Sentences with phrase «even less character»

Studi, a great actor who has a long career playing fearsome warriors in films like Dances With Wolves and The Last of the Mohicans, is equally stoic but is given even less character shading.

Not exact matches

This should be imputed not just to the circumstances of the times and even less to preformed character, but rather to... the attraction to the tyrannical demonstrated theoretically in many of the great thinkers.

Interestingly, the character of Marianne is much less attractive on the pages of the script than the Marianne we both saw and heard on the screen: much more selfish, demanding, even cruel.

Even Sheldon on the funny TV show THE BIG BANG THEORY is an exaggeration, just as the other more pathetic and less self - sufficient characters are fairly realistic.

As Novak wrestles with the complexity involved even in defining social justice, evangelical leaders think they can handle the big issues of the day in a way that helps the church in trite servings of 140 characters or less.

If Mr wenger built a team who never lost it tells me he can build a team remember a team consists of 11 different characters with different back grounds beliefs and aspirations and problems with another 11 to back them up I remember years ago the press used to talk about arsenal and not having English players on the field never the less I know off our own fatalities as such we were somehow always coming up little short by injuries to such Edwardo vanpercie and even gas diaby ramsy rosiscky carzola and many more and others that did nt seem to gel well I am not blind and I know we are not doing well but to suggest that Mr wenger docent have a clue is totally preposterous and disrespectful

In this role as the world's unofficial open idea exchange (in 140 characters or less, of course), the company is finding that governments, law enforcement agencies and even its own Twitterverse are increasingly holding it accountable for how people use its microblogging service.

The gift service is more or less an electronic greeting card that provides a simple way of sending a message, even a rejection complete with the imagery of one character running away from another.

If you're looking to stop dating around and settle down, focus on the one who shows more solid character, even if you're less drawn to him physically.»

You'll become more / less attached to some characters and maybe even meet some new people, or not.

Even though they've been drafted on a computer, those spineless blobs bear all the physical simplicity and facial expressiveness of Aardman's best - loved clay characters, and even at the height of their derring - do, Roddy and Rita move like they're in a movie from another, less slick Even though they've been drafted on a computer, those spineless blobs bear all the physical simplicity and facial expressiveness of Aardman's best - loved clay characters, and even at the height of their derring - do, Roddy and Rita move like they're in a movie from another, less slick even at the height of their derring - do, Roddy and Rita move like they're in a movie from another, less slick era.

The characters, even Ash, became less and less interesting.

It is one of the rare times that our main character engages in any traditional superhero activity, and even then it seems less triggered by a desire to save the kidnapped girls he will eventually rescue than to join Nakia (Lupita Nyong» o) and inform her of his father's passing.

I don't know how thin these characters are, as they are rich historical figures and are very often very well - portrayed, but there is something lacking about the expository aspects of Philip Dunne's, Gina Kaus» and Albert Maltz's script, which pays little mind to secondary characters, and isn't even all that layered with the leads, who, to a lesser extent, join most all other characters in supplementing a sense of melodrama.

This less than mediocre sitcom has a very narrow target audience; very likely, the show even insults the target audience with one dimensional characters and boring script.

The lower character count, vastly downgraded graphics and less ergonomic design of the 3DS all factor together to make this a less - worthwhile version of a game that only dedicated Fire Emblem or Dynasty Warriors fans should buy, even in its best state.

As ultraviolent as the first film, and as ultrasmutty, The Golden Circle will leave the Kingsfans grinning, even if its characters have less growing to do this time around.

Pop Aye never dips into cutesiness or sentimentality, even when you might find yourself wishing it would; it's less a big - top circus and more a low - key character study.

In addition to succeeding on the most important measures of story and character, Coco also evokes marvel on a technical level, something even lesser Pixar films can fall back on.

Operating on what amounts to a shoestring, director James McTeigue deserves some credit for milking a premise the encompasses few characters and even less real estate for not - quite 90 minutes.

The characters are generally too repulsive even for our toleration, much less our affection, and the comedy is too mild to transcend that lack of involvement.

The other characters have even less to them.

Even as Corden proves to be a smart voice - casting choice, ably conveying the essential goodness behind the less - than - exemplary behavior, the written character fails to strike the desirable balance between impish and bad - ass.

It's the combination of character development, action and pure emotion that drives the film, where even secondary characters have motivations; a wonderful moment a lesser film would have cut for time finds the shapeshifting Mystique (Rebecca Romijn) propositioning Wolverine, at first disguising herself as Wolvie's crush, Jean Grey (Famke Janssen), then purring, «No one has left scars like you.»

It's difficult to think of a director less - suited to take on the intricate, minutiae - obsessed writing of Peter Morgan than Howard — a director who, even in his finest films, has always been interested in the big picture first, with characters serving history rather than the other way round.

The only weak link is Mel Rodriguez's sexually ambiguous Patsy De La Serda, whose character is so annoying (even if that's kind of the point) that the show becomes infinitely less entertaining whenever he appears on screen.

Sweet, because those first two movies were outstanding enough for even lesser episodes involving the same characters and universe to hold value above and beyond most teen - oriented cinema.

For instance, even the humanisation of the villain is less compelling than Fritz Lang's portrayal of Peter Lorre's character in M, though an attempt to make him seem ordinary is more evident here than in other serial killer movies like Dahmer (2002).

Despite his less - than - grounded perspective of the world, he's an easy character to sympathise with, root for, and even relate to.

Eddie Murphy is easily the best of the voice talents, providing energy and excitement to the character, even with less than engaging material.

Stood next to this sneering, vaping, grandstanding powder keg, Garfields conflicted, wavering everyman cant help but seem the lesser character, even if he does have the more significant arc.

As daffy father Clark, Chase turned the film into a huge hit, harnessing a likable befuddlement that kept the series going even as the sequels were increasingly less well received and tiresomely slapstick.Chase's other big hit came in 1985, when he starred as the title character in Fletch, the film widely considered the actor's best and most complimentary of his sharp talent for wordplay.

Jed's one passion is Rose — but since Rose is even less developed as a character than Jed, that doesn't help much.

There's not a single character worth caring about, and even less artistic licence to appreciate.

It takes a similar plot (a girl's inexplicable obsession with a jerk as the crux of a police investigation), similar structure (flashbacks and an unreliable narrator expose the truth of the jerk's vanishing act), similar setting (a gothic academy), and even a similar conclusion (Abandon's is a million times sadder, if atonally winking in and of itself), but Gaghan, besides sparking with his characters in a way that is foreign to the makers of The Hole (there, director Nick Hamm is less interested in compulsion than in repulsion), has no use for sensationalism — The Hole is a piece of tabloid reportage next to Abandon, which wallows humanistically in the epidemic of loneliness.

You can't next really like any member of his group of anger management classmates or other birds like Bomb (Danny McBride), Chuck (Josh Gad), or Terence (Sean Penn) because they are characters with even less of a story than Red.

Despite his claim that he was a good b - boy back in the day, his interest and experience with the material is probably even less than the neophyte character he portrays, with both are just doing it for a paycheck.

Both principal actors have a strong enough sense of their characters, even as they're pulled into increasingly harrowing places, to make the film a more successful one than Loach's last few, but it's still schematic and predictable, and it aggressively stacks the deck against Blake and Kattie in a way that makes it more effective as social activism, and less so as drama.

Like the character in Quantum Leap he can also only travel more or less in his own lifetime so he never even gets to meet Hitler or Napoleon or anything like that.

It doesn't help that, in these movies, when adults lose their temper they immediately become 12 - year - old boys with anger - management issues; even Carter's Cogsman character curses and has snits, and he becomes far less interesting.

But it's rough - going getting to a point where Hope is a character an audience would even want to watch, much less root for.

The inclusion of a host of characters from the previous movies means, if possible, even less than nothing.

It's unlikely anyone there, or here, or even Pearland, will encounter the same police officer on the street twice in less than two days, but it happens to two characters in Crash.

So even if Johnson wanted to venture from his action - adventure sandbox into something a bit more character - driven, something a little less fast and furious, his options are limited because Hollywood just isn't making many movies these days that don't allow for sequels, merchandising and expanded Cinematic Universes.

The main characters move inexorably, helplessly toward disillusionment and alienation even as they seem to be always standing in more or less the same spot: at the edge of a precipice.

Even as the film's far less effective fantasy characters enter the fray, Reid holds our attention and keeps our focus on the themes of faith, family, and self - worth.

With the new film comes a new director, Francis Lawrence, who gives us less character touches but more emphasis on action (thankfully, with less of the shaky - cam effects of Gary Ross), which may please those looking for the dystopic film to just keep moving, even if it seems to skip some narrative steps along the way.

Jon Hamm gives the best vocal performance, emerging as the most fully realized character even though Herb is the less - savvy counterpart to his wife.

There is no attention paid to character development and even less, if that's possible, to plot coherence.

And for every Superbad, there are four or five lesser films like Project X. And sure, occasionally you'll get a high school movie that actually has something to say about the academic and societal pressures of being a student (Justin Lin's Better Luck Tomorrow is a great example), but even that focused primarily on male characters.