Sentences with phrase «just character moments»

Not exact matches

Indeed, Levy's testimonial is a bit like that famous moment in The Graduate when a family friend of Dustin Hoffman's character earnestly says: «I want to say one word to you, just one word: plastics.»

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.

Breaking Simmons» freshman assist mark, Waters said, «is just a moment in my life that my parents and I worked really hard on, just creating my character to be a giver.»

I thought about all the very many moments I've had just like this, with a somewhat changing cast of characters as the kids grow and things change - in the sixteen years of being a Mama now.

Downloading Highschool DXD: Rias Dating Simulator... Your download should begin in just a moment... Shark Dating Simulator XL is a quick - to - play comedy visual novel with colorful cartoon characters and a multiple choice storyline with consequences for

I was rolling my eyes at about every moment of this movie, not just because it wads cliché, not just because it confused the cliché with transcendent and relatable commentary, not just because the characters were aggressively loathsome and inauthentic, and not because it appears to be someone's idea of Graduate Lite (though, yes, these are all contributing factors).

While the previous films in the series have been just that — parts of a sequence designed to get us here, each with their own beginning and end — the first and second parts of Deathly Hallows are two halves of the same film, and to approach them as separate entities means missing just what director David Yates, writer Steve Kloves, and a host of storytellers and performers have done: They've made a five - hour fantasy epic that balances effects - driven battles with some very real character moments, and one that isn't afraid to have its heroes pay a high price for their convictions.

Yet these little pit stops feel more like time killers than effective character moments: it's obvious that Dodge and Penny will eventually develop feelings for one another, but our two leads just don't have enough chemistry to pull off the illusion.

It's clearly just the beginning to a larger story, but «Catching Fire» steadily builds excitement with the harrowing plights of its heroes and introduces several new characters that admirably fill out the cast to complement the leads, and also distract from the sappier moments.

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 cast is still great but everything else is just mediocre, with a few unneccesary characters and a couple of cringeworthy moments.

Brief flashes of insecurity would add a lot to the character of Morgan, but only when added at just the right time; as is, there are moments when the façade seems to falter with the entire crew present and you have to wonder how some more ambitious pirate didn't dethrone her long before the film had ended.

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 leJust 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 lejust like the original, there are moments and characters so human that you can't help but connect with them on a deeply personal level.

There are subplots that are suddenly dropped, characters that don't fulfill their potential, and just moments of utter stupidity that counteract the hillarious parts.

The Proposition is a somber and pessimistic story, containing some vividly memorable moments of sadism and despair that manage to provide just the right jolt to keep audiences uneasy in their feelings toward any of these characters.

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).

He flings paint on the frame like it's going out of style and this time he does it not just with whimsy but with whimsy in character as we follow a plane of eccentric characters going through a weird shared moment as they all are currently on drugs and probably about to die as the plane can not land and is running low on gas.

Where other rom - coms would settle for over-the-top antics, that moment is just one of the examples of the movie's ability to create fully fleshed - out characters with a real sense of agency.

There is a vague plot at hand, but more likely, you will just stick it on, let your mind wander for a few moments and then happily settle into the fact that the characters are now running for their lives by magnetic chainsaws.

We see her character silently watch actual unsuspecting Glaswegian men amble past, each one of them in danger for just a moment.

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.

That's all you need to know, really, because «The Birdcage» is mostly a comedy of character married to traditional farce, and in true farcical fashion things just get crazier and crazier — starting the moment that Armand decides to play it «straight» for his son's potential in - laws and masquerade as a «couple» with the boy's natural mother (Christine Baranski).

There were several times during this film I thought, you know if this was just a mini series and this whole character's storyline had been mapped out over an hour, this final moment would have me going like the end of an episode of Lost.

Not just a watershed moment — the first blockbuster comic - book movie centered on a female superhero — but an earnestly realized look at a character who embodies strength, compassion and courage in any century.

The Hedgehog is set primarily within the apartment building these characters live, stepping outside of it for just moments in the entire film.

If anything, the wonder that this movie does create is the thought of how much better it would be if evil queen Theron were given more prowess in this story; how much she'd be able to save an otherwise murky movie from its title characters with more than just her brief moments of delicious darkness.

A master filmmaker and even better scribe, one who can have their main character lead the charge against a dying chief of police for inaction due her daughter's murder, a cop who he thinks his job is just about terrorizing townsfolk and a whole litany of characters who swim in the pool of the morally gray and allow them moments of sincere redemption or humanity.

That's my arena and at that moment and its more about the character moments than the 3D, so your just making a movie in those places.

