Sentences with phrase «many characters speaking»

Character speaks for itself.

How he manages to have characters speak lines in such arresting melodies enunciating such obvious truths and yet in a voice that seems to correspond exactly both to the personality of the character and to the situation of the moment is, of all Shakespeare's achievements, the most mysterious to explain and the hardest to specify.

The «new criticism» was originally designed to find meaning in a text through intrinsic details — for example, what a character looks like and how that character speaks and thinks.

The word «Hodor» was a punchline for six full seasons — the character spoke his first «Hodor» in the series» fourth episode — and his aphasia was so charming that it was the only thing we missed from Bran's absence in Season 5.

Moe is the closest to having been a locker room issue and he showed tremendous character speaking to the team apologizing for not being a better teammate.

«In fact, I become very excited anytime I watch persons of Indian origin speaking Twi... what really attracts me to watch the series is that the characters speak pure and unadulterated Twi and I can't really find words to describe the moral lessons in the telenovela... I am very grateful to Adom TV for this...,» Nana Kwasi Wadie said when he toured the studios of Adom TV.

I hold my own and my character speaks volumes of the man I am.

In the film, Ben Stiller's Walter Mitty character speaks on the phone with his «eHarmony counselor,» who guides him through the process by helping him to build a great profile and coaching him when he hits stumbling blocks.

I'm absolutely against violence, but the rage of Ben Fosters character spoke to me.

Yet the dialogue is often what wears us down: Kingsley's character speaks in tiresomely circuitous riddles, and Liu's peppery cuteness needs to be turned down a notch.

Using a looped - over approach to the sound, only rarely do we actually see the characters speak the words we hear, which contributes to a fractured, dreamlike tone, a kind of black - magic - realism (imagine an anti- «Beasts of the Southern Wild» designed not to inspire wonder, but stomach - churning dread).

Zemeckis has apparently determined that audiences will no longer support the fiction that a group of foreign - language characters all speak to each other in English, so he's forced to invent all sorts of pretexts for Petit to speak primarily in the language of Hollywood: he's going to New York so he must practice; Annie speaks good English, so she's happy to establish their relationship in that language.

Full of ideas that are usually more clever than funny — e.g., the running joke satirizing lack of communication between men and women by having the characters speak jibberish, generic phrases, or different languages — but it should prove interesting and inventive enough to keep smart people watching to the end.

His characters speak maybe too smoothly.

«Coco,» which has the twists and turns of the kind of black - and - white melodramas Ernesto starred in, is in some respects as old - fashioned a story as they come about the close bonds of family; the many zestily - drawn characters speak entertainingly to the push and pull of tradition within that bubble and across generations.

Similar to the film For Colored Girls, the characters speak poetically at pivotal points.

Gillespie smartly uses the known and builds upon it with context and some style, using «modern day» Tonya, Jeff and LaVona among others as interview subjects for a documentary of sorts that frames the film, but also has the characters speak into the camera in non-interview segments to help give Tonya some humanity, or at least make sure you have a better idea about all of her story and life coming out and you did going in.

Even the subtitles, used when characters speak Spanish, get into the act, certain key words being made larger or the whole lines jumping around the screen as the people talk.

Tarantino loves to hear his characters speak, and while they rarely diverge into the pop - culture musing we might expect, they're no less beautiful for it.

The quality of the whole production is astounding, with perfect lip - synching when characters speak and hilarious dialogue make Jak and Daxter seems more like an interactive movie than a game.

As unnerving as this film is, hearing our characters speak is semi-soothing, the cadence was almost like a Fairytale or nursery rhyme.

Adapted from stories drawn from Giovanni Boccaccio's medieval book «The Decameron,» the film draws humor from the tension between its setting and the way the characters speak and interact as a story unfolds about a fugitive servant (Dave Franco) who pretends to be a deaf - mute to be taken in by a convent that includes three young nuns (Aubrey Plaza, Alison Brie, Kate Micucci), each dealing with personal crises of their own.

