Sentences with phrase «much feeling for these characters»

For Tony Stark's first outing post - «Avengers,» it was going to be hard to find a writer / director with as much a feel for the character's spiky throwaway one - liners as Joss Whedon, but Black delivered on that level and added surprising insight into the character's psyche, while also engineering one of the best Marvel rug - pulls ever with Ben Kingsley «s Mandarin.

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

Not exact matches

Since the «Star Wars» prequels, in which George Lucas was heavily criticized for using too much CGI to create the worlds and characters, many big - budget movies have tried to find that happy medium of practical and visual effects to give the action on screen a more grounded feel.

Parker remains a bumbling boy throughout the entirety of «Spider - Man: Homecoming,» and for this reason alone makes the character feel so much more authentically teenaged in a way that his 26 and 28 - year - old Spider - peers never did.

is simply too ingrained, too much a part of what sin is all about, for us not to feel vexed when reminders come of the opposite reality, which it is precisely the office of religion to provide: «Accordingly, it has always been the office of Religion to protest against the sophistry of Satan, and to preserve the memory of those truths which the unbelieving heart corrupts: both the freedom and the responsibility of man, the sovereignty of the Creator, the supremacy of the law of conscience as His representative within us, and the irrelevancy of external circumstances in the judgment which is ultimately to be made upon our conduct and character.»

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.

Abby Olcese: I set my expectations pretty low: a lot of gross - out jokes, not much character development, and the occasional line that made me laugh, but also made me feel bad for laughing.

I set my expectations pretty low: a lot of gross - out jokes, not much character development, and the occasional line that made me laugh, but also made me feel bad for laughing.

For example, they were asked to rate on a scale of 1 to 7 how much they felt they «were really «there» in the game environment» and how much they felt like other characters in the game were real.

But males who really identified with their characters in the sexist, violent games didn't feel as much empathy for the victim,» said Brad Bushman, co-author of the study and professor of communication and psychology at The Ohio State University.

I am a huge fan of the original Prince of Persia trilogy, and when I heard about this game I was a little worried that they would change to much of what made the original games great, and I was right, the gameplay has been completely destroyed, platforming is awkward do to too may actions being mapped to the same buttons, combat is tedious and unenjoyable, it's EXTREMELY repetitive, having to search around for light seeds just to advance the plot is stupid, and do to the fact that you can't really die the whole game just feels like trial and error, and the new Prince character is completely unlikeable, while they messed up most of the game it's got some good things going for it, the voice acting is solid, the graphics are beautiful, and the ending does have interested in seeing where the story goes from here, but I'm not sure if I want to pick up the next game they come out with, this was a huge disappointment and isn't worthy to bear the Prince of Persia name.

Mills» well - developed characters and the casts» amazing performance do much more than make us see, but also make us feel in a way that both sympathize for the characters and reflect on ourselves.

Where those previous films felt compelled to lunge for edginess (read: sneering raunch) as chaos dutifully descended on characters they didn't like very much — and weren't particularly interested in getting audiences to like, either — Game Night takes care to locate our sympathies with Bateman, and McAdams, and its cast of charming ringers.

Foley also doesn't allow much room for the audience to get inside of the characters» heads, to feel what they feel — the most intimate filmmaking a director could accomplish.

Yes, do note that I said that the underdevelopment makes it «hard [u] er [/ u]» to get invested in the characters, because as if it's not bad enough that the characters are so undercooked and, well, kind of bland, they're unlikable, or at least the lead is, for although Sam Eidman's portrayal of the Scott Weidemeyer character is engaging convincing, the character himself is just too much of a manchild - concerned with the superficial and his own self - esteem over the concerns of others and growing up - for you to feel for him all that much.

I also feel they focused too much on just Tara and the other characters lacked the developing story they deserved, like Kate for example, I literally do not know what is going on with her.

All of my characters feel real for me and I deeply care — probably too much — about doing right by them, and giving them a voice.

Far from the «poverty porn» glorification of which it's been accused, this is a film whose characters all feel painfully real and human, in their capacity for nastiness and violence as much as for joy and love.

Sure, it's to bridge a connection and unity between their opposing viewpoints so that Lyndon B. Johnson's staunch pushing of the Civil Rights Act feels in character for someone that previously toed the line of racism (he has a friendly association with an openly bigoted US Senator played by Richard Jenkins in a subplot without much engaging drama or consequence), but it also isn't a good enough defense for formulaic and conventional filmmaking.

Universal Pictures is clearly hoping to resurrect a character with whom they've been in business for some 83 years, but this fantasy - feeling effort delivers little in the way of scares, relying mainly on the charismatic presence of Welsh actor Luke Evans (Fast and Furious 6) to anchor the lackadaisical proceedings... [Much] like the recent, widely reviled I, Frankenstein, this misconceived project mainly signals a need to go back to the drawing board.

The one question that remains is why, after watching these characters for nearly eight hours of time over the course of three films, do we feel like every character is underwritten and without much dimension?

