Sentences with phrase «good character moments»

She states the obvious and generally tells you where you need to go, but even she gets a few good character moments.

I'd say last night's Two Live Crew Job has been my favorite of the new season for that reason as well as some good character moments.

While I agree with the previous commenter that alot of the scenes were beautiful and there were some good character moments, the overwhelming CGI in this did take some of the realism out of everything (especially that ridiculous Legolas battle with Bolg).

This makes it more of an adventure than the psychological drama of 1957, though the 2007 Yuma still provides some good character moments.

Downey is good, and the bubbling up of his emotions creates a good character moment.

The notion is one of the better character moments for a Bond who hardly talks, especially early in the movie, and it gives Craig one of many chances to allude to Bond's darker side.

This would give us some good conflict between Jerry and the Marquis, especially if the Marquis was revealed to have had some suspicions about Zaroff's identity and simply kept quiet about it, and some even better character moments for the Marquis» himself, as he struggles to understand what is going on.

Not exact matches

Well, what you choose to do next is what we call in the movies the «character - defining moment.»

We only included the characters who died in the movie prior to that moment who are probably dead for good — the vanished characters will most likely come back somehow in the next «Avengers» movie.

Welles combines text from five Shakespeare plays into a thrilling two hours that somehow seem to contain every great Falstaff speech — and most of the other characters» best moments.

These are bits of the world which may be considered as units for good human purposes, but which do not possess the unitary character of a natural moment since they are composed of such moments in external relations to one another.

«Good and evil appear to be joined in every culture at the spine,» she observed, and violence is «strangely capable» of returning her characters «to reality and preparing them to accept their moments of grace.»

There's a scene in the film where Krasinski's character and Emily Blunt's character (who are husband and wife in the film as well as real life), share a romantic moment together as they both wear one earbud, and listen to a song — JUST LIKE JIM AND PAM DID.

Therefore testimony better than either an example or a symbol Places reflection before the paradox which the pretension of consciousness makes a scandal of, I mean that a moment of history is invested with an absolute character.

The interactions and dynamics between the two (as well as between Weekes and other characters) made Weekes that much more endearing to me — his awkwardness in the relationship (particularly a few foot - in - mouth moments that showed him as the country boy he is), their effort to keep their relationship out of the spotlight... it was all very sweet.

Anyone can shine in the good moments, but she showed no character on the other side of it.

The mother of three children and a teacher of many more, she truly believes in the power of using small moments throughout the day to build character and make the world a better place.

Ask Tough whether we'd have to reconfigure our school systems and teach «good character» to make his theories a reality, or simply add to traditional methods of teaching, and he has to think about it for a moment.

He promised us that he will be of good character from that moment.

Unfortunately, those ties are sometimes shaky, and a good portion of Les Misérables feels disjointed, as though there's no flow between scenes and moments and characters and stories.

It will be in that moment that you lose your status as Awesome Person Who Takes the Kids to the Movies and Buys Them Candy because it is then that you will have to explain to your child that, in real life, Jim Carrey's character would be considered a delusional pet hoarder endangering the lives of creatures that need special care and that the mean zookeeper is the good guy and not some kind of animal prison warden kidnapper.

Poignant character moments and some impressive use of pop music make Under Pressure a better episode than Tangled Up In Blue, but still nowhere near the lofty heights that we know Telltale is capable of.

When it's able to create amazing moments of tension and terror, like the fantastic season opener, and at the same time being able to flesh out some characters in the process, that's when it works the best.

Hallows is still packed with wonderful moments, solid action, well - timed character humor, multiple romances, and a battle for the fate of the world.

In its best moments, where only small gestures tell us so much about the characters, that's touching and heart - warming, but of course little spectacular and sometimes a little slow.

The story is one of the best gaming has to offer, as getting to know the characters is a truly enjoyable experience, and the best moments come from tense situations where Lee is forced to make a tough decision.

Johansson, so astounding in Match Point and Girl with a Pearl Earring, is better off than Hunt, but she also has a few moments where it feels like she's acting instead of letting her character's emotions come naturally.

