - it's - animated» waterfalls and landscapes here.The designs of our lead characters are sublime too, and really do help carry some of the emotional weight.

Coogler positions the character's pain as an emotional center right from the jump, kicking off the film with his origin story, not the hero's.

Mississippi Grind — In which fate is tempted, stories are shared, and secrets are unburdened by characters who wear their mental and emotional tells on their sleeve, daring us to call their bluffs.

Using the character's written confession (in a location far from his beloved farm) as a framing device robs the story of any real suspense and, worse, fails to enrich the events on screen with emotional or moral substance.

Using cinematographer Hossein Jafarian's crisp images, Farhadi develops the mode of camerawork that would characterize his subsequent films, a technique that involves constant movement and reframing (especially in the apartment's beautifully designed interiors) in order to follow the shifting of perspectives among characters as well as the story's emotional twists.

All of this is a bit of a pity because Hulk tries to transcend its roots as a comic book roots by adding an emotional back - story and trying to get audiences involved with its characters.

The fast paced nature of the story means that a lot of the emotional beats and character development that are seen in the anime lose their impact here, but it also makes it easier to experience the game if you are playing it as a fan, just to witness some of the epic boss fights.

The screenplay by Ben Ripley takes a unique position in that he handles the science as well as the heart of the story with exceptional care, keeping the film mysterious but also emotional, finding character within this madness instead of fetishizing the explosive artifice.

This intimate portrait of a broken, yet lovable family gives viewers a quirky story, fascinating characters and compelling performances, but the hands - on camera work and the almost claustrophobic framing upends most of the film's emotional appeal.

Experimental film often eschews sequential narrative structure in favour of evoking an emotional journey; the viewer is meant to be engaged by the aesthetic or imagery rather than by the characters or story.

Even smaller characters played by the likes of Mandy Patinkin, Sonia Braga, and Daveed Diggs, each add to the emotional development of the story and the characters.

Simon Pegg and Nick Frost are once again the centerpieces of Wright's film, who portray vastly different characters than before and provide the story with a strong emotional core than before.

The emotional background to the story — the recent loss of the children's mother Rebecca — is given away slowly, which adds much to the richness of each character in finding their motivations.

Some characters die immediately, others get separated from the group, and all those dramatic threads work to give this monster story an emotional base.

The result is a film that is amusing for the most part, but one that is interrupted by a story that thinks it is necessary to give an emotional layer to its characters.

As Romina, Mendes certainly can't escape her own attractiveness but her emotional fragility more than overwhelms and makes her character rich and dramatic, aiding the story of both Luke and Avery.

For regular RPG fans, the game wins by virtue of great balance in marrying conventional tropes with humour, loveable characters and a story that though not unique in a synoptical sense (evil being overthrown by band of merry civilians) delivers a well executed and extremely satisfying experience with surprisingly emotional turns that are not too cheesy.

THE LORD OF THE RINGS: THE RETURN OF THE KING (Grade: A): The third and final installment of Peter Jackson's epic adaptation of J. R. R. Tolkien's «Rings» trilogy (winner of 11 Academy Awards, including Best Picture and Best Director) is unique in the annals of movie sequels: a Part Three that fulfills the story and themes of its predecessors with a blissful unity and satisfaction, and surpasses them in character development, emotional depth, visual splendor and every other aspect.

Almost everything in the movie is in service of answering these questions and, unfortunately, it comes at the expense of character building, emotional stakes, or a compelling story.

Rom - coms may be formulaic, hitting specific story, character, and emotional beats with utter and complete predictability, but for some (possibly many) moviegoers there's value, maybe even comfort, in that predictability.

But serious touches such as one inmate's self - sacrifice fail to register because there's no real emotional connection to the audience — to the story or the characters.

It's clear right from the get - go that Christopher Cain is in absolutely no hurry to tell this story, as the director has infused The Stone Boy with an almost achingly deliberate pace that does prove effective at establishing the film's very specific locale, admittedly - yet there's little doubt that the laid - back atmosphere, when combined with the uniformly subdued performances and the less - than - eventful nature of Gina Berriault's script, effectively ensures that the viewer's efforts at forming any kind of emotional attachment to the characters fall flat virtually from start to finish.