The final battle with bigger versions of AT - AT's is just another moment on the road to an overly - long runtime, while Rey's meeting with Snoke is interesting much later in the sequence for its great lightsaber battle than the interaction of the characters themselves.

But one must wonder whether all those deaths and destructions have been building up to her character moment or Paradox just comes from two stories clumsily paired.

As we saw in the last movie, Deadpool's flirting is not limited to just women, and it seems like the character is likely bisexual or pansexual (though he's going steady with Vanessa at the moment).

But from Stanley Tucci's day - glo smile as Caesar Flickerman to Elizabeth Banks» poodle - topiary hairstyles, the film's theatricality never overshadows either its ideas or its deeper resonance, and even with an expanding ensemble competing for screen time, each character gets a moment not just to shine but to define him - or herself in startlingly human terms.

It's clear he wants us to feel fear and pity for these characters, but no amount of spinning kicks, flying daggers, or moments of slow reflection can make us feel that these characters aren't just a means by which Yimou can teleport us into a time and place of great beauty and honor.

Furthermore, of the major studio releases of last year, only Pitch Perfect 2 featured a gay character of any consequence, while fan theories surrounding The Force Awakens» Poe Dameron appear to be just that at the moment.

I think that character was supposed to know him, because there's a funny moment where Tommy directs him to call him «Chris R.» and he's like, «Can't I just call him Chris?»

Instead, it's a film that understands exactly what it is and what space it occupies, and at the end it's not merely an extraordinary character piece (Blair's turn would be star - making in a just universe), it's also a nimble thriller full of outrageous fortune and stunning reversals meted out perfectly between its breathless moments and the moments where it breathes.

Spectre is a Frankenstein's creation of Bond moments, Bond slogans and Bond action and feels just about as lifeless and rigid as Mary Shelley's monster (now there's a character that Bautista could convincingly play.)

At frequent moments during the movie, Corddry's nasty over the top delivery of his character's dialog just pulled me out of the film.

But just as this set introduces us to what could be a riveting story, even the film's seemingly mundane details that might have given character and depth, such as Joe's quip about so - called T.K.'s (telekinetics) being «assholes who think they're blowin» your mind floating quarters,» are really only expository moments designed to move the plot forward.

Despite his clear unfamiliarity with the ritual, Stanley summons as much sincerity as he can for his appeal, but throws up his arms in disgust just at the moment when he seems to believe his own words, proceeding to half - jokingly castigate himself for such out - of - character weakness and folly.

Indeed, it's difficult to get worked up when the characters themselves show little emotion and deliver their lines in a strikingly deadpan, monotone manner, even when confronted with inappropriate sexual moments that Lanthimos seems to include just to make his audience uncomfortable.

Dorothy is still less a character than a supporting player to Edgars subplot but the moment where he imposes himself upon her when she asks him if he can just change medications was an upsetting moment for a character typically percieved as the most gentle, good natured of the bunch of assholes on the show.

It goes a lot farther than just «missing some character depth, much of the complexities between characters and more than a fair share of shocking moments.»

I have just finished watching this film and moments after leaving the cinema I felt quite distressed and dissatisfied by the abrupt ending (already mentioned) and for me, I require reasons for why characters do such things.

The movie wasn't directed in a traditional sense, but it was directed from inside the scene a lot of the times — in the moment, just taking the situation, staying in character, and running with it...»

Before getting into how spectacular the action sequences truly are (and trust me, they save the blockbuster from plundering to the bottom of the ocean), it must be said that Oscar - nominated Kon - Tiki directors Joachim Ronning and Espen Sandberg have no idea whose story the movie should actually belong to, starting out as Henry Turner's (Brenton Thwaites) quest to free his cursed father at sea Will Turner (Orlando Bloom in a glorified cameo along with Keira Knightley as his partner Elizabeth Swann) to locate the Trident of Poseidon subsequently lifting that curse, and while the ultimate goal of the movie for all characters is finding said artifact for different reasons, by the end it's hard to fault the audience if they have forgotten all about that plot element and are just living in the moment of Jack Sparrow and company battling an army of decomposing, undead ghost pirates led by Captain Salazar.

Why have a scene where when a character needs to talk to someone, they don't call them on the phone, they just go to that one spot they went to once before and had a moment.

Adapted by Jonathan Tropper from his novel, This Is Where I Leave You is a mass of mostly familiar plot points and every character gets a moment to shine, but the idea of sitting shiva — the Jewish seven day mourning cycle — is just different enough to cast those moments in a fresh light.

«It's just trying to balance character moments in the middle of big, crazy Jim Starlin [«Infinity Gauntlet» creator] action,» added Markus.