Sentences with phrase «human characters take»

Each human character takes up one square while each Varl occupies four.

Not exact matches

These it takes as the conditions for nurturing «qualities of mind and character» (ICC 25) that have enabled and should again serve to enable «generations of men and women to grasp a vision of the good life, a life of responsible citizenship and human decency» (ICC 6).

Like Sir Walter Scott's historical novels, it takes place amidst events events that changed the course of human affairs, in this case, World War I, but remains vividly focused on one character's fate.

It is more about human characters doing whatever it takes under extreme circumstances to stay alive in terms of «action film» techniques.

The Bible is full of fairy tales and should only be taken as a piece of literature of great importance just as the Odyssey is, but it shouldn't be used to govern one's life, much less to help build a relationship with the biggest fictional and ever - changing character in human history.

So I guess you would be fine with a student at a high school graduation getting up to the podium and saying «I would like to take this moment to reflect on how strength of will and character helped all of us to graduate today, and please join with me for a moment of reflection at how amazingly the human race has evolved, to this point of passing on our collective knowledge to each new class, and to hope that we add to it, for if we do not, the future may be very dim.

This is one of Hale's gifts — taking hopelessly broad, effectively helpless characters and finding their identifiably human core.

Unlike pragmatic characters Electra and the Punisher in the series, Murdock refuses to take human life in order to make New York City safer.

And Paul's view of man's condition (and in its essentials his is the central biblical view) can not be declared false, for all its mythical character, so long as it is the only view of man which takes adequate account of this inescapable reality of human experience: On the one hand, I know that «it is not I who do these things but sin which has possession of me»; but, on the other hand, I know that I am responsible for these acts of sin and that I deserve to die because of them.

But for them this means that human experience must be taken seriously when reflecting on the character of the natural world.

When these steps have been taken, we shall be freed from being driven to the construction of implausible just - so stories, alleging that human capacities of which we have basic experience are totally different in character from what we, in fact, know them to be.

Whenever the context requires especial precision I distinguish between the «human loves» meaning man's love for man, other creatures, the world, beauty, all the things which call forth our natural capacities for love, and «the love of God», meaning the gracious love which God gives to man and which takes on the special character of forgiveness and reconciliation.

Taking the dictionary definition, blunder is «a gross mistake; an error due to stupidity and carelessness», and the authors are at pains to point out the distinction between blunders that are primarily behavioural or human in character and those that are more institutional, systemic or cultural.

Massachusetts - based start - up GiantOtter wants to take these characters to another level of realism, using data from crowdsourced human interactions.

But where Sightseers was merely incompetent, We're The Millers seems to take delight in human misery as an end or source of humour in itself; it doesn't use pain or suffering to deepen the characters, it simply offers it as a benchmark of modern comedy.

Outside of Sylvia, none of the characters has any real presence or personality in a movie that takes greater interest in shots of pretty flowers than in the human beings onscreen, and in which nearly every major plot turn is the result of blind chance.

The human characters were hard to take seriously so it never felt like anything truly intense was going on even though there were lots of loud explosions and frenetic action.

Critics Consensus: T2 features thrilling action sequences and eye - popping visual effects, but what takes this sci - fi / action landmark to the next level is the depth of the human (and cyborg) characters.

Aside from these momentary lapses and some third - act stuff that wants us to take the characters far more seriously as human beings than we're capable of doing, «The Campaign» is an effective vulgar comedy about two idiots competing with each other.

I don't even think they have the concept of the film right, as it appears that even the «Natural History Museum» angle was taken beyond natural history to include actual human history, as characters like Teddy Roosevelt (Williams, Man of the Year), Attila the Hun (Gallagher, Sideways), Egyptian princes, and the mighty Roman Empire itself are part of the overall ensemble.

It was a new take on a human dystopian future, merging spirituality with nature, as well as seeing a strong and likeable female character as the protagonist.

Solondz takes another hilariously pitch - black exploration of human behaviour with a film populated by excellent actors playing seriously messed - up characters.

The actor, best known to Americans for his role in Guardians of the Galaxy, brings nuance to the character, infusing the lovable muscle - bound dunce (the prevailing feature of Patrick Warburton's 2001 take on The Tick) with a more human and empathetic element.

Passing into his orbit are a big - hearted bank teller (Holly Hunter), who takes an inexplicable shine to this mumbling recluse; a seedy acquaintance (Harmony Korine, behaving like a character in a Harmony Korine movie); and his justifiably fed - up son (Chris Messina, responsible for the film's lone traces of recognizable human behavior).

The film, which argues that we're all bastards anyway and that there aren't any heroes, is genuinely nihilistic, taking down its black character along with the rest of the human race, because, um, blacks are part of the human race, too, equally deserving of condemnation.

And while we still have no idea what species of dinosaur will take center stage, or how (or if) they'll interact with humans, or who the lead characters are, we do have a better idea now of what other themes will tie into that central premise.

Coates has taken the time to build his characters, so whether it's a revealing meeting between Ramonda and the philosopher Changamire or Tetu's attempt at an alliance with the renegade Dora Milaje, there's a constant sense of human struggle within the confines of their socio - political power structures.

It took five movies (seven, really, if you count the spin - offs following one character of the team), but the war between humans and mutants has finally happened in X-Men: Days of Future Past.

