Sentences with phrase «life characters rather»

At times it feels like you are watching commercials for the real - life characters rather than a narrative that is supposed to move you.

Not exact matches

When paired onscreen with actors living fully in the present — playing characters who are defined by their relationship with the lead rather than by their own complicated backstories — DiCaprio is again made to suffer.

On character, he'd seem to be able to compete, so long as he emphasizes family life rather than political career (leaving aside the suspicions about Mormonism).

Rather than looking at corporate work as the evil scourge of the earth (though you certainly want to make sure your personal values align with an organization's corporate values), riding the elevator to the 11th floor every day may be exactly where God needs you to develop your spiritual character, your gifts and to reach those who are broken, empty and living without knowing their Savior.

Rather, the new NIV here makes it possible for English readers to discover a more Catholic or Orthodox or truly Lutheran Paul, one who teaches that the problem with the Jewish law is its ethnic and temporary character and that human salvation concerns our real sacramental participation in divine life, real transformation, and ultimate resurrection.

When these characters consider living like common people they think of that as freedom rather than a duty of shared sacrifice.

Unlike the rainbow, the sign of God's earlier covenant with Noah and all life after the Flood — which addressed only the preservation of life rather than its moral character and which accordingly demanded nothing from man in return — circumcision is an unnatural sign, both artificial and conventional.

The generic character of John XXIII's original intentions for the Council, of course, was essentially responsible for much of the subsequent struggle between the Council Fathers and the Roman curia, the latter being accustomed to dealing with «live issues» rather than with general goals of development.

The Church for him is something like the uniformed units in God's array, the point at which the inner character of man's divinized life is manifested in tangible historical and sociological form or, rather, in which it is most clearly manifested because, to the enlightened gaze of faith, grace does not entirely lack visible embodiment even outside the Church.

Perhaps, though, the biblical character of Jesus, rather than being entirely mythical, was based on one of many Jewish messiah claimants who had followers who euhemerized his life to a greater extent than those of other such claimants, so that in time the stories were so embellished that he became a god in them, but the Tesimonium Flavianum is hardly proof of his existence.

The historical problem presented by the Gospels is, then, not the problem of determining whether the character of the early Christians, their faith, and the exigencies of their life and work have colored and overlaid the facts of Jesus» teaching and life, but is, rather, the problem of determining just how we should use our knowledge of this fact in our efforts to get back to the so - called historical Jesus» own words and life.

They are: rationalization, which tends toward sterile intellectualization and robs life of its character and vitality; estheticism, which cuts off true communication by maintaining an esthetic distance in order to dominate, rather than to support, others; capitalism, which tends to deper - sonalize people by providing for their hedonistic needs in order to support production and consumption regardless of its human utility; and nationalism, which tends to make national things sacred and in doing so to create idols out of them.31.

The resolute grappling of a man with his own life is one of the most searching tests of character, for most people are willing to grapple with anything else under heaven, from international problems to spiritualism, rather than to face squarely their individual responsibility for their own lives.

But in my long life experience, I firmly believe character - or rather LACK of character — is imbued in the individual.

By the end of a long day of critique, her «protective cloak» was at best in tatters, and perhaps that's the ultimate fate of most attempts for a media figure to live aggressively as a character rather than an honest person.

Recognised as having a keen mind, he is better known for his character, humility, pastoral skill, and his simplicit - living in a basic apartment rather than an archepiscopal palace, travelling by public transport rather than chauffeured car and cooking for himself rather than employing domestic servants.

Be specific about the concerns at hand, rather than generalizing about your whole life, your relationship history, your character, the world, and so on.

About Blog «The content of one's character is not defined by the company they keep, rather how many chihuahuas they live with.»

It's actually rather funny how some of the animate characters look like exaggerated cartoon versions of the real - life actors.

The exaggerated, unambiguous expressivity and the connect - the - dots definitions of character (featuring pat confessions and reheated memories) reflect the closed - off academicism of acting workshops and screenplay pitches rather than the open - ended complexities of life.

This semi-autobiographical story is an occasionally harrowing but sometimes also surprisingly warm and funny tale that, while the characters focus a lot on eating (or, rather, not eating), is really more about finding the will and self - love necessary to live rather than about dealing with an eating disorder.

This average biopic has the perfect material to be made into a quintessential modern classic, but it sadly lacks soul and intensity, resulting in a rather dull experience that doesn't quite live up to the importance of its real - life character.

Besides, Simonischek character hides a rather melancholic nature under all the live - life - to - the - fullest hijinks notwhistanding a Toni Erdmannesque moment or two.

The film is limiting potential enough by conceptually simply studying on Oscar Wilde's sexual revelations and their subsequent consequences, rather than the whole of his brilliant life and tragic downfall, but when it comes to the execution, not enough studying is done in this often inspired, and just as often undercooked character drama which at least finds superficiality in its resonance.

Williams» self - conscious and rather bland performance never comes close to bringing his character to life.

One could find fault with some wobbly elements of the production design: most of the ragged clothing on the poverty - stricken characters looks brand new rather than worn to the fraying point, while carefully applied smudges of soot on the photogenic cast's faces barely suggest a life in grime.

By Harry Potter and the Half - Blood Prince, it feels like we're seeing these characters live through this story, rather than acting out an adaptation.

The graphics are a rather haphazard mix of hand drawn characters, animated pictures of real life objects such as trees, and some parallax scrolling to give the game some depth.

