Sentences with phrase «much character yet»

My house is new and doesn't have much character yet.

Not exact matches

140 characters is a constraint we all work with, yet we've already started to find workarounds for it and much like the Retweet, this rumoured feature could be inspired by the way Twitter's community use the product — as Dorsey mentioned many people now take screenshots of text and tweet them.

But as a person who never thought Rush Limbaugh (in the 1990s) or Glenn Beck (in the 2000s) ever said much that should have been taken seriously by anyone (but who has simultaneously seen these selfsame characters taken seriously despite the obvious surface objections to them), Hunstman may not be caught in the snares of his own hunt for the presidency yet.

That's arguably much more powerful, yet it's so rarely seen in the diverse characters that appear in our drama and comedy shows.

Yet red flags are much bigger than normal character flaws.

We never learn much about her history, save for a few significant bombshells down the road, yet she feels a good deal more dimensional than about 95 % of characters in film history.

This much truth lies on the surface of the legend: saviorhood, which is the highest form of character, is always so associated with being above the average that it never yet has been able to avoid sacrifice.

Nothing wrong with not being cptn material, Bergkamp wasn't yet look at how much influence he had, Ozil is the same kinda character.

She was one of the best teachers of character I met — yet not only did she not talk much about character, she wasn't even a teacher.

, yet has so much character and is a BEAUTIFUL area to walk around on summer evenings.

Which is probably why Reformation's designs (made from dead end stock fabrics) feel like they've got so much character; every piece wows in its construction — simple yet effective — that you really don't need much else.

Sure it doesn't make much sense that the teenagers of this small town that has outlawed dancing for five years could all dance so well, yet this is an enjoyable film with a great soundtrack and John Lithgow as a character who is more complex than your typical zealot antagonist.

Yet if Sia's Diamonds is a sultry triumph, its character and uniqueness highlights the ultimately hollow pleasures of much around it.

I always found Dullea's role in BLACK CHRISTMAS disquieting because of the character's quite coincidental (and ultimately superficial) resemblance to Ted Bundy.There's, of course, no intentional resemblance - Bundy wasn't yet so much as a suspect in the murders being investigated.

There's little doubt, ultimately, that the character works best in extremely small doses and yet much of the narrative is focused entirely on his somewhat obnoxious (and completely unsympathetic) exploits, which ensures that large swaths of The Disaster Artist completely fail to completely capture and sustain one's interest - although it's hard to deny the effectiveness of certain making - a-picture sequences in the film's midsection (eg the shooting of the infamous «oh, hi Mark» scene).

The end result is a moody, somber little thriller that could (and should) have been much, much better, and yet it's hard to deny the impact of several key interludes and its stirring performances (with, in terms of the latter, Penn and Walken absolutely dominating the proceedings every time their characters are together).

As if it's not enough that the characters are kind of unlikable in certain areas, this narrative that does little outside of simply meditate upon the questionable leads is pretty thin, and that really undercuts much momentum, to where natural shortcomings play an instrumental role in bringing the final product to mediocrity, and yet, I won't go so far as to say that this film's story concept is completely juiceless, as its portrayal of a nerdy manchild's lifestyle is pretty realistic, if not genuine, and therefore kind of intriguing.

Even with that said, it also offers a gripping story revolving around the main character and religion, that left much to be interpreted and theorized, yet kept me interested throughout the game.

And yet, there is something in this thoughtful consideration that can, if you think about it too much, make you wonder what it is about us in the audience, who so enjoy the watching the peril of fictional characters.

As much as Blanchett gives herself to the role of Hela, the character is yet another lackluster villain without interesting dialogue or a long - term purpose, a Monster of the Week.

While we don't see much of him in the trailer, Colossus is seen alongside Brianna Hildebrand's Negasonic Teenage Warhead, although we're not quite sure what kind of connection these two characters have quite yet.

In Only God Forgives, Gosling is similarly near - mute and reliably mesmeric - yet we've much less reason to like his character.

Very few villains have been given all that much character development in the MCU, but Black Panther took the time for audiences to actually get to know Killmonger, and it's resulted in one of Marvel's best antagonists yet.

... manages some tense moments and mild intrigue, yet it never allows much room for character development along the way.