A Single Man Tom Ford's adaptation of the Christopher Isherwood novel, about a gay man grieving over the death of his lover, is a bleak, intelligent film that serves as a showcase for what may be Colin Firth's finest film performance, the ultimate elucidation of the character he has been playing, in one form or another, for years: The man who feels too much to allow himself to show it.

What makes Stung so much fun is that it takes itself seriously enough for the plot, characters and theme to work, but it never pushes itself too far to the point where the whole thing feels silly.

However, without learning much about the supporting characters and knowing they aren't going to make it, it's hard to feel much for them outside of the basic connection between viewer and talented performer.

There were a few minor issues — the character of Morgana and his purpose as a «guide» for Joker feels suffocatingly restrictive at times, acting as the annoyingly vocal wall preventing the player from engaging in the game's activities during main story events, and the English localisation and voice - work, despite its overall quality, often felt stilted and flowed much less naturally in the early game compared to its predecessors.

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.

Thoroughly mesmerizing, but as much as I admired Olsen's presence and vulnerability (she may be an Oscar contender), I felt no sympathy for her character.

It's something that most people dread happening at one point in their life, but it's hard to feel bad for characters that already have so much going for them.

With 14 supporting roles on screen for the most part it could have easily fallen short, factors of how much screen time to give each character without allowing them feel too intrusive on the story or the flip side, falling out the story.

While many love stories never delve much deeper than the initial attraction and union of two people who must overcome obstacles to finally come to equal terms, The Painted Veil differs by starting out with an uneasy union, with characters that have many conflicting feelings for one another at varying times, never quite able to come to a mutual understanding of what they mean to each other.

A sombre, lowbrow mood piece that's very much character driven and has an authentic feel for it's titular working class, Philadelphia neighbourhood, God's Pocket.

The small window of time we spend with these characters for each movie only makes their story feel that much more precious.

We know when the characters are supposed to feel awkward and when they're trying to be compassionate, but their interactions and developments are so slight that there's barely any indication that anyone outside of Lars's inner circle has much regard for him as a person until the script essentially orders them to pull a 180 and swell with understanding.

Perhaps the most problematic to Foxcatcher is that the movie doesn't really delve very deeply into the psychology of the motivations of the characters for doing or feeling much of what they do.

While Peter Quill's story takes centre stage for much of the movie, his character feels flatter this time around.

The majority of these changes only really affect high - level play, and for casual or moderate players, their favorite characters will still handle much as they have previously, and the overall gameplay experience will feel very similar to Super Street Fighter IV.

Chiwetel Ejiofor give his reliably smooth, deceptively deep take on an underwritten character who has the advantage of feeling very much set up for more after this initial appearance.

From sharing its Paris backdrop to its quirky, light - on - its - feet narration to its protagonist's breezy but sanctimonious matter of manipulating the world, this feels like a spiritual sequel in many senses and those who fawned for Jean - Pierre Jeunet's textured cinescapes and peculiar characters will find much to love here.

An American Rhapsody is deeply felt, no question, but it jerks and lurches along without much regard for secondary characters, continuity, motivation, and coherence.

Co-writers Nic Pizzolatto («True Detective») and Richard Wenk (The Expendables 2) devote so much screen time to Denzel and Pratt that we never much get a feel for what makes the other characters tick.

There's not as much of the eccentric character detail that fleshes out the similar romantics and heartbroken drifters of the later films, and the result is that the film feels like a stripped - down template for a typical Wong scenario.

From the midlife - crisis title on down to the casting of Brooks as Rudd's father (his own warm, shaggy work as a writer - director has clearly influenced this writer - director in creating credible characters and comedy), «Forty» feels like a logical progression for Apatow's career, and if that tentative December date is any indication, it might finally earn him and his cast of regulars some much deserved awards attention.

Though there isn't much opportunity for character development, the children's characters feel distinct.

Even so, I Feel Pretty embraces its central character for all of her faults — real, perceived, or created by having too much self - confidence — and all of the qualities that she either didn't know or had forgotten that she possessed.

Simultaneously slight and over-explanatory, these sequences ultimately come across as unnecessary for filling in the back story of its leading man; Bomer's eyes convey so much about his character's complicated relationships with nurture and (literal) nature that the deflating speechifying of Pullman's scenes feel like a disservice to his commanding performance.

And by giving serious material to characters like Sean and Mike, it makes their comic moments feel much funnier than when they were just idiots there for easy punch lines.

The minor complaints — it runs a little too long, and Richard Gere's character, not so much his portrayal, felt underdeveloped — matter little, mainly for the fact that despite its flaws, this is a bold and truly inventive effort.

But it indicates what much film comedy has become: a slightly sourish cocktail of bad behavior, wry observation, and commentary on how difficult modern life can be, especially for characters who feel entitled to a better one.

It is a very cool story with a very hilarious Borat - Ozzy type character... this is just a great movie and since it's a comedy but achieves so much more... maybe it should win best film awards... I feel excited for the cast but also for the original the room cast... I hope somethings good comes to them other than just Greg and Tommy...

For all the energy these performers bring to their parts, these characters don't always feel distinctive enough to inspire much more than superficial involvement in their tribulations.