Andre Tricoteux added that fans will get much more insight into this character in Deadpool, adding his depiction is «exactly» like the comics, although he wouldn't confirm if his character speaks Russian or not.

Fortunately, it redeems itself with irresistible characters, kick - ass pacing, and a cast that knows how to keep a straight face as it takes the stock characters speaking seemly stock dialogue into the rarified, amped up atmosphere of a slick and deliberately self - conscious parody of the action genre.

His characters speak so slowly that you could fit entire speeches from Xavier Dolan «s talky «It's Only the End of the World» in the pregnant pauses in «The Neon Demon.»

At one point in the melee, one character speaks of the «golden rule» that one has an hour and a half before a bullet wound becomes fatal.

Opening titles explain that human characters speak their native tongues, while dogs have been translated into English.

However, the characters spoke to me.

If you've seen his earlier work — Dogtooth or The Lobster, perhaps — you'll have some idea of his unsettling style where characters speak in monotone platitudes.

Motion occurs only in key parts of the frame, such as mouths moving when characters speak or body parts moving when action calls for it.

THE DISAPPEARANCE OF ELEANOR RIGBY: HIM: One good film stretched to two, doing little with second POV and insisting on having characters speak in screeds.

The dialect in which the characters speak (peppered with frequent profanity; this R - rated film has no nudity, no sexual depiction, no physical violence and is rated R solely on account of its language, and possibly its themes) presents an arguably contemporary portrait of what would conventionally be called a bad alliance / marriage.

ERIC KOHN: No major American filmmaker has flaunted his autonomy from the Hollywood system more than Quentin Tarantino, whose characters speak and whose movies move in ways that are forever connected to his name.

This version, which has been available only in some video editions, has longer stretches during which the Austrian characters speak in German without subtitles as well as better pacing throughout.

Her character speaks very little and is perfectly foiled against her aunt Wanda (performed with equal brilliance by Agata Kulesza), which gives Pawlikowski and his cameramen Ryszard Lenczewski and Lukasz Zal all the time in the world to focus on Trzebuchowska's ethereal presence.

The characters speak a corn - pone argot that's too self - consciously literary, and many of the scenes, such as the ones between Tyrone and the white, racist sheriff (Stacy Keach), are familiar.

Most of the other characters speak in the regal dialogue of a 19th - century novel.

The film's nominal story involves a terminally ill mother, a corpse found floating in the ocean, and a tentative teen romance; as usual, though, Kawase is mostly interested in having these characters speak her ideas aloud, handing them endless turgid dialogue about nature, death, and the link between the two.

These characters speak in matter - of - fact terms, and there's a sort of beauty in how much is behind those words.

In Hideo Kojima games the characters speak whole histories.

The characters speak stiffly and stand as if posing.

Japanese characters speak their native tongue in Anderson's friend - finding epic, which means we're only allowed to understand their dialogue when * American * Interpreter Nelson (Frances McDormand) translates overtop.

It shoots for authenticity by having all characters speak in their native language while English subtitles are given.

The dialogue is hilarious and true, her characters speak in ways wise and wacky.

Characters speak in the heightened language of those who, for the sake of expounding characterization within the confines of a limited setting, must do so.

Most all of the Japanese characters speak in their native voice and we the audience only get interpretation from Interpreter Nelson (Frances McDormand).

Furthermore, the two central characters aren't French in the way that term is typically understood, though they and the other characters speak French throughout.

As usual, his characters speak in an overly mannered, forthright way.

SKIP THIS MOVIE IF: you prefer the story to make a clear point and the characters speak in «normal» thoughts (neither of which happen here)

The whole idea is flush with theatrical potential (the roles are even double - cast, à la The Wizard Of Oz), which is apt, given Dickens» own comments on his creative process (he claimed his characters spoke to him) and the lifelong obsession with the stage that stemmed from his early days as a failed actor.