And yet... Audiences by this point have so much feeling for these characters that the Russos get by with a lot of undistinguished work.

Much better, and actually memorable, is the moment when a character is murdered so close yet so far from escape, in an alleyway mere steps away from a fireworks - festooned parade.

Kevin Kline's job is to be the butt of the jokes, that stuck - up boss to Clouseau who takes so much grief and pain, yet the audience never pity the character.

A departure from what a sports underdog picture is expected to deliver with a decidedly»70s sensibility, it's completely uncompromised, yet it's not a downer: although there's not a hint of a lie about it, nor much optimism in its truth, the feeling of it when it's over is exhilaration at time spent with real characters placed in real situations.

It's a heartbreaking yet still overwhelmingly positive feature with two characters that I felt for so much that I wanted to reach out and play marriage counsellor for them.

I'm struggling right now to list titles where few, if any, characters were likable and yet the film itself was very much so.

He may not have much time on the screen, and yet it is stunning how quickly his character is able to get under your skin and chill your blood.

Unlike «The Office» or Monty Python, the character, who Coogan has been performing as, on and off, for more than 20 years, has yet to make much of a cultural impact domestically.

> But eventually, the film reveals that it doesn't think much of its women as it undermines both her and Jessica Chastain's character... Both women are clearly geniuses, yet they make decisions based on romantic impulses which seem not just contradictory to their natures but stereotypically chickish

Roberts is apparently supposed to be the star, though Potter and Kind get as much screen time; and despite being the one character who should stand out, Minkey the monkey doesn't do much or even really factor into the story beyond cutesy (yet annoying) monkey - make - noise, monkey - punch - face gags.

Yet midway through the story, his presence essentially disappears, as most of the threads get left dangling in favour of a much more narrow look at the titular character's surroundings.

He takes a bit longer than necessary to wrap this up, and yet, it's hard to fault him much for lingering when he has so many good character actors to spotlight.

So to make sure you're on board, they've released a new trailer, and it's actually the best one yet, providing a much better idea for the story, including an artifact for Michael Fassbender «s character to track down during the time of the Spanish Inquisition.

What I mean by that is that he is a character who you don't know much about yet seems to have a lot of power.

This first teaser trailer didn't show much at all, now we finally get a look at all the characters and we get to hear some of the songs from this musical - though no singing yet.

It's part teenage comedy, coming of age, family drama, and character study — yet it's also so much more.

To say much more about the events that unfold would put this review into spoiler territory, yet it should be enough to state that things don't develop in any way that would elevate the character and narrative arcs beyond what one might find in an amateur film school offering.

The film manages some tense moments and mild intrigue though its intimate approach to the material, yet it never allows much room for character development along the way.

While we have not seen much of Shuri in action yet, we already know that she is an important character.

Yet, after acknowledging that it was an inspiration, the two films should be seen as separate entities, since much of what makes City on Fire work (character development, yin and yang cop - robber themes, and a romantic subplot) are not to be found with the 1992 American film, and what people liked about Reservoir Dogs (smart and savvy writing, sassy interplay among characters, and some brutally graphic violence) aren't really the strengths of the Hong Kong original.

While we have yet to have any glimpse of her relation with Tully, it's evident that Reitman's new film is very grounded and character - centric, much like his acclaimed work on Juno.

Josh Brolin has real presence as Cable, but there's not space here to establish much of his character yet, and as a consequence, it's hard to get too much of a handle on him.

Oddly enough, her character plays a big factor into the storyline, yet she isn't given that much screen time.

That's a lot of moving parts and a ton of characters to juggle, and yet «Captain America: Civil War» moves lithely from incident to incident, never feeling burdened by too much stuff.

Much of the action still exists in the overheated claustrophobia of the Weston household, yet footage of the rolling Oklahoma fields, characters in cars, and other exterior shots distract as opposed to elaborate on a setting that's meant to be suffocatingly insular.

The animation is great; the songs are (largely) better than you've heard, Tarzan himself is quite a decent and intriguing interpretation of the classic character, and while I haven't seen any of the other versions of Jane yet, I bet none of «em were as much of a cutie - pie as this one.