You know what you're in for right from the start when Herzfeld opens the film with a character named E-Ruption (Nelly), a fresh - from - the - slammer gangsta rapper who uses his appearance on a morning talkshow to plug not his latest album, but rather the self - help book, «Reach Me,» that saved his life.

Interestingly, rather than try to keep as much of the stage musical intact in order to please fans of the theater production, Condon has made several significant changes in his adaptation, most notably in making the characters play more like the real - life counterparts of their inspiration.

, in which Espinosa says he wanted to make «science reality» rather than «science fiction,» filming a scenario that made some scientific sense and portraying the realistic reactions of characters living through a crisis.

Rather they are more likely to look like someone you know... and better yet, their characters live like people you WANT to know.

Rather, Avalanche Software is creating something of a sequel story that follows the ongoing life of main character Riley.

As the gang meet up with female characters, their lives as strippers actually help them make honest relationships, rather than the last film, which argued that it was harder to form a meaningful bond with anyone, when your day job was taking your clothes off for money.

mmm... a protagonist who complete dominates a long film to the detriment of context and the other players in the story (though the abolitionist, limping senator with the black lover does gets close to stealing the show, and is rather more interesting than the hammily - acted Lincoln); Day - Lewis acts like he's focused on getting an Oscar rather than bringing a human being to life - Lincoln as portrayed is a strangely zombie character, an intelligent, articulate zombie, but still a zombie; I greatly appreciate Spielberg's attempt to deal with political process and I appreciate the lack of «action» but somehow the context is missing and after seeing the film I know some more facts but very little about what makes these politicians tick; and the lighting is way too stylised, beautiful but unremittingly unreal, so the film falls between the stools of docufiction and costume drama, with costume drama winning out; and the second subject of the film - slavery - is almost complete absent (unlike Django Unchained) except as a verbal abstraction

Sure, I would have preferred the whole film be about Beatty's Hughes and the many colorful characters — Matthew Broderick especially, but also Alec Baldwin, Candice Bergin, etc — rather than a screwball romance between two young people for whom life's lessons still await.

I would have liked to know why a character's severed arm came to life and how the ship became possessed rather than focus on a monster attack that was better executed in the first Cloverfield film.

Rather than the predominant emphasis on violence and fighting that is found in action films, however, the viewer of adventure films can live vicariously through the travels, conquests, explorations, creation of empires, struggles and situations that confront the main characters, actual historical figures or protagonists.

Certainly not for even the slightest modicum of character development or dimension, as a talented cast led by Jennifer Lawrence and Javier Bardem is criminally underserved by a script that treats their characters as props rather than actual people with inner lives who the audience are supposed to care for.

The movie is rather reminiscent of Crash in the way that lots of Angelenos» lives intersect serendipitously, except that here the characters have a seedy strip club in common instead of car accidents.

Glastonbury (15) Running time: 135 min *** Julian Temple's loving documentary may at first appear to be aimed at the sort of music fan who prefers Glasto streamed live to their TV.But this collection of archive and commissioned footage from 36 years of England's greatest music festival is likely to appeal more to diehard fans than non-festival-goers, since it revels in precisely the eccentricities that makes the armchair people dive for cover.Most of this film is a structureless, rambling celebration of Glastonbury's boozy, hedonistic, liberated, political and frequently bonkers character rather than of the actual music: great if you were at the party, presumably less great if you weren't.

Miller's both incredibly winning at the more upbeat side of the character (it's a version of the gay best friend archetype we actually recognize from real life, rather than from other movies), but sells the broken - heartedness, the step - sibling bond with Watson, and the general sense of being on the wrong side of the cool kids beautifully.

The character comes across as an untouchable, unrealistic superhero rather than a person, and all the other people in his life appear as ciphers.

The Point Break references in particular belong in this category, with the characters discussing the moment, then watching it on dvd, before finally living it out themselves in what is a rather unsubtle and heavy - handed approach to setting up the joke.

Colorful and kinetic seriocomedy... Wes Anderson breaks no new ground thematically, picture comes closer to «The Royal Tenenbaums» than «The Life Aquatic With Steve Zissou,» but without achieving the poignance of «Rushmore»... Here, as in his two prior outings, Anderson's arch, highly artificial style gets in the way of character and emotional development, rendering picture piquant rather than profound... Full Review

However, the writers use this premise as a tool to introduce its audience to several wacky characters and five episodes in, it becomes a comedy about a group of people living in a cul - de-sac, rather than cougars preying on young men.

And Safdie (who also co-directed, did sound and co-edited the picture) is rather incredible bringing this deeply important character to life.

One is that many of the characters in the film did not exist in reality, but rather, they are amalgams of several real - life people not associated with Woodroof, that have been turned into single supporting characters, ostensibly for the purpose of broadening the film's scope, as well as putting in more supporting stars like Leto and Garner.

Plot driven rather than character driven, and generous in the sheer amount of story presented, it's a fascinating meditation on luck, lust and morality, and is highlighted by strong performances by Rhys Meyers, as well as Emily Mortimer and Scarlett Johansson as the women in his life.

An experimental non-narrative directed by Dziga Vertov, a contemporary of Sergei Eisenstein (Battleship Potemkin), Man With a Movie Camera is an impressionistic portrait of urban life, giving us no characters but, rather, the sense of the complex comings and goings of everyday people through a city.