Despite the specific nature of the character Stiller plays, «Brad's Status» finds a universality in the uncomfortable truths it explores: the human tendency to take stock, especially around middle age, and to compare our lives against both our friends» achievements and our youthful visions of our future selves.

«They're able to take these fictional characters and make them human,» Mackie started praising the Marvel Cinematic Universe with.

Of course, one might take exception to a game that includes the ability to own and command human slaves, and they might also be taken aback by the game's explicit (optional) nudity and ability to design a player character with outsized, physics - based genitals.

The reason is that we're just not left in good hands when humans take the center of the screen, with characters who are not only barely fleshed out, but most of them rankle ones good mood through sheer obnoxious attitude.

Best Actress: Annette Bening — Kids Are All Right — stern, intelligent yet moving and likeable — it takes a real pro to accomplish that with such style and verve Nicole Kidman — Rabbit Hole — heartbreaking but resilient — a perfect balance between broken and fixed — it is so joyful to watch a character so succinctly communicated Lesley Manville — Another Year — heartbreaking with closeup after closeup of vulnerability and grasping hope — truly a fragile and pulsating performance Julianne Moore — Kids Are All Right — courageous and oh so human — sexy and vulnerable in an earthy way — her struggles with herself are the heart of the movie and she carries it magnificently and warmly Natalie Portman — Black Swan — the tour de force this year — the crazy, emotionally volatile core of a crazy, emotionally volatile film — some wonder if it might be «easer» to play such big emotions but the incredibly thin wire she has to traverse in such an extreme environment is daunting and she makes it work and gives us believability and solicits true sympathy in the middle of a fright fest — a truly accomplished achievement

Unfortunately along the way, the script includes frequent depictions of violence between humans and aliens, including one scene in which a character sadistically takes the opportunity to incinerate his father.

Almost Kubrick - like with how demanding he is of each scene, Abdellatif Kechiche has been developing his signature style (long takes that magnify everything that surrounds the human condition) focusing on the fringe characters of society since his debut 2000's La Faute à Voltaire and expertly with 2007's The Secret of the Grain.

Compared to the fantastical worlds that were created for earlier films such as Toy Story, Monsters, Inc., and Finding Nemo, which were all inspired by elements of our world, The Incredibles took place entirely in locales where humans were the key characters, and the scenes were shot from the perspective of humans.

But like any pair of real human characters who have good chemistry, the two give and take and learn from each other, while growing into real partners.

Garona (Paula Patton, who drew the short straw and had to put on silly makeup instead of having her character digitally rendered), who is half orc and half human, takes a liking to humans after being a slave of the orcs.

Gibson, along with all of the human characters in the original live - action Transformers trilogy, took a break from the series with 2014's Transformers: Age of Extinction, but director Michael Bay seems to have made it his goal to get at least part of the gang back together for the upcoming fifth installment.

Moonlight took a very subtle approach to it's characters sexuality exploration, opening the story up to any and every human that's ever doubted themselves.

Adam Bernstein takes Gilligan's taut script and finds a deliberate pace that cranks up the tension without sacrificing the small, human moments that make Breaking Bad so compelling — even as characters make exactly the wrong choices in their lives.

Another seven years passed (incidentally, the mythical length of time it takes for the human body to shed its skin) before Mancini's Curse of Chucky resurrected the title character, this time as the cursed object in an old - dark - house chiller.

«Take Shelter» is almost novelistic in its approach to character and pace, but its ambitions and victories are strongly cinematic, and Shannon's performance is the stuff bad dreams are made of — human, frightened, fragile, hesitant.

There's a story here, which is built with a strong foundation and which takes the characters into unexpected places where humans and apes are revealed to be similar in more ways than one.

Even if the film took a page from No Country For Old Men and went scoreless, the film would still keep you as intensely focused on it's deeply human characters with deeply human flaws and tendencies.

Our plan is grounded in the following two premises: 1) When purposefully synchronized with one another across multiple forms of media («cross-media»), children's and adolescents» exposure to high quality youth - oriented social and ethical story content, i.e. stories of substance specifically about character development, compassion, and courage (CCC), is a powerful way to promote youth academic achievement and ethical values; 2) Especially if these stories, told and «read» across media, in their various genres (human interest, biography, history and historical fiction, civic engagement, coming of age, social change, spiritual awakening, moral issues, etc.), are «taught» by «educators» (broadly defined) using an «evidence - based» pedagogy that A) makes use of peer to peer, and adult facilitated group discussion and debate as a primary form of instruction, and B) takes advantage of access to the texts of the story that are made available cross-media (narratives, scripts, videos, etc.) to foster students» critical thinking and ethical reflection skills.

Whether we relinquish or retain the nomenclature, though, it is vital that we work to decouple most of what takes place under the banner of «character education» from the enterprise of helping students become ethically sophisticated decision makers and caring human beings.

But we feel from the outset that the human characters are caught like strong swimmers in an undertow that is much stronger than their most strenuous strivings, an undertow that will take them where it will, despite their efforts.

It was just what I needed to read over the holidays and took me far away to Kiewarra, Australia where the severe weather is as much as character as the human ones.

Told in an extraordinary and wholly unique voice that will candidly take you into the mind of a curious and deeply human character.