With all the right feel good moments, compelling character developing scenes, and the perfect amount of levity between young and old characters, «The Intern» is a far better movie than it should be and I highly recommend it.

Yes, the events leading up to the heist definitely have their moments, but the amount of banter and comedy between the characters throughout the heist works so well, that I feel like I'm rewatching that sequences play out in my head, long after I witnessed it in theatres.

The interacting with Killmonger and the secondary character and the final few scenes that he and T'Challa get to spend together are honestly some of the best moments from any of these films in a very long time.

The supporting characters are usually an afterthought, but in Black Panther, they are so well drawn that they seem every bit as interesting, perhaps even more so, than the main protagonist himself, who is either mostly masked or obvious CG during his battle sequences, whereas we are always aware as the women fight, with full acting and facial expressions to root us into their fight in the moment.

The series has it didactic moments, to be sure, as well as the occasional cartoonish character (usually among those chasing the runaways).

He had not opted for some out of the box moments or unique ideas to carry the emotion rather he just stick to the same old way of portraying emotions and he succeeded well to a good extent having two of the best actors to play the two most important characters.

The rest of the ensemble is impressive as well, with Gina Rodriguez being a standout as her character is given some of the juiciest moments.

Like its namesake, the film only achieves greatness for a few brief moments, and the best things about it (e.g. Janney's character) are seldom allowed to expand beyond the stereotypes that make them so easy to understand, but Gillespie's biopic sticks the landing because it never forgets one of its very first lines: Tonya Harding is America, and she always has been.

Writer - director Tanya Hamilton's intellectually ambitious debut drama Night Catches Us is all the more notable for setting well - drawn fictional characters in a fraught, real moment in civil rights history.

We started to see some of the characters from the first two seasons (especially Walter Jr.) slip away (though Hank provided us with one of the best moments in TV history) but that was sort of the point.

While it may feel too simple at moments and its gameplay not as varied as it would be expected, it's a good departure from the Pokémon world for one of its most recognizable characters and one which will be a pleasant surprise for many.

Even if you think you know where it's going as its builds to a near - wordless finale (and you might be right), the moments of character detail are beautifully judged, and the gore surprisingly well splashed.

Both Stern and the less - seasoned Feldman are appealing performers who've written themselves characters they know and can play well, in both their righteous moments and their deeply flawed ones.

The best performance comes from Jason Patric, whose monologue in the sauna is one of the most haunting moments in the film, and his character's «It's my time now» philosophy is articulated in some of LaBute's best sentences.

There is strong character work in here, one or two genuinely touching moments, and some good laughs too.

Judi Dench is especially good; playing a vulnerable character, for a change, she allows her habitual toughness to give way to uncertainty, fear, and moments of gathering resolve, and she delivers one of her most wide - ranging and moving performances.

Some of the horror is handled well, with one or two creepy moments and the director might come into his own at some point, but it's mainly just jumpy moments (lame) and besides the characters are so daft you can't get into it.

Just like the original, it has its good share of flaws; but also just like the original, there are moments and characters so human that you can't help but connect with them on a deeply personal level.

Like in the earlier films where the space for personal monologue and storytelling is expanded for even very minor characters, Elvira's brutally honest tape - recorded interview in the final moments combines with the image for one of Fassbinder's most moving and penetrating moments in one of his best films.

Perhaps the character - screen time ratio will be addressed better when Infinity War: Part 2 hits cinemas in 2019, but this half really is Civil War on steroids, landing us in the thick of it from the opening credits and itching for a fight even in its quieter moments.

The Aviator is a well made film, and one of the year's best, with enough great moments to make the three hours not seem so long, although some trimming down of certain characters and scenes could still be done (Jude Law's cameo as Errol Flynn seems to be just an excuse to get him in the movie for a few minutes).

The extra room suited him well, and he doesn't waste a moment of the extended running time as he takes us deep into the lives of his characters.

Despite the underlying anger, the character is well - rounded, with the ability to laugh and have moments of happiness, never settling into a one - note portrayal that many other filmmakers might have gone for in order